@@nostoon4332 It’s not really his fault. He still does admirably in a very challenging role notwithstanding that one moment she drowned him out. I wish she had recorded it with Corelli or Gedda.
Probably the hardest notes in an opera with many difficult notes. He may have been saving it for his solo lines. I heard Domingo crack wide open on that note. Really yodel. It happens to everyone occasionally .
Unlike MANY famous Turandots, including Nilsson, Jones doesn't fake ONE SINGLE consonant but pronounces every syllable fully as she hits every high note.
She is in magnificent voice here including many downright beautiful moments and as always an intense and committed singing actress, something that many Turandots sorely lack in their portrayals
Biggest voice I ever heard. With Nilsson, Farrell and Rysanek close behind. The impact in the house was such that her flaws were not as noticeable. You dont think about such things when she pinned you to the back wall !
Phenomenal interpretation that I saw three times at ROH. This role, along with Brunnhilde, defines Dame Gwyneth's power as a dramatic soprano in my view. She commanded the stage and the entire house in these roles and one left overwhelmed with the experience. On meeting her once, she was delightful and very friendly...mind you I am Welsh so that helped!
LOL I was just watching this the other day from a file I downloaded from youtube before it was scrubbed from the entire Internet. Glad you resurrected it. It's not the most beautiful but it is the most spine-tingling In Questa Reggia.
This must have been a special performance for a TV show or a Command Performance, because those are the costumes of the old ROH production, as is the big moon, but the whole set is missing. Also, Calaf is wearing the 3rd act costume, not the blue one from act 1 and 2. Jones sounded ENORMOUS on stage and in the house. The first 10 rows of the stalls would be invariably be pinned to their seats and blasted away right from the first "Straniero, AAAAAAAscolta!". It was funny to watch.
I'm pretty sure this was filmed at Wembley Arena. Iirc, the impresario Raymond Gubbay persuaded the Royal Opera to stage Turandot there in ?1984. I attended one of those performances and Dame Gwyneth was indeed totally awesome!
At times she was in excellent voice. At times she was wobbly and off pitch. We’re all human ,not at our best at all times. The same goes for the best of singers. We cannot demand anything of them.
Even though I'm a great fan of hers, Dame Gwyneth here is much more wobbly and sharp than usual (and MUCH more than I'd accept from any othet singer)... but then again, she is THE Dame Gwyneth Jones and the sheer volume that comes out of her is beyond unimaginable. What a force of nature
@@LohengrinO but gotta love Gwyneth, I really can't help adoring anything she does even if from other singers I know I wouldn't accept it at all... Same goes for Mödl & Rysanek's flaws which I really can't help but love for some reason
I agree. I just don't love Turandot. I try but I don't click. Dame Gwynnie is a beast so if anyone can win me over, 'twould be La Dame. She does sound a bit sharp here and there but is still frickin' amazing. No matter what, she is a privilege to listen to!
My wife and I went backstage to meet her after a Turandot performance at the Met. She was so gracious and soft-spoken. When we exited, my wife was baffled - is that the same lady who just obliterated the chorus and orchestra?!
Ωραία εκτέλεση και με συνοδό τον "Μπέπι", που χάσαμε τόσο πρόσφατα! Έναν πραγματικά μεγάλο δραματικό τενόρο, μα τόσο αδικημένο και υποτιμημένο... Να είσαι καλά, φίλε και να προσέχεις!
Interesting concept! Sills was a dear friend of Eileen Farrell, and they recorded Maria Stuarda together. Sills said they were on the lookout for other projects - to me, it’s obvious: Ariadne auf Naxos, Farrell as Ariadne, Sills as Zerbinetta, perhaps Gedda as Bacchus.
One of the most inconsistent singers documented. Sometimes she was so bad one couldn’t believe what one was hearing. On other occasions she could get her voice into line and one would be a washed in glory.
Jones was another Sutherland disciple who prioritised upper voice over everything but I can't deny the potency of those BLASTS. It's a shame about the wobbles and pitch problems though because early in her career she was sublime.
With respect, I must say I disagree wholeheartedly with calling Jones a Sutherland disciple. It is true that both had their famous upper registers but Gwyneth was also a real singing actress. One only needs to watch and listen to how she throws herself into her roles with reckless abandon and full dedication to bringing the drama to life. Her Brunnhilde is both teenage yet wise. Her Elektra thoroughly maniacal and lost. Her Leonora touching and hopeless. Her Turandot fearsome yet alluring. None of this is by accident. Jones’ inconsistencies are glaring yet she manages still to be one of the most entrancing singing actresses ever captured. Jones is an experience, and it’s hard to pinpoint why she was great. Sutherland on the other hand never made a real effort to unlock the dramatic potential of the characters she was singing. Her “Turandot” was one big vocalize, to say nothing of Norma or Bolena or Stuarda.
Well, I disagree with both of you! First, Jones was never a Sutherland disciple, although she admired her greatly (she says so on a YT video of one of Joan’s farewells). In other interviews, Jones said that she purposely avoided the chest register because if one approached lower/middle notes from below, the middle register became weak. At any rate, I’m a great admirer of both ladies. And I do think Sutherland could summon some strong characters; she was more than a vocal machine! (Take a look at the YT videos of Kiri and her favorite singers; both Jones and Sutherland are amongst her all-time favorites)
They say you need a big body in order to make a big sound. Then in that case, someone please explain Gwynneth Jones. She has been slender he entire career.
I remember seeing a tv show where Dame Eva Turner (who first sang Turandot in the UK) reinforced that every note in the role has to be 'sung' and the tone should always be beautiful, ie no shouting, yelling or going off pitch. Dame Gwyneth, her erstwhile student, was also there. Excellent advice, just not sure that Dame Gwyneth was listening 🤣
Frightening but not sympathetic or alluring. Personally I would be happier with less amplitude and a steady, more beautiful, on-pitch sound. The top notes are great though. I just don’t accept that dramatic voices have to be strident, hollow in the middle or wobbly.
@@LohengrinO Don’t get me wrong-they are both amazing singers and I really do appreciate them both at their best. I agree that Sutherland was similar in that the voice was so large and developed some issues as it aged. But in her prime years omg!
@@michaelinmass I dont l ike wobble when it indicates Vocal Decline (Callas' top / Sutherland's middle when they aged)... but when a singer has it naturally (Jones, Popp, Lorengar) I really dont mind when the singer exhibits full vocal health in top notes
@5:30 tenor goes bye bye! Hahha
exactly!! she DESTROYS him
@@nostoon4332 It’s not really his fault. He still does admirably in a very challenging role notwithstanding that one moment she drowned him out. I wish she had recorded it with Corelli or Gedda.
Probably the hardest notes in an opera with many difficult notes. He may have been saving it for his solo lines. I heard Domingo crack wide open on that note. Really yodel. It happens to everyone occasionally .
I think the tenor is Giuseppe Giacomini.
Unlike MANY famous Turandots, including Nilsson, Jones doesn't fake ONE SINGLE consonant but pronounces every syllable fully as she hits every high note.
She is in magnificent voice here including many downright beautiful moments and as always an intense and committed singing actress, something that many Turandots sorely lack in their portrayals
Exactly... not just a huge screamer
Dame Gwyneth is my favorite Turandot, Elektra, and Brunhilde. I wish I’d had the opportunity to see her live.
I did see her (turandot, Elektra, Dyer's wife and Elisabeth). That voice!!!
What a huge instrument, and she’s able to reach High c as well brava!
like a HUGE bell
Biggest voice I ever heard. With Nilsson, Farrell and Rysanek close behind. The impact in the house was such that her flaws were not as noticeable. You dont think about such things when she pinned you to the back wall !
even when she was floating her sound? czcams.com/video/IBpQesIIkt4/video.html
Phenomenal interpretation that I saw three times at ROH. This role, along with Brunnhilde, defines Dame Gwyneth's power as a dramatic soprano in my view. She commanded the stage and the entire house in these roles and one left overwhelmed with the experience. On meeting her once, she was delightful and very friendly...mind you I am Welsh so that helped!
My goodness! Can imagine the volume coming out…
I don't have to! I saw her sing this role twice.
LOL I was just watching this the other day from a file I downloaded from youtube before it was scrubbed from the entire Internet. Glad you resurrected it. It's not the most beautiful but it is the most spine-tingling In Questa Reggia.
This must have been a special performance for a TV show or a Command Performance, because those are the costumes of the old ROH production, as is the big moon, but the whole set is missing. Also, Calaf is wearing the 3rd act costume, not the blue one from act 1 and 2.
Jones sounded ENORMOUS on stage and in the house. The first 10 rows of the stalls would be invariably be pinned to their seats and blasted away right from the first "Straniero, AAAAAAAscolta!". It was funny to watch.
I'm pretty sure this was filmed at Wembley Arena. Iirc, the impresario Raymond Gubbay persuaded the Royal Opera to stage Turandot there in ?1984. I attended one of those performances and Dame Gwyneth was indeed totally awesome!
But she doesn’t sing’ Signore ascolta’ !! That’s sung by Liu…..
@@xavieralberto1176 yes. I meant to write "Straniero, ascolta!"
it's a command performance for the Queen, ballet and Opera
At times she was in excellent voice. At times she was wobbly and off pitch. We’re all human ,not at our best at all times. The same goes for the best of singers. We cannot demand anything of them.
this is gorgeous!
THANK YOU VERY MUCH! I HAVE HEARD Lise Lindstrom & Jean Eaglen versions only! Same Regié but different singers! :)
You should listen to a recording of Birgit Nilsson singing the role. She was the greatest Turandot.
@@SymphonyBrahms gravação?
Even though I'm a great fan of hers, Dame Gwyneth here is much more wobbly and sharp than usual (and MUCH more than I'd accept from any othet singer)... but then again, she is THE Dame Gwyneth Jones and the sheer volume that comes out of her is beyond unimaginable. What a force of nature
Not in the top notes, in the upper mid as usual
@@LohengrinO 3:36 is totally sharp...
@@LohengrinO but gotta love Gwyneth, I really can't help adoring anything she does even if from other singers I know I wouldn't accept it at all... Same goes for Mödl & Rysanek's flaws which I really can't help but love for some reason
..but not wobbly
I agree. I just don't love Turandot. I try but I don't click. Dame Gwynnie is a beast so if anyone can win me over, 'twould be La Dame. She does sound a bit sharp here and there but is still frickin' amazing. No matter what, she is a privilege to listen to!
Bravo.
Amazing performance.
First thought was coming into my mind was Birgit Nelson.
Huge voice, very powerful. Brava
🙌🙌
My wife and I went backstage to meet her after a Turandot performance at the Met. She was so gracious and soft-spoken. When we exited, my wife was baffled - is that the same lady who just obliterated the chorus and orchestra?!
it is as if they use another Voice
that high C like a blaster.
Ωραία εκτέλεση και με συνοδό τον "Μπέπι", που χάσαμε τόσο πρόσφατα! Έναν πραγματικά μεγάλο δραματικό τενόρο, μα τόσο αδικημένο και υποτιμημένο...
Να είσαι καλά, φίλε και να προσέχεις!
γιατί τον αποκαλούσαν Μπέμπι?
@@LohengrinO Το χαϊδευτικό του, όπως το Πίπο (ή Πίπου) τού Ντι Στέφανο.
@@LohengrinO Όχι "Μπέμπι". Μπέπι, ε;
@@aetion Αααααααααααααα Μπέμπι το διάβαζα χαχαχαχα οκ οκ
I wish she had recorded it with Nicolas Gedda as Calaf and Beverly Sills as Liu. That would have been epic and amazing.
Interesting concept! Sills was a dear friend of Eileen Farrell, and they recorded Maria Stuarda together. Sills said they were on the lookout for other projects - to me, it’s obvious: Ariadne auf Naxos, Farrell as Ariadne, Sills as Zerbinetta, perhaps Gedda as Bacchus.
Stunning. Whichever way you interpret it.
👏🏼👏🏼👏🏼👏🏼
Beautiful!Is there Giacomini in Calaf?
yes yes
One of the most inconsistent singers documented. Sometimes she was so bad one couldn’t believe what one was hearing. On other occasions she could get her voice into line and one would be a washed in glory.
czcams.com/video/IBpQesIIkt4/video.html, even if she had sung only this, she deserved the Dame
In exciting in the house but she really had rough corners
Jones was another Sutherland disciple who prioritised upper voice over everything but I can't deny the potency of those BLASTS.
It's a shame about the wobbles and pitch problems though because early in her career she was sublime.
With respect, I must say I disagree wholeheartedly with calling Jones a Sutherland disciple. It is true that both had their famous upper registers but Gwyneth was also a real singing actress. One only needs to watch and listen to how she throws herself into her roles with reckless abandon and full dedication to bringing the drama to life. Her Brunnhilde is both teenage yet wise. Her Elektra thoroughly maniacal and lost. Her Leonora touching and hopeless. Her Turandot fearsome yet alluring. None of this is by accident. Jones’ inconsistencies are glaring yet she manages still to be one of the most entrancing singing actresses ever captured. Jones is an experience, and it’s hard to pinpoint why she was great.
Sutherland on the other hand never made a real effort to unlock the dramatic potential of the characters she was singing. Her “Turandot” was one big vocalize, to say nothing of Norma or Bolena or Stuarda.
Well, I disagree with both of you! First, Jones was never a Sutherland disciple, although she admired her greatly (she says so on a YT video of one of Joan’s farewells). In other interviews, Jones said that she purposely avoided the chest register because if one approached lower/middle notes from below, the middle register became weak. At any rate, I’m a great admirer of both ladies. And I do think Sutherland could summon some strong characters; she was more than a vocal machine! (Take a look at the YT videos of Kiri and her favorite singers; both Jones and Sutherland are amongst her all-time favorites)
They say you need a big body in order to make a big sound. Then in that case, someone please explain Gwynneth Jones. She has been slender he entire career.
...actually he's a tartar princess...or persian? Whatever, but not chinese. 🤓
I remember seeing a tv show where Dame Eva Turner (who first sang Turandot in the UK) reinforced that every note in the role has to be 'sung' and the tone should always be beautiful, ie no shouting, yelling or going off pitch. Dame Gwyneth, her erstwhile student, was also there. Excellent advice, just not sure that Dame Gwyneth was listening 🤣
Im also sure that the first person who didnt listen that advice was dame Eva Turner :D words are easy...
Yeah, I’d love to hear you try to sing Turandot!
Frightening but not sympathetic or alluring. Personally I would be happier with less amplitude and a steady, more beautiful, on-pitch sound. The top notes are great though. I just don’t accept that dramatic voices have to be strident, hollow in the middle or wobbly.
she was born with wobbly middle... U dont like dame Joan Sutherland after 1973 when she developed middle voice wobble? still the top was intact
@@LohengrinO Don’t get me wrong-they are both amazing singers and I really do appreciate them both at their best. I agree that Sutherland was similar in that the voice was so large and developed some issues as it aged. But in her prime years omg!
And thank you again for finding and sharing these things-just great!!
@@michaelinmass I dont l ike wobble when it indicates Vocal Decline (Callas' top / Sutherland's middle when they aged)... but when a singer has it naturally (Jones, Popp, Lorengar) I really dont mind when the singer exhibits full vocal health in top notes
I’ve never seen any Turandot who is sympathetic or alluring - who are you thinking of?