Top - 3 biggest cliche for sopranos are: high E - flat from Traviata, B - flat from Tosca and obvisouly Forza B - flat

@@Thearchivebeyondimagination Oh yes but the first two are not really appropriate for my channel I think. The Forza B-flat already has a video.

@@dramaticsoprano5168 and yes, the C from O Patria Mia

The ending of Was bluten muss?

@@ER1CwC Here is La Nilsson and there are the rest

Well, Nilsson said her voice was not suited for Senta.

@@angryjalapeno Nilsson didn't say that. She said her personality would allow her to portray Senta convincingly (cf "My memories in pictures"). Personally, I think Nilsson's voice was more suited for Brunnhilde than Sieglinde.

@@Wotan123456789 I'm recalling from her autobiography. She sang Senta in Sweden and it was the only opera her mother was ever able to see her perform. Her mother was fearful of her ruining her voice and I believe Nilsson agreed that Senta was indeed uncomfortable for her voice.

It's from the Hollaender Act 2 love duet between Senta and the Dutchman. I think the recording is 1937.

Yes, compared to Flagstad, Nilsson was AI.

Nostalgia where it is due!

Thanks. Are you sure 1:48 is a B? I think she goes sharp and reaches a C there. Like what she did in 1951 too.

​@@dramaticsoprano5168 yes I'm pretty sure is a B. Yes a little sharp but when compared with the high B at 4:05 they sound very similar to my ears.

Critics are for the bin anyway. The most influential critic in Germany during Wagner times bashed his music for decades!

Kirsten is 40 here! Recording came 10 years too late.

Have a listen to the final G-sharp in the Liebestod for this night (kzbin.info/www/bejne/qmrHioKKnd6fl9Esi=fw_lXVwcvmfjaq1s&t=11896, at 3:18:16). She seemed like she knew he as going to pull something crazy like that!

​@@dramaticsoprano5168Somehow that too seemed to cost her no effort at all.

@@dramaticsoprano5168 Melchior sounds magnificent, none of the whiny quality of so many tenors.

Well.. it’s not like the human physiology has changed, it’s not impossible you know…!

Microphones have ruined everything. They’re used to cheat the process of learning to sing properly and they not only ruin the singer who never develops properly, it ruins the music itself.😢

Wasn't Karita Mattella this kind of soprano?

​Absolutely not. Mattila couldn't dream to sing Isolde.

Since you're obviously psychic, can you give us the numbers for next week's lottery?

What makes the Liebstod unique?

@@DM-wj8br She sings through the climax in a very loud forte dynamic which was unusual for her as usual Liebestod interpretations were quite soft.

@@dramaticsoprano5168 I just listened to it and you're right. Bodanzky plays up a storm at forte, so it sounds like she had no choice.

How do you think Rosanna Carteri would have fared? I recall that she sang the role, but of course it wasn’t recorded.

@ER1CwC hmm, not a role for Carteri. She lacked the personality, the vocal weight and the highest notes could sometimes sound screechy, but many lyrics have given Tosca a go. Love her, but she wouldn't be on my list of natural Toscas.

@@Orfeus80 I wonder because she had a lot of heft for a lyric soprano. I think it would’ve been more successful than Freni’s and Scotto’s, certainly. Would it have been much different (from strictly a vocal weight standpoint) than Muzio’s? I agree that Carteri’s high notes could be a bit shrill, but there is a lot of orchestra supporting most of the high notes in Tosca + certainly a lot of justifiably famous Tosca’s had high note issues in at least some of their performances.

On the contrary, I think Carteri would have have been a great Tosca. I disagree with the vocal weight "elitism" when it comes to roles like this. Tosca is not really written in a way that a lighter voice would struggle to project her parts IMO (e.g., heavy ensemble pieces that are written too low for a lyric). Certainly it would sound less dramatic but as long as the singer does not push to appear that way I do not think it would be a problem. That said, the venue is certainly important and I would think sticking to smaller venues would help. There have been lyric sopranos who have sang even more dramatic roles to success. For example, Maria Cebotari (who had a similar voice to Carteri) in Turandot and Anja Silja in Elektra (and Tosca itself).

@@dramaticsoprano5168 I think the second act has a lot of orchestra. But Carteri had a lot of brightness and chest, so I can see her being able to cut through. I think it would be a far cry from a Riciarelli Tosca. Too bad none of her Toscas were recorded (I think she sang them shortly prior to her retirement).

It certainly was flat.

@@liedersanger1Yes. A little. But the sound is rich and massive. The chest register is accurately executed.

No, it is a C5

@pixelchords3201 Yes, Renata Flat just became famous because she sang flat for sure.

@@Thearchivebeyondimagination Never said that. But she was consistently flat on this note in particular. And a few others too.

@pixelchords3201 to say that she flat as you expect is the same to say that her singing is flat. Otherwise, I would like to see other names who did the same phrase dead on pitch, because there are most sopranos who whether sharp or flat on C and I'm not talking a out the whole phrase.

@@Thearchivebeyondimagination Sure. Birgit, Dimitrova in her best years, our fave Callas, Olivero, Silja, etc.

You should learn before writing, because it is very irresponsible to write and misinform people Precisely the high C of "La Lama" from Tosca, Tebaldi's C is the best in that passage, because it has the power that Leontyne Price does not have, it has the color that Callas does not have, and Tebaldi's vibrato is perfect, the note has no irregular vibrations and is very firm and enormous I don't need to say it, there are sound documents to demolish the infamy that you have written saying that she is terrible kzbin.info/www/bejne/kKjSaYmwe8uFhZo

Check with a spectogram or piano. I don't think it is but that is fine. Besides, the highlight of this clip is really her chest and middle.

@dramaticsoprano5168 I just listened from pc, and I guess she was just a little under at the end of the note. The note itself was secure, but she admitted herself that she wasn't always sure if she could make it right on target.