G.Verdi. La Traviata. NY.1955. B.Sills, E.Bastianini, P.Knowles.

B.Sills, E.Bastianini, P.Knowles. G.Verdi. La Traviata.
Historic recording.
NY.1955. Highlights.

[@martinsubway5953]

Ettore per sempre 💚💚💚💚⚪⚪⚪⚪❤❤❤❤!!!!!

[@BaroneVitellioScarpia1]

Bastianini is amazing!

[@shicoff1398]

Yes and Sills in her 20's here, I first saw her in around 1968 in Chicago in this opera, but outside in Grant Park, she had a top with point and focus that carried very well, but what really was impressive for me was the emotion in her singing, she felt the words in Italian and you knew it. RIP.

[@BaroneVitellioScarpia1]

@@shicoff1398 I’m not a fan of Sills. She wasn’t a good interpreter and I personally find her timbre a bit ugly. I prefer Callas as Violetta.

[@shicoff1398]

@@BaroneVitellioScarpia1 Well of course tone and sound is a personal thing, I've heard both Sills, Callas and Tebaldi, Sutherland but must say when I saw callas she was past it, so I can only judge her well by records, obviously the greatest artists of her time, but for me Tebaldi had the moist beautiful tone back then when I saw her with GDS in the late 1950's, Sutherland I saw also many times in both concert and opera, great voice but never moved me emotionally and yet Sills did in the 1960's and early 1970's with great artistry, trills and emotion, not in Traviata but other roles I saw her sing like Baby Doe, Manon and also I enjoyed her with a powerful tenor in the early 1970's in Calif. with NYCO in Puritani , on those high C's her voice at the time carried like a laser and easily was heard easily equal to Mauro, I found her singing far more emotional then Sutherland, and also her diction better and she could act, but Joan had that perfect voice of perfection that Callas and Sills probably didn't, again Callas had emotion and could act, where as also Sutherland and Sills more limited, Callas had great range, all those varied types of roles she managed is amazing, listen to her great EMI Columbia Forza 1954 recording with Tucker and her 1955 Aida, with again Tucker and Gobbi also, no way could Sills or Sutherland sing those roles well, Callas was like a freak voice but later it did wobble (so did older Sills)so just a personal thing as far as liking a voice or not, no wrong or right, just a personal l opinion is all we have about a voice for sound, but I heard both Sills and Joan Sutherland . in their prime in house, not just recordings and also Callas, but past prime for her, . . I was with a friend who knew her personally very well, for a long time, so we did go back stage after she sang, and I met her at the time.

[@mohsenarambon]

Thank you .. Great

[@fanoftheopera95]

Wow thank you!

[@BrianJosephMorgan]

What a wonderful trio!

[@eduardobraivein8496]

Didn't know Sills had sung this role so early in her career!

[@chopin1949]

She sometimes sang 20 or 25 Traviata's in one month for City Opera!

[@shicoff1398]

@@chopin1949 She did it and then some! I always loved seeing her in house.

[@shicoff1398]

@@chopin1949 She could act, I recall seeing her also many times in LA Calif. she sang Puritani with Mauro who had a big voice and on the high C's her voice carried easily and with good volume also as good as his in the big LA music center, because she did have projection in the theater..

[@wotan10950]

@@shicoff1398That’s true! If a listener only knows Sills from her commercial recordings, they’re only hearing one dimension of her singing. In the theater, her voice carried to the last row and sounded much warmer and fuller than the engineers ever captured.

[@shicoff1398]

@@wotan10950 Agree!

[@sonjabaevska8028]

Grande Bastianini❤️

[@Marcooljerk]

I'm not familiar with the tenor. He makes me think of Almaviva. Sills had a little trouble with her interpolation? Bastianini made it seem so easy!

[@shicoff1398]

Only on the last high note, much later she did it on a TV Bdcst. with Tenor Henry Price and was fine.

[@telegdyattilane8839]