Joan Sutherland and Marilyn Horne sing Ebben a te ferici... Giorno d'orrore... Madre addio. 1965

From Act 3 of Semiramide. Yes, this has been sampled from the full 'An Hour with Joan Sutherland' video posted by Samuel Lucena, whom I give credit to for uploading the full telecast in better video quality. Thus I'm leaving his name on the video as a form of credit. Here, I've tried to splice in some audio from the 1971 Chicago Semiramide to fill in the part of the audio that is either missing or damaged over the years. As for the missing/damaged video segments, I've tried to splice in scenes already in the video, that look similar in terms of camera shots and movements. However these portions are just video fillers as they do not align with the audio if you look at the mouthing, conducting and orchestra movements. I've done the best to try and restore the missing/damaged audio and video. Enjoy :)

[@misanthropelife]

Who can sing semiramide like this today? No one, absolutely no one!

[@fan2jnrc]

Today no one. But not so long ago, June Anderson of course

[@peterkratzke952]

​@@fan2jnrcCheryl Studer fällt mir da auch ein. Sutherland und Horne sind wunderbar. Vielen Dank für dieses Dokument. 🙏🎼🎹

[@user-gt7xs1fc6g]

I was in the audience at one of the Chicago Semiramides. Both singers had such enormous voices [although Sutherland's was clearly larger than Horne's] that one felt that they must be hearing this even outside the opera house on Wacker Drive. No recording I have ever heard of Sutherland captures the stunning and visceral impact of her singing [although her studio "Santo di patria" comes close].

[@jondavwal13]

I agree that recording is about as close to the experience of a Sutherland live performance. Well into her late 50s and early 60s she still had this effect live. I don't think any other singer sounded like the voice was coming out of her whole head and emanating from the walls.

[@raffaeleviggiano4901]

Due mostri sacri❤

[@johannesbrahms7414]

This is an unexpected Superhumanity! When Josn Sutherland and Marilyn Horne arrived on the scene in the early 1960's, the Wold had been waiting for super gifted, super developed, superhuman voices, that would be capable of undreamed lyrical vocal lines, astonishing coloratura agility executed with hitherto unseen effortlessness---- "beyond 'scientific' superhuman perfection", and powerful voices capable of deeply moving dramatic projection! This is a description of what then hsd been named "Prima Donna ASSOLUTA", the Woman who had excess, EXCESS capabilities for any and all types of "superhumanly challenging" singing!!!! Both---- BOTH---- of them were "TECHNICAL KNOCKOUTS". This "superhuman surprise" struck all as an announcement to Humans that a new "high-tech superhuman", higher Standard of Living had arrived for Humanity! I, and, so, so, many others have---- enjoyed these superhuman perfor- ances, so, very much!!!! Please, keep on bringing these un- expectef "High Points" of Civilization to us!!!! Thank you so much! Thank you, You Tube! Thank you, to all involved in the Production!

[@tonshaad1230]

None of this is technical mastery as both females were singing ill-suited repertoire for the vast majority of their careers.

[@stavrosanthias7876]

Such stunning artistry, each performer so in tune with the other - literally and metaphorically.

[@ahogbin2644]

Simply sensational. We are not likely to see their like again.

[@rubinskyceliberti4444]

Incredible!!!!! Just them!!!!!

[@zhamiram6578]

❤️❤️❤️❤️ loved Horne here!! Love Joan in anything lol

[@lz43p15]

Sia le cantanti che Rossini sono arrivati a livelli stratosferici. La Semiramide è una opera strepitosa.

[@roberthorn1838]

Astounding singing!

[@robertsentieys6234]

😅🤣😂 !!!!!!!!!!!!!!!!

[@AkaiGX]

?????

[@Shahrdad]

You can really tell how much bigger Sutherland's voice, and how much more natural and unforced her coloratura was than Horne's.

[@williamparsons8535]

On a recording such as this you only can tell who the audio engineer had up louder than the other. You need to hear them truly live in a theatre to judge size of voice and clarity of projection. I will agree that much has been said about the size of Sutherland’s voice. You must also say that this duet is difficult for the lower voice to project and Horne was heard throughout.

[@marksmith3947]

I believe Sutherland sang more artistically with Horne than with many men. Also, it is nice to hear Sutherland before she became a somewhat artistic, loud hooter with no words. She was in her prime here

[@rugby8-Philadelphia]

No, actually, you can Not Tell relative size of vouce from a rlTV recording made in the 1960s. What you Can Tell is what the sound engineer decided was the best balance, equalization, and overall sound.

[@lastupendaboy]

Horne benefitted from these televised moments… Sutherland was three times the size and projection of beloved Marilyn… I heard them both in London’s dry cave in the mid 80s…Joan destroyed us all, monumental, gorgeous sound for over two hours… devastating, otherworldly…I could barely hear Marilyn ( whom I adored), …Joan, forget people speaking of her in her “ prime”, she’s almost 10 years older than Horne

[@jonathanbriggs3234]

Let's not forget that a coloratura mezzo voice (which is what Horne's voice officially was) is a voice meant to compliment a full coloratura voice in terms of passagio and tessitura. This particular duet is meant to provide an echo effect as each sings and answers the other's. You cannot simply compare these two voices, as they are completely different in tone, timbre, style, range, etc. Most of bel canto material favors the soprano voice, whereas the mezzo voice is a "half" voice (that's what mezzo means), AND mezzi soprani voices are NOT the centerpiece voices of the bel canto repertory. They usually occupy the second principle role position with the possible exception of Carmen by Bizet, which is the exception, not the rule.