Zinka Milanov - D'amor sull'ali rosee - LIVE (1937)

[@michaelroberts6894]

We have almost lost great singing in our time! What is wrong? Zinka was sensational!

[@unclelouie3828]

You had to hear her (In house) in the early 50's. I did many times. It was 'those' years when she was in her full glory and NOTHING has, or ever will touch her in La Forza, Gioconda, Trovatore.. Listening to many of "these" recordings I can understand why many do like her. I wouldn't get excited hearing what I do on the web. But, "live", in her glory years you just can not Imagine.

[@arnoldamaral7406]

My Dad loved Zinka in particular. He was at the Metropolitan on many occasions. Grazie Arnold Bourbon Amaral

[@luigimaffei9132]

Nel suo canto e nella voce c'è qualcosa di mistico. Morbidezza, fraseggio con le sfumature sempre centrate, con ombreggiature che tratteggiano il tema del monento, i suoi diminuendi cosi sfumati leggermente toccati, sono la perfezione. Così non si canta più. Tra le più grandi di ogni tempo...

[@evangeliadimitriadis5706]

nell suo canto c'é qualcosa di senilitá in voce e in stile

[@MrSkylark1]

The LOST ART of SINGING- BRILLIANT TONE and CHIAROSCURO.

[@65attila]

What beauty and phrasing and dynamics.

[@AnaLuiza-rl9ee]

1937????? Excelente áudio e brilhante cantora. Deus abençoe onde estiver.

[@manuelcarvajal9514]

One of the great sopranos!!!!!!👏👏

[@foropera]

Formidable. Some of the smoothness of Ponselle and strong pride and resolution of young Callas. Beautiful trill and demi-teintes.

[@marioricciuti6880]

Magnifica!!! Tutto il vero colore e il calore di Leonora espresso da Verdi!!!

[@moneymakerforex5739]

The best. Just incredible.

[@williammaddox3339]

Wow! This is the earliest recording I have heard from Milanov. Thanks

[@luigicorvi1661]

IS IT NOT OF INTEREST......THAT THE METROPOLITAN OPERA OWNED THE ALLEGIANCE OF ...ROSA PONSELLE....ZINKA MILANOV....AND RENATA TEBALDI.... PROBABLY THE THREE GREATEST VOICES OF THEIR GENERATION. JUST LISTENNING TO THIS SENDS SHIVERS DOWN MY SPINE......THIS VOICE PORES OUT LIKE A RIVER OF GOLD.

[@iestynovich]

Divine, thank you so much for posting this!

[@unclelouie3828]

Greatest voice (in person) I've ever heard.

[@stephengoldman553]

Me too Uncle Louie

[@arnoldamaral7406]

uncle louie What year was that my friend. My Dad always thought that the great voices recordings didn't really resembled the singers great voice live. He truly loved Madame Milanov. Arnold Bourbon Amaral

[@unclelouie3828]

I heard Milanov in the early 50's. At her fanfukintastic best! You'll never know what I'm talking about- unless you were there. I was.

[@evangeliadimitriadis5706]

hahahaha

[@mariah_celine7912]

did you hear callas in the early 50's? @@unclelouie3828

[@vale86301]

Splendida e che trasparenza nel fraseggio !!

[@leonardogiacobbe5422]

Meravigliosa!!Grandissima!!!

[@stephenalexanderkuwadi]

Very beautiful ❤

[@GarthAstrology]

If this is from Milanov's first MET broadcast, the date is 8 January 1938.

[@alexanderzaphir721]

Antoine Garth the perfect vocal beaty.Zinca in her field had no rivals.Not even Tebaldi. She was better than Tebaldi in everything.Beauty of voice ,pure gold ,and absolutely no comparison technically. Tebaldi ,had already problems on '59 ,and she was 16 years younger .... .In the years of her return,between 1950_58 ,she touched the perfection.Even her Norma(with some ...problems) is divine

[@philipcondenzio5987]

For sheer vocal beauty, Tebaldi had no rivals.

[@meto2854]

Philip Condenzio I agree. Zinka had the upper hand in technique and ease of the top, but Tebaldi was simply unmatched when it came to timbre and legato. She was kissed by God.

[@abcdefgh-db1to]

Milanov was closer to Ponselle than to Tebaldi, different kind of beauty, I think Ponselle had the slightly better technique although at that level it's difficult to compare

[@GarthAstrology]

@@abcdefgh-db1to Well said. Milanov is Ponselle's heir, in the same way that Ponselle was Emmy Destinn's. As far as their techniques are concerned, Milanov continued to develop hers and was able to extend her career 20 years beyond Ponselle's.

[@piccaluga35]

Bravissima!

[@germanoehlke4179]

Great ! The best Leonora !

[@pabloperdomo5174]

What a great of waste of time and energy by the anti-Milanov clan. They don't waste any opportunity to attack the art of one of the greatest TRUE dramatic sopranos of the 20th century. The tempo here is exceedingly fast for any soprano. Tebaldi, for example - a glorious and beautiful instrument - never dared to sing the role on stage and her studio recording with Del Monaco is not exactly an accomplishment. Callas, Gencer and Price - in that order - are in my opinion the other outstanding Leonora. It's MY OPINION, not trying to argue or contradict other OPINIONS expressed on this page. Long live MIlanov!

[@bertivuster2507]

Почему сегодня так не поют?

[@mstipich1]

хахаххаха добро питање за које ћеш тешко наћи одговор

[@essevikt]

Другие души, другие сердца...

[@thomasaminoff6654]

Live 1937? That must mean Milanov's first Metropolitan season. She left Zagreb 1936.

[@MetaMind-r2s]

this video is pitched up and milanov sounds sharp

[@MorenoCassals70]

she went sharp often

[@MetaMind-r2s]

@@MorenoCassals70 milanov? where

[@petergraham8681]

Even better is the 1951 studio recording of this aria (especially the recit.before it). That is one of the two recordings I would play first for someone who had never heard this great singer before. The other is an O PATRIA MIA also done in the studio two years before MIlanov’s complete AIDA recording. Nothing wrong with Milanov in this 1937 example but she was frequently a bit more reliable in the studio. The occasional inconsistencies in her vocalism I only noticed when I started hearing some of her LIVE performances. She is still a favorite of mine & along with her high soft piano singing I really love her rich & not too dark lower/middle register.

[@g_vezz]

Perhaps the greatest Verdian of the century..

[@arnoldamaral7406]

person of interest My dear Dad & Mom loved Madame Milanov for her pure beautiful timbre. My Dad was born in 1923 & had a deep love for Opera. He always considered our Maya the GOAT. But to my parents for pure beauty & tone Madame Milanov had it all. As you can imagine thier Opera collection was extensive. In the mid sixties our Monse was Zinka & Our Mayas successor. Madame Price was also a soprano they truly loved. To sum it up my Dad said to me once when I was 11 & sang a solo in the XMAS play in Grade School. My Dad said to you Son just like your Mother & I music is like breathing. My Dad's was if western European ancestry & music was always central in all my relatives lives.A big Thank you for this channel. Sincerely Arnold Bourbon Amaral 🌍🌏🌎🌹 MUSIC WITHOUT BOUNDARIES

[@nybuffymeister8328]

@@arnoldamaral7406 Like breathing. Very true. Like nothing else..

[@sirdicaudore]

Not 1937! 18/03/1944, MET

[@ransomcoates546]

In her early career there was a pronounced vibrato she eventually worked out of the voice.

[@draganvidic2039]

Maybe a tendency towards a tremolo is what you mean, her vibrato (later) was perfect…

[@ransomcoates546]

@@draganvidic2039 No, what I mean is a fast vibrato of the type that most all Italian sopranos of the time had (and which Tebaldi did not have). After the war she did not sing with it. I would never accuse her of having a tremolo or wobbling.

[@evangeliadimitriadis5706]

@@draganvidic2039 No, her vibrato in the 50s was too narrow and her top was "fisso" and shouted

[@MorenoCassals70]

@@ransomcoates546 Tebaldi's vibrato is the ideal, when Tebaldi is in top form the vibration is perfect, unwavering vibrato, Tebaldi simply has no irregular vibrations

[@christophecesar4761]

The voice is beautyfull there but it's not her best rendition. In the 40's she was more secure with better pianissimi. Ecen in 1952 in studio, it's better sung, even if the voice was less rich at that time.

[@luizfernandg]

But she never had the courage to sing the cabaleta, and there is one, that I think only Callas sings...

[@christophecesar4761]

luiz g Did Callas ever sang the cabaletta on stage? I don't think so. Tebaldi recorded to, and it was as close as a disaster it could be. Before the 70' only very few, if someone did on stage and in studios it was rare too (Stella did with DG for instance)

[@williammaddox3339]

@@luizfernandg Sutherland did the cabaletta live ,, even in 1987 at the Met.

[@arnoldamaral7406]

William maddox I Ioved Dame Joan & I wished she would of retired her big beautiful coloratura voice sooner. Her husband was not a very good conductor & would not allow her to take risk with her incredible voice that when our Maya heard her sing Luchia in the 60,s @ ROH said to the Director " You no longer need me. You've got your Luchia & even more" Arnold Bourbon Amaral

[@marcoscorvo2514]

@@christophecesar4761 what cabaletta? “Di tale amor che dirsi”?

[@ahogbin2644]

GrAnd Verdi singing. Extinct sadly.

[@Duncan456]

I have never been able to warm to Milanov. Here she has a good voice, but she sings the aria like a Valkyrie. There is no subtleness, no sensuosness. It is hard and loud, sort of like the Ethel Merman of opera.

[@jasonhurd4379]

You encapsulate the feeling I have always had about Milanov. I too have never been able to warm to her art. She is too much the 'vocione' (Karajan's term) and too little the poetess. But surely the Ethel Merman of opera was Eva Marton? ☺

[@piccaluga35]

@@jasonhurd4379 I'd prefer the vocione of Milanov to the vocetta of Karajan's Ricciarelli any day.

[@antoniopedrolisboa]

A Netrebko fan

[@johnpickford4222]

A**HOLES: Leave the VERY GREAT Ethel Merman alone! Or else! Miss Merman had an interesting combination of softness, brass, volume at all levels and ranges of emotion when singing. Just listen to the range of songs written and tailored to her as Reno Sweeney in “Anything Goes”, Annie in “Annie Get You Gun”, Rose in “Gypsy” and finally Dolly in “Hello, Dolly!” with additional material added to the score for her, a total of nearly 40 years from the first show I mentioned to the last. And her professional career began before that and would continue after. There are plenty of lousy opera singers that wail and croon instead of ‘getting on their feet to sing’ and never ‘Sing out, you’re behind catch up’ without criticizing La Molto Voce. Focus on the best and not the worst, and yes, I love Joan Sutherland, Elisabeth Schwarzkopf, Eileen Farrell, Renata Tebaldi, Montserrat Canaletto and many others including “Maria the Greek”

[@arnoldamaral7406]

Bentley Corniche Katia ruined her voice early trying to sing Aida, Turandot, Ballo, Tosca etc. She had a beautiful lyrical instrument so sad. Arnold Bourbon Amaral

[@phaidonnikolaus9841]

Simply appalling. The woman has no concept of legato, no fluency in trills and quite frankly shouldn't even be allowed in a chorus, with that tendency to attack the notes from below. There is a folie de grandeur in the whole aria which has nothing to do with Verdi and certainly nothing to do with Leonora. Her only virtue was her ability to sing a great pianissimo but one swallow doth not a summer make. They should have kept her in Croatia which, incidentally, makes some superb wines.

[@CharlotteinWeimar]

Did you ever hear her live in the opera house or do you base your opinion just on recordings which seldom tell the whole truth?

[@phaidonnikolaus9841]

@@CharlotteinWeimar I am 91 years old and indeed, I did hear her.

[@EmilyGloeggler7984]

Awful performance in contrast with better performers.

[@raybercse1]

Awful ? Milanov was a supreme artist. Her voice was one of the most beautiful of any soprano. Just read about what Corelli, di Stefano, Rysanek, Resnik, Price, Merrill and many others said about her. They all raved about her voice.

[@kresimirdujmic2566]

Get well soon.

[@raybercse1]

Who are the better performers?

[@CrvenkapicaIVZNG]

Gute Frau, haben Sie etwas an den Ohren? Good woman, do you have anything on your ears?

[@stribor24-fv2to]

@@kresimirdujmic2566 Ma pusti babu! Zena je psihicki bolesna a smisao zivota joj je u pljuvanju po Milanov! :)