Dame Joan Sutherland - "Mercè, dilette amiche"

[@preppybeast6293]

i honestly have no idea how anyone can listen to this and then argue that joan is NOT the greatest soprano of all time. its so obvious!! she's flawless, and this aria is a gleaming representation of that.

[@theon9575]

I honestly don’t know how you can be so certain about her, relative to all sopranos of all time, without ever having heard them 😂 After all, Bellini etc., and Handel in the century before, must have had sopranos who could sing the stuff they wrote. Handel even used to adjust and decorate arias to suit & challenge his available sopranos and show off their skills. His fav was Susannah Cibber who had a bigger range than Sutherland, and a good mid-bottom which Sutherland lacked, and this was a ‘flaw’. I think Handel would have loved Sutherland, but I’m not so confident in what’s “obvious” to you that she was definitely better without question even than Cibber. I’d want to hear the others first. Are you familiar with his scores where Handel set up “battling sopranos” competing on stage? JS would have done well, but check Handel’s biography by C Hogwood - you’ll be amazed. Rather than “best of all time”, starting with Handel, say 1710+, I think that JS is probably the only soprano in the last 70 years who is AS GOOD AS THE SOPRANO STARS USED TO BE in Handel’s and later in Donizetti & Bellini’s day. And she was never “flawless” LOL - but near as dammit often. Listen to Sills in her prime (“Let the bright seraphim” or her Lucia), or Caballé in the same repertoire, and you’ll hear what Joan herself described as “the competition”.

[@liedersanger1]

Ponselle was the greatest soprano in this repertoire.

[@Antonio-qm3bi]

@@theon9575 But Sutherland have no chance with Caballé if we talk about Norma. So, every "best" soprano have a specialty

[@belcantospecialist]

This aria is just perfect for Jonas voice. Sung with perfection. Bravo!

[@acitipo]

Como siempre, extraordinaria, la belleza de su timbre es inigualable, los trinos, stacattos, fiorituras, tipicos de una voz de autentica soprano ligera, de bellisimo color. que VIVA LA STUPENDA!!!!!!! LA VOZ MAS HERMOSA DEL SIGLO!!!!!

[@vale86301]

Joan,una voce strepitosa ,dolce ,adatta ad ogni aria ,virtuosa,un diamante della lirica,il platino tra i metalli...strepitosa !!!

[@vale86301]

Wonderful high Eeee!!!!

[@forallyouknow]

The best version for me, simply because this was young Sutherland, and all the things that entails. She completely owned this aria.

[@MrSwifts31]

Joan Sutherland has the only 20thC voice that combines a rock steady & strong technique,combined equally with incredible agility and beauty of sound. Her husband Richard told me so.To explain,I worked in the opera wardrobe at Covent Garden from 1963 until I retired in 2007.

[@SapientiSatEst2]

That voice was a miracle.

[@Tenorbravo]

I am speechless...Ms. Sutherland... we sure miss you. What a talented soprano she was. LOVE this interpretation. It is magnifique....perfection...and original and unique. Thanks for posting this lovely clip.

[@gioragoldberg3980]

Amen!

[@SiEtIn1]

what an amazing performance, such massive acuti! how can there be people who don't faint with this?

[@aeraxxis]

I prefer the ealier recordings of Joan Sutherland's voice (such as this one) than all the later ones! Just my opinion

[@АркадийХаритонов-ъ5ц]

я тоже так думал но попадаются иногда и прекрасные поздние записи. Как повезет

[@richardvergara]

Are you sure this is Joan Sutherland? I could understand every word. I love her!!!

[@Antonio-qm3bi]

Yes, here she really has good diction

[@luanllluan]

This is from 1959 when Richard influence wasn't still so hard on her. Although you can listen the English accent, you also can understand each word and the low register is beautiful

[@vincec8218]

Sutherland is a goddess of singing. This early in her career, she had a beautiful, silvery voice and crystalline diction. The coloratura technique was rock solid. Miraculous singing.

[@ir3356]

You mean La Callas when you talk about "Godess of singing" right

[@LaDivinaLover]

Amadeus Mozart fairly sure they knew what he meant... Stop injecting drama with your self-superior opinionated shite. Both Callas AND Sutherland were unsurpassable. Why do you feel the need to go to a Sutherland video and serve vitriol and negativity unsolicited?? Troll

[@fernandodc5146]

@@ir3356 Sutherland's timbre is incomparable; next to him, Callas seemed like a cat whose tail had been stepped on.

[@Kegeljan]

Excellentissime !

[@spannerworks1]

Having just got hold of a 10 inch circa 1960 she is one of the very best i have had the pleasure to hear - the sound jumps from the speaker ! Richard :)

[@cantorandopera]

And how bout that breath control? What joy there is in this singing! Joan - oh how we miss you . . . .

[@raigekimaru]

by far the best rendition =)

[@christelfriemuth1459]

Einfach wunderbar, welche Leichtigkeit! Das macht ihr heute keine Sängerin nach - auch nicht " La Netrebko ". Danke fürs Posten!

[@MrKvarner]

Perfection

[@debbiewoodburn6786]

The one and only Joan Sutherland.

[@baroqueandbeyond]

This is one of my very favorite Joan performances on record. I have fond memories of listening to this recital, which coincidentally was my first operatic purchase ever- I found a used copy in a Wherehouse Music. Anyway, it astonishes me to this day.

[@foropera]

Wonderful! And her sound here is extremely clear, not opaque and closed like in some other records. She has this tremendous energy to lift this huge voice, so well connected in all its registers. I don't know if she ever recorded the other arias of Vespri like "in alto mar". Because Elena is not only this Bolero, it is rather low too and dramatic.

[@spacedogband]

Why not like both Sutherland and Callas, they both have their strengths and weaknesses, but it kinda makes up each of their "packages"- just enjoy it!

[@PrinceOberon87]

spacedogband I'm a big fan of Sutherland and Callas

[@dabi5144]

I never really understood why would one compare callas with sutherland, they are just so so so different

[@bjorlingfanfan1622]

Infatti. Dio sia benedetto per aver creato due meraviglie assolute !

[@LaDivinaLover]

Exactly, both are PHENOMENAL! They weren’t rivals in life or career. Why should they be in death? I have a deep respect for both very wonderful primadonnas and I wish others did as well. Being so Different vocally and temperamentally (Greek and Australian) to each other neither is comparable to the other in any way. In their primes they were absolutely untouchable.

[@arno7179]

Meraviglia

[@РаузалияГиваргизова-ъ3ж]

Джоан- одна из самых любимых и лучших певиц! Необыкновенная! Прекрасная! Эталон!

[@Ellatigojusticiero]

Grandiosa!!!!!!!!!!!!!

[@paullewis2413]

Never mind about the E what about that last note? La Stupenda at her finest, no other singer and I mean no other singer can sound so absolutely thrilling!

[@nadetomirkova4943]

BRILLIANT VOICE !!!

[@LindoroRossini]

This surely is one of the best albums Sutherland has ever recorded. The voice is exceptionally fresh and agile, the words are always clear, plus she is perfectly able to distinguish between four quite different characters (Lucia, Linda, Elvira from "Ernani" and Elena (the present except)); plus, there is an irresistible smile in her voice :)! If you don't have this album, I do advise you to buy it :)!

[@tripleaxell]

i can understand what she saying!!! the young sutherland was amazing!!! i love both sutherland and callas!! the two monsters of opera!!!!

[@Hako2004]

I remember this piece as featured on my first Sutherland album...on vinyl. I believe it was called "Sutherland sings Verdi". Even now, over twenty five years later, it astonishes me.

[@johnpickford4222]

No, this is from her first Decca recital album. This cut was later used on “Sutherland sings Verdi”.

[@joshuamcpherson007]

@@johnpickford4222 "Sutherland sings Verdi" was MY first Sutherland album...and my comment was that this recording was featured on that album... not that it hadn't appeared on earlier recordings.

[@Hal5423]

Callas also did an amazing decrescendo to pianissimo on an Eb in Ah non Giunge, not to mention a flawless arpeggio in pianissimo to Eb and D in Sovra il Sen (La Sonnambula).

[@fredojoaquim4764]

Ah how lovely.

[@bellini7verdi]

LUJURIA VOCAL............

[@AmorediPazzia]

This was recorded at Maison de la Chimie, Paris in 28-30 April 1959. And it is included in her 'Operatic Arias' album.

[@pauloalmaviva8035]

Awesome!

[@mariokalogeropoulos]

PERFECT!!!

[@Hako2004]

I don't think I have ever heard a singer produce such a perfectly natural and effortless sound as young Sutherland. I've heard birds do it, but even they lack the radiant joy she exudes.

[@thomastmwc]

this is the best Mercè, dilette amiche

[@stanley631h6]

asombrosa colotura

[@Shahrdad]

As a stand-alone aria, this is absolutely beautiful. In the context of the whole opera, it misses the core of sadness and impending doom that Callas brings to the aria better than anyone else. Young Sutherland was a vocal miracle, but having never sung the whole role, she couldn't have known that this is not really a happy piece at all, but a smile through tears and fears (though I am not sure she could have conveyed that either).

[@tanyaokain192]

young sutherland still had problems in the middle voice, bad vowels and not great diction

[@federricoilgrande]

I agree totally

[@ESilva-qv1uv]

Unsurpassed. No one sings this aria like her. Only Callas stands alongide her in this kind of music. .

[@donovanwilliamsroker4734]

Wow!!!!

[@yurizivago3641]

Amazing Coloratura and voice!....the big issue has always been the 'dizione'....

[@gloriadigiuseppantonio9210]

La voce della Sutherland e' diversissima da quella che siamo abituati ad ascoltare

[@giudiciadanna4550]

Gloria Di Giusppantonio, era giovanissima, era il 1959...col tempo e' maturata, la voce s'e' scurita ma e' sempre perfetta.

[@Shahrdad]

Despite all the griping about her diction, at this early stage in her career, her diction was actually crystal clear. In some of her pre-Lucia recordings, especially of Handel arias, she really bites into the words. It wasn't until a few years after this, when she began working almost exclusively with Bonynge, that her diction deteriorated. I agree about the importance of diction, but let's give Sutherland's quite good diction here the credit it deserves.

[@lotoffortune]

It may also have to do with the sinus operation that she undertook very soon after her 1959 Lucia debut. However, I agree that Bonynge had something to do with it as well.

[@Shahrdad]

Her first Decca recital was recorded after the sinus operation, and the diction is quite excellent.

[@viverito]

Shahrdad I remember hearing she had serious jaw problems and surgeries and that is why probably the diction became a problem later on.

[@wilsonwatt9283]

Absolutely not. The reason that her diction became less distinct is that Bonynge was a second rate conductor and she had to adapt to his inability to provide proper support for her. He pushed her into the scooping and swooping that sometimes plagued her middle period work because of his poor conducting. All of the early recordings, particularly the first recording of Baroque arias with Sir Adrian Boult conducting are recognized for her good diction as well as great shaping of the line. She re-recorded those arias with Bonynge and you can hear even in only a couple of years the deterioration of her diction due to his sloppier conducting. Note that when she recorded Turandot her diction was superb, again with a conductor other than Bonynge. We must be thankful that Bonynge helped her into the great bel canto operas but what ashame that he did not also push her to perform with others rather than hand on her coattails.

[@Shahrdad]

@@wilsonwatt9283 I think he or she or both wanted a darker, more "meaningful" sound in the vain of Callas, and the mush-mouth diction and the mooning and mooching were the result. She was magnificent at this stage.

[@poiuyt185]

요즘 소프라노들이 부르는것과는 진짜 차원이 다르다...

[@eradesso]

my god you are absolutely right!!! I think it's actually the first time I understand what she says!! And I'm italian..lol

[@kgarmaker123]

I agree with you.. she did not have much dynamic control over her voice. others did that better.. She had a very fast voice however, and she made all the notes in a run. unlike many of today who just think it is unnecessary.

[@Anduril919]

Meyerbeer: L'Etoile du nord - Veille sur eux...Vaisseau que le flot balance

[@Anduril919]

Messa di voce trill: Meyerbeer: L'Etoile du nord - Veille sur eux...Vaisseau que le flot balance

[@bosiewilder4945]

***** A stunning piece of vocalisation.

[@Anduril919]

Damning with faint praise? Reminds me of a famous observation (I paraphrase): Callas: A great singer derided for being just a great actress. Sutherland: A great singer derided for being just a great singer. The truth is, both are great opera singers who bring different but equally compelling things to the art.

[@Shahrdad]

That is from the wonderful book by Ethan Mordden, titled "Demented: The World of the Opera Diva". He says, "Where as Callas was the expert singer dismissed as just an actress, Sutherland was the expert singer dismissed just as an. . . expert singer." And he is exactly right. Joan could be very decisive dramatically, and Callas could be technically and musically incredible.

[@thomastmwc]

most joyful version

[@65attila]

Re: Sutherland lack of dynamcis. Refer to her recording from "Offenbachs" Robinson Crusoe - she takea high d forte - diminishes and sells it before taking the next not all in one breath. I saw her twice as Maria Stuarda. In the last act she takes a piano A or Bb holds @ 12 seconds and then swells it before releaing the note. It might be on YT in a performance from Philly @1974. This recording from "I Vespri" is one of the best.

[@dianavictoriaaljadeff5302]

Tem dois tipos de sopranos as técnicas e as intérpretes. Sem duvida Sutherland,Caballé e Gruberova são do primeiro grupo onde prima a técnica e a belleza vocal. Sutherland e Caballé cantavam tudo do mesmo jeito pero com uma técnica e uma voz únicas. Callas ,Netrebko e Moffo parta so nombrar algunas sãol do outro lado,elas cantam cada aria de acordo a caraterística da personagem,elas encarnam a personagem.A técnica pode não ser perfeita pero elas encarnam a personagem enquanto Sutherland e Caballé sempre foram elas.

[@operaboy81]

I love this aria regardless, but without the high e it feels incomplete more so then some other arias. Her high e is perfection.

[@Anduril919]

If I were to compare the emotion that is evoked by Callas' and Sutherland's rendition of this aria (IMO), I would describe Sutherland's as joyous with a hint of approaching yet still far off doom while with Callas, the doom is already around the corner and the tinge of sadness is much more pronounced. Both compelling as far as I am concerned.

[@terrance7220]

Or Calls couldnt wait to take a bathroom break

[@alioffe4321]

@@terrance7220 although it sounds like Sutherland is hurrying up to take the break!

[@lolo00265]

Joan Sutherland is superlative, as always. Listen also to Cristina Deutekom's rendition. She's wonderful too.

[@raigekimaru]

@branko1b I really don't like Callas's coloratura work much, but she is amazing in a number of roles she sings like Carmen (although she never performed this one), Tosca, Gioconda, Norma, and Lady Macbeth.

[@kgarmaker123]

I have listened to a lot of Joan, and by and large it is either f or fff... little of it is anything else.

[@margaritakontogeorgou9411]

I think that this dictions issue has also a lot to do with the fact that she was an english native speaker, who always face pronounciation problems with bel canto stuff since they are not so apt in italian language. I think that same goes for instance for Renee Fleming as well.

[@bosiewilder4945]

No, I think it's the physiognomy because the same thing happens when she sings in English which is her native tongue.

[@Filipjensen]

Joan sings divine. However, I think the speed is a little fast for this piece and I much prefer Callas's slower interpretation though it may not be on par in terms of technique with Joan's version.

[@PrinceOberon87]

Filip Jensen well said

[@raigekimaru]

@sillyboydeux yes there is such thing as a coloratura singer. specifically: lyric coloratura soprano, dramatic coloratura soprano and coloratura mezzo soprano. the above are vocal instruments that are capable of singing a certain role. while you are right, coloratura is a technique that can exist in any fach, it is also a specific voice type that can handle the demands of specific vocal works. you are incorrect about the last part tho, coloratura is NOT an ability that anyone can learn.

[@skitzo429]

@raigekimaru perhaps, even in her older age she never really lost her colorautra, per se, the high notes started to go and things started to get kind of funky all around, im not sure different rep would have helped, its possible

[@hisimperialmajesty]

Wow! This is incredible. Do you know what year this was?

[@joannilson2900]

1960

[@willemrm4033]

Singing is excellent, the music doesn't sound as the (slower) bolero it should be. The joyful swing of this interpretation works rather well nevertheless.

[@branko1b]

@raigekimaru thre is no point talking to me about Callas - i'm esp. allergic to the mentions oh her name in other singers vid's (they say she is better Mephistopheles than Chaliapin... what can one say...) - you can say what you want to who you like, but, please excuse me, talk about Callas to someone else ...for that matter, for my attitude abut the way i (don't) hear her (sorry, i am born with an unfortunate failure to appreciate her greatness) i may not even be able to post this here...

[@koosriedijk3872]

Pity that all comparing is always between a few (Sutherland, Tebaldi, Callas). In this case (I vespri siciliani) it is spectacular what "running mates" achieved , like e.q. the brilliant Italian soprano Anita Cerquetti (1931-2014) with only a short career(1951-1961), but who replaced Callas once in Norma(1958) and was considered as a big promise, but unfortunately she disappeared too soon from the scene, but what a voice she had. Listen to her version of "Mercé, dilette amiche". And Callas might have had a sad life, the life of Anita was also far from a fairy tale. A great singer, that far after her early stop was valued more and more.

[@АркадийХаритонов-ъ5ц]

фантастическое исполнение.

[@a.b.2816]

My favourite version of this aria is Montserrat Caballé's, but Sutherland's goes straight next. Glorious.

[@WilsonWatt-q2e]

The problem with most of the comments here is that they fail to distinguish between the greatest voice and the greatest singer and the greatest operatic interpreter. I think it fair to say that Sutherland was the first two [and I heard all of the others in the post WWII period including Tebaldi, Callas, Caballe, Moffo, Sills, etc. live]. However, Sutherland cannot be said to be the greatest performer of soprano roles, although her live performances in operas improved consistently over her career. It was always clear that she was uncomfortable with the demands of the acting aspect of being an opera singer.

[@Mandolino82]

Sutherland non ha la voce migliore di renata tebaldi, questo è un dato di fatto.

[@frankG335]

I prefer Robin Follman to anyone else for this aria. Unfortunately, her version isn't on KZbin. It's on her Dramatic Heroines Album and is effortless, very much like Sutherland, but the key change is flawless with Follman, who doesn't need to play around with the note to make the transition. This version is a little sloppy although the trills are beautiful and it's a wonderful version, Robin Follman's is still better than Callas or Sutherland...

[@branko1b]

quis178 thanks for pointing it out - i said 'nearly' - examples really prove that there can't be one in this aria i have already apologised to latraviata in another page Callas is great, but her fans can be terribly annoying, they can't leave normal people in piece - there are a few videos here (of other singers) where some C fan does not say that C does it better, followed by an outlandish statement (2 in angelodei's case)- if one would post Shalyapin singing Godunov it would happen too! :)))

[@branko1b]

@raigekimaru - apologies to latraviata, posting worked with no problems (so i'm not banned...) regarding that latraviata kept my old posting on top here, i have to add: i NEVER talk about 'Callas' unless provoked in this way - i just wish her fans keep their appreciation for her under hers vid's - they should know that she is considered the greatest ever, by a great majority (!), so why do they need to, why do they bother to, harass 'innocent' people in uploads featuring other singers ?!

[@stefanopigliapoco]

Se questa è Joan Sutherland io sono il re d'Inghilterra!!!!!!

[@joannilson2900]

Allora - ossequi al re d'Inghilterra - perche' questa e' davvero la Sutherland nel suo primo disco dal 1960...

[@yiudiumui]

sutherland's trills are the best

[@my_family_journal]

Yassss!! Agreed :-))

[@joannilson2900]

Absolutely!! NO ONE trills like Sutherland. And even more amazingly, at the end of her career - she used very magnificent, long trills as a way to relax prior to the concluding high note! She was ALWAYS not only a magnificent artist - but a fantastic teacher in technique.....

[@kgarmaker123]

Answer the specifics.. Joan Sutherland has a great soiuynd. She sounds in every aria like she is vocalizing, not interpreting music. That is why she is boring, and always will be boring. Ther is not one single role she sang that she "brought to life" And all of her singing is either moderately loud to very loud. Nothing else.

[@Hako2004]

What am I thinking......it was almost thirty-five years ago.

[@raigekimaru]

@sillyboydeux coloratura is like range or vocal weight, you have to be born with a certain about of talent to be able to utilize this technique. most people have the potential to learn at least some coloratura technique, but others don't have the natural agility. it would be a mistake to say that everyone has the potential to perform coloratura like sutherland. apart from that, Callas did not naturally have the voice to sing roles in the coloratura soprano fach, hence her short career

[@andrealombardi6708]

Grande interpretazione sul piano tecnico anche se questa è la voce della Joan molto giovane. Il tempo è troppo veloce e comunque preferisco ancora la Callas, insuperabile per la sua capacità interpretativa, che offre un senso ad ogni parola e ad ogni passaggio, e che è più fedele all'originale, scendendo al tono grave nell'ultimo vocalizzo prima del finale con il mib sovracuto.

[@raigekimaru]

@sillyboydeux or sing valkyrie and then turn around and sing I Puritani literally a week later! the woman pushed her instrument fat beyond it's natural limits

[@raigekimaru]

@sillyboydeux I agree with you about hte prodigy part. if you want your child to have a normal ass childhood where they can be carefree and have fun, don't let anyone know they're a prodigy because whatever industry they are prodigal in will use them like tampon and throw them away physically, emotionally and psychologically broken

[@raigekimaru]

@branko1b I don't have a problem with your opinion, although I certainly disagree with it. Callas is an acquired taste, but I do agree that people comparing everyone to her is ridiculous, especially to Dame Joan, they are SO different. I also agree that it is a mistake to believe that everything Callas sings is wonderful. in this way, she's a lot like Renee Fleming. fabulous when singing in fach, but not so great singing the wrong music. PS: but I think Callas is much better than fleming

[@my_family_journal]

I agree as well :))

[@iomintonoconte]

Uno dei rarissimi casi nei quali canta in modo comprensibile. Ottimo lavoro, ma Verdi non era nelle sue corde a mio avviso.

[@raigekimaru]

@skitzo429 the thing I didn't like was not so much the key changes, but the rep. 50s are too old for most to sing coloratura, but it's a perfect age to sing roles like Turandot or even Elektra. she should have moved into the dramatic/spinto rep instead of the coloratura rep

[@branko1b]

@humangeorge i could be told to be 'diletant' if i'd claim to know something about singing, but i know nothing (e.g. if i'd say that in this aria C sounds silly, it would be a mere observation) - if you'd not be of an idiot, and you'd read the context if you already need to barge in... see, that THIS is Sutherland's video and there are this insane (and deaf) people saying under it "C does is better" - nobody is touching C in her 'shrines' - she can surely rest in peace... wish her fans do so too

[@SiEtIn1]

that's the very point, everybody loves stunts!

[@forallyouknow]

The Elena to end all Elena's!

[@sheilaconolly8087]

It is beautiful !!!! but I would also listen to Cristina Deutekom .....

[@branko1b]

lol - now i see (!) what he might have thought - messa di voce is something entirely opposite of trilling - it's a ("mythical") 'vocal figure' nearly abandoned in bel canto since, in it, there is not that much use of it crescendo and diminuendo are the normal parts of human voice - if we just say "a" it will necessarily have both, otherwise we just can't make that single sound at all - singing can make it into an art, but never into a wonder of nature... :)

[@thomastmwc]

a question...sincerely, not challenging u...wt do u mean by 'dynamic control' ? ^^ Merce

[@branko1b]

2 notes... - do you know what a pitch is? messa di voce requires no alternation to the pitch, that is why it is referred to as "place the voice" (on a single note, than don't move it) the only thing allowed to change is the volume - it is normally applied on extended notes (such as, say, "Ombra mai fu") to make it's crescendo and decrescendo thrilling (not a "trill") what you say is like saying: "water was boiling on 30*C" or "he moved very quietly whilst jumping around" what you notice in ...

[@Hako2004]

Conscious decisions about technique and style produced mixed results. Richard erred on the side of pure sound. That said, the instrument itself was one of the natural wonders of the world.

[@natanaelgorrin9473]

La belleza vocal y la técnica depurada son obvias, pero a mi modo de entender está fuera de estilo, la Stupenda pareciera que en esta aria olvidó que es a Verdi lo que está cantando y no un aria de Händel. Exagerada en la coloratura, se pierde lo que realmente debe transmitir el personaje.

[@raigekimaru]

@sillyboydeux because opera companies are trying to attract new audiences to opera by staging singers who are good looking rather than talented. I mean, not to bash them, DiDonato, Fleming, Florez of and the rest of them are fabulous singers, but none of them have the talent of Dame Joan or Leonard Warren. not all talented singers have drop dead sexy looks PS: with the exception of Jonas Kaufmann. that man has much more talent than most of the more traditional opera buffs care to realize

[@branko1b]

@latraviata1853 i have removed my post (provoked angry reply to someone) which kept, perforce by your reply, "floating" here my only point ever was, that you yourself (and others) have, selflessly, posted videos of many singers here, so that people who admire these singers can express their admiration, under their (singers they like) videos - rather than to provoke by nebulous statements under the videos of singers they don't like (remember "messa di voce on a trill" drivel?) - am i correct?

[@gezanehajba]

Vajon hová siet ennyire?

[@raigekimaru]

@sillyboydeux actually, that's exactly the conclusion I came to. callas ruined her voice by 1) starting her career at 15 2) starting her career with puccini and wagnerian dramatic soprano roles 3) singing coloratura soprano roles which were WAY out of her natural tessitura. lirico spinto, dramatic soprano or even mezzo roles fit her much better 4) stress and fatique, this wasn't her fault, she just had a hard ass life

[@jeannette291]

I disagree, she is one of the best Bel Canto's and has great dynamic, especially the mad scene in Lucia. I have to disagree, her voice had great technique and great great power.