@@sandro7799e l'altra: kzbin.info/www/bejne/hIKli2eoismjr9ksi=zbxv3uzLingTcddk

Then Serafin has failed to do his job, and lead the music. I think he approved of this lentezza because he liked Tebaldi's Violetta.

@kbhprinsesse I put him last in the list ;). He's not dull but maybe not the most elegant. I like his phrasing more than his voice.

@@Orfeus80 I think his phrasing is awful. No refinement at all. But you are right, he isn't dull, just crude.

True, but this is the earliest televised recital we have of her so it's of historical value. She'd sung in quelle trine better in earlier performances. The same can be said of her Desdemona, Maddalena and Tosca. Still, it's wonderful to have them. We were not as lucky with Callas' performances, even though they could have captured her last Medeas and Normas on video. Only the Tosca partially survives.

@@Orfeus80 Absolutely. If I recall, there is a video of her with Tucker on Ed Sullivan a few years earlier (Chenier)? I was going to say too that I think she never sang poorly as Manon. It’s not necessarily her greatest role, but it is a perfect fit that didn’t require her to stretch and that she could sing until very late. Sort of like what Medea was for Callas or what Boheme was for Freni.

@@Orfeus80 Re the other thread, I cannot say that I like Petrella. Did she ever sing a single note in and above the passage that was not heavy or flat?

@ER1CwC the chenier duet with Tucker is excellent, no technical issues there I'd say but it was the Ed Sullivan show, not a recital like this concert from Bavaria. As for Petrella, she had a very problematic top but I like some of her verismo performances. I struggle with Olivero! That voice, full of holes and unsteadiness, sounds like it's rarely on pitch.

@@Orfeus80 I think my issue too with Petrella is I don’t sense much dramatic intent. If everything is sung like the finale of Butterfly, then that just means that that’s one’s general mode of singing. I think she would have sung vocalises like that too. She has a certain following on KZbin, but I think it does go to show that the chest voice worship has gone too far. (And if I recall correctly, she also makes weird cuts in Sola perduta abbandonata.) On the other hand, I do feel that Olivero felt the music and the text deeply, and that there was a lot of dramatic intent. I think she had a technique that worked for her, but it was unorthodox. I don’t think her voice was ugly, but it was somewhat threadbare. I do admire that she was able to perform at 99, albeit with a microphone!

Soprattutto nel ruolo di Desdemona, che nell'opera rappresenta l'amore. Non è un caso che non interagisca mai con Jago che rappresenta il male: l'amore non può vederlo, il male.