Beautiful voice, no doubts. She was considered a frontrunner for Callas when La Divina began to decline. However, Elena chose a wrong repertoire at the beginning of her career damaging her extraordinaire instrument. She didn't have a solid technique either but her Nabucco is out of this world and her Anna Bolena was, in my opinion, a very good accomplishment. RIP
What roles should she have done? She was a spinto. Maybe just more training before the big roles? There was also Sylvia Sass who threw herself into or got thrown at her roles that destroyed her.
@@draganvidic2039 I agree with you 100 %. and I liked Sass too, but she had a more solid technique and that's why her wonderful instrument lasted much longer than Souliotis'. At the beginning of her career, Sass sang Violeta, Mimi and other lighter roles but she indeed succeeded in heavier Verdi. Her Macbeth and Ernani are simply great. Nice chat! Thank you.
Agree completely, but she never really had the technique for Trovatore, Nabucco, or Bolena. Her coloratura was always sketchy, and in roles such as Leonora which are riddled with trills, she was incapable of executing even a single trill. I think had she trained longer and developed a more solid bel canto technique, she would have been truly great.
De nombreuses lacunes dans cette interprétation . Imprécisions dans les passages d'agilité ,pas de trilles ,des sonorités très blanches et inexpressives dans le registre aigu,une justesse parfois discutable ......avec par endroit de très beaux moments qui sortent on ne sait d'où !!! Une voix en proie à l'instabilité .C'est dommage !!
Elena Souliotis was at the right age, when she did Nabucco. Many say that she was too young, and that I have heard it from many Sopranos. Those sopranos, were you Diva's, who apparently was jealous. What caused her voice to decline, was and this was in an interview with her on Opera News. She like staying up late, and go out for drinks, this was before, she was married. If you don't break a bad habit its only going to get worse. Unfortunately, she was a very active young lady, when she started out, and she tells in another interview on her Single lable, with her portrait of her, on the front cover, with her beautify Strawberry blonde hair, and her fist to her chin pose. Read the back of the album if you managed to still obtain a copy. At the age of 5 she and her family went to live in Argentina. Our Elena, died an unfortunate death due to Congestive Heart Failure, and people with that condition normally is associated with Alcohol and smoking would contribute to that. So, No, She was not too young to sing Nabucco, as some of those divas claimed was the cause. But, I am glad for those fans of Elena Souliotis, that are bringing out many Operas that we are not aware of. I heard her Un Ballo, and Hearing her in Il Trovatore, Fantasico!, I know she must of done a lot of Verdi, Donizeti, Bellini. No doubt Maria Callas was in fear of her, because, her voice was more towards a Refined Maria Callas, and at time, if you did know it was Elena, you could swore it was Callas. I have heard Callas in Nabucco, not comparison at all, even her Norma was another outstanding recording. Even though, many critics didn't agree with her front cover pose for Norma, I think she was simply Beautiful, and I like that photo, and it's a change the usual. Viva Souliotis!
She could not execute the trills in the aria. She did not have the technique for this opera and so many others. Her Norma was a disaster. After an absence from the stage that lasted several years, she began a second career in secondary roles, beginning in 1979. She sang Fata Morgana in Sergei Prokofiev's The Love for Three Oranges in Chicago and Florence, and went on to sing in such operas as Prokofiev's The Gambler and Puccini's Suor Angelica, in the latter as the Zia Principessa. Her recording of this latter role, in 1991, opposite Mirella Freni, was her final studio recording. Toward the end of her career, she sang the role of the Comtesse in Tchaikovsky's The Queen of Spades in several venues, and gave her farewell to the operatic stage in this role in Stuttgart in February 2000. Elena Souliotis died of heart failure in 2004 in Florence, Italy, aged 61.
I have heard her sound way better than this.. her pitch is way off. One big difference between Callas and her is that she would never approve a recording such as this ! If this is a live performance.. she was not in good form. Can't be she isn't warmed up.. because this aria is near the end.
There were many roles she did. Such as: Aida, Otello, Un ballo, La Forza, Suor Angelica, Cavalieria Rusticana, La Gioconda, Mabetto, Luisa Miller. etc. She did a Vast Variety of opera's that is not in our possession, and there only one footage on stage on You Tube of La Forza del Destino. Wow, do you hear the Power in her voice. This Woman, was amazing. I must say, that I fully agree with Pablo Perdomo's Response. She was the REFINED Voice of a younger Maria Callas, and not at all a snobish Diva, very down to earth, and warm person she was. I truly missed this beautiful person. Addio.
Tive a felicidade de assistir na Gioconda de Ponquelli no Teatro Municipal de São Paulo com a cia completa do Teatro São Carlos de Nápoles. Espetacular cenário, elenco e guarda Roupa e não faltando a Dança das horas tendo como principal bailarina a RITA Romanelli. Recentemente foi retirado do Guarani de Carlos Gomes o bailado do terceiro ato. Foi um assassinato de José de Alencar e Carlos Gomes. Vergonhoso.
She had a great instrument and great temperament, but never had the technique required to sing much of what she sang. Even in her famous Nabucco, her coloratura was sketchy and she didn't sing any of the trills. And in this role, which is riddled with trills, she misses every single last one of them.
I loved Souliotis but this is simply cringe-worthy. She is never on pitch in the aria and the breathy scooping only makes the tonal problems worse. It is interesting to hear her approach to the scene, however, but this was not "her role," clearly.
Sans aucun doute la voix est belle. Cependant la couleur vocale est vraiment blanche ici ce qui nuit à l'expression, c'est fade! C'était une belle artiste qui a connu précocement un déclin vocal et une fin de vie tragique.
Insulting to compare in anyway to Callas or any other soprano in this aria. She sounds like an amateur. Pitch on high notes are way off, no legato where it’s required and while the middle can sound lovely, the top voice doesn’t bare any resemblance to the rest. Any attempt to sing even a short line with florid notes are fudged. Awful! The miserere is an improvement although very dull. With ‘Tu vedrai’ she her stride thankfully.
Beautiful voice, no doubts. She was considered a frontrunner for Callas when La Divina began to decline. However, Elena chose a wrong repertoire at the beginning of her career damaging her extraordinaire instrument. She didn't have a solid technique either but her Nabucco is out of this world and her Anna Bolena was, in my opinion, a very good accomplishment. RIP
What roles should she have done?
She was a spinto.
Maybe just more training before the big roles?
There was also Sylvia Sass who threw herself into or got thrown at her roles that destroyed her.
@@draganvidic2039 I agree with you 100 %. and I liked Sass too, but she had a more solid technique and that's why her wonderful instrument lasted much longer than Souliotis'. At the beginning of her career, Sass sang Violeta, Mimi and other lighter roles but she indeed succeeded in heavier Verdi. Her Macbeth and Ernani are simply great. Nice chat! Thank you.
Agree completely, but she never really had the technique for Trovatore, Nabucco, or Bolena. Her coloratura was always sketchy, and in roles such as Leonora which are riddled with trills, she was incapable of executing even a single trill. I think had she trained longer and developed a more solid bel canto technique, she would have been truly great.
De nombreuses lacunes dans cette interprétation . Imprécisions dans les passages d'agilité ,pas de trilles ,des sonorités très blanches et inexpressives dans le registre aigu,une justesse parfois discutable ......avec par endroit de très beaux moments qui sortent on ne sait d'où !!!
Une voix en proie à l'instabilité .C'est dommage !!
Elena Souliotis was at the right age, when she did Nabucco. Many say that she was too young, and that I have heard it from many Sopranos. Those sopranos, were you Diva's, who apparently was jealous. What caused her voice to decline, was and this was in an interview with her on Opera News. She like staying up late, and go out for drinks, this was before, she was married. If you don't break a bad habit its only going to get worse. Unfortunately, she was a very active young lady, when she started out, and she tells in another interview on her Single lable, with her portrait of her, on the front cover, with her beautify Strawberry blonde hair, and her fist to her chin pose. Read the back of the album if you managed to still obtain a copy. At the age of 5 she and her family went to live in Argentina. Our Elena, died an unfortunate death due to Congestive Heart Failure, and people with that condition normally is associated with Alcohol and smoking would contribute to that. So, No, She was not too young to sing Nabucco, as some of those divas claimed was the cause. But, I am glad for those fans of Elena Souliotis, that are bringing out many Operas that we are not aware of. I heard her Un Ballo, and Hearing her in Il Trovatore, Fantasico!, I know she must of done a lot of Verdi, Donizeti, Bellini. No doubt Maria Callas was in fear of her, because, her voice was more towards a Refined Maria Callas, and at time, if you did know it was Elena, you could swore it was Callas. I have heard Callas in Nabucco, not comparison at all, even her Norma was another outstanding recording. Even though, many critics didn't agree with her front cover pose for Norma, I think she was simply Beautiful, and I like that photo, and it's a change the usual. Viva Souliotis!
no one can come even close to Callas in any role that Callas sang in her vocal prime
She could not execute the trills in the aria. She did not have the technique for this opera and so many others. Her Norma was a disaster. After an absence from the stage that lasted several years, she began a second career in secondary roles, beginning in 1979. She sang Fata Morgana in Sergei Prokofiev's The Love for Three Oranges in Chicago and Florence, and went on to sing in such operas as Prokofiev's The Gambler and Puccini's Suor Angelica, in the latter as the Zia Principessa. Her recording of this latter role, in 1991, opposite Mirella Freni, was her final studio recording. Toward the end of her career, she sang the role of the Comtesse in Tchaikovsky's The Queen of Spades in several venues, and gave her farewell to the operatic stage in this role in Stuttgart in February 2000. Elena Souliotis died of heart failure in 2004 in Florence, Italy, aged 61.
Excelente voz, falta de compromiso interpretativo, muy frecuente en Elena Souliotis. ¡ Lamentable ! Armando Cerutti
Esistono interpretazioni migliori...ma la direzione non non mi piace!
I have heard her sound way better than this.. her pitch is way off. One big difference between Callas and her is that she would never approve a recording such as this ! If this is a live performance.. she was not in good form. Can't be she isn't warmed up.. because this aria is near the end.
Concert? Cannot remember if I heard or read she did the role?
There were many roles she did. Such as: Aida, Otello, Un ballo, La Forza, Suor Angelica, Cavalieria Rusticana, La Gioconda, Mabetto, Luisa Miller. etc. She did a Vast Variety of opera's that is not in our possession, and there only one footage on stage on You Tube of La Forza del Destino. Wow, do you hear the Power in her voice. This Woman, was amazing. I must say, that I fully agree with Pablo Perdomo's Response. She was the REFINED Voice of a younger Maria Callas, and not at all a snobish Diva, very down to earth, and warm person she was. I truly missed this beautiful person. Addio.
P.S. Her Greatest Role as Abigaile in NABUCCO! Ciao.
Tive a felicidade de assistir na Gioconda de Ponquelli no Teatro Municipal de São Paulo com a cia completa do Teatro São Carlos de Nápoles. Espetacular cenário, elenco e guarda Roupa e não faltando a Dança das horas tendo como principal bailarina a RITA Romanelli. Recentemente foi retirado do Guarani de Carlos Gomes o bailado do terceiro ato. Foi um assassinato de José de Alencar e Carlos Gomes. Vergonhoso.
She had a great instrument and great temperament, but never had the technique required to sing much of what she sang. Even in her famous Nabucco, her coloratura was sketchy and she didn't sing any of the trills. And in this role, which is riddled with trills, she misses every single last one of them.
I hear som insecurities and not too stable technique.
Her voice was stronger than ever. This was the year when she sung Nabucco.
I loved Souliotis but this is simply cringe-worthy. She is never on pitch in the aria and the breathy scooping only makes the tonal problems worse. It is interesting to hear her approach to the scene, however, but this was not "her role," clearly.
Sans aucun doute la voix est belle. Cependant la couleur vocale est vraiment blanche ici ce qui nuit à l'expression, c'est fade! C'était une belle artiste qui a connu précocement un déclin vocal et une fin de vie tragique.
Insulting to compare in anyway to Callas or any other soprano in this aria. She sounds like an amateur. Pitch on high notes are way off, no legato where it’s required and while the middle can sound lovely, the top voice doesn’t bare any resemblance to the rest. Any attempt to sing even a short line with florid notes are fudged. Awful!
The miserere is an improvement although very dull.
With ‘Tu vedrai’ she her stride thankfully.