Author Topic: Beverly Sills Dies  (Read 5081 times)

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Online Don Carlo

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Re: Beverly Sills Dies
« Reply #20 on: September 29, 2016, 09:05:47 PM »
Her recording from Lucia di lammermoor is second to none.


Offline zamyrabyrd

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Re: Beverly Sills Dies
« Reply #21 on: September 29, 2016, 09:18:07 PM »
Her recording from Lucia di lammermoor is second to none.

There's tough competition from Maria Callas and Joan Sutherland.
Igitur primo pecuniae, deinde imperi cupido crevit.

Offline knight66

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Re: Beverly Sills Dies
« Reply #22 on: September 29, 2016, 09:51:46 PM »
I bought that recording on LP when it first came out. The most notable thing about it was that the Mad Scene was played as composed, with glass harmonica. However, I could not get along with Sills's voice which I found shallow in tone and fluttery, a matter of taste I guess.

At present I seem alone in being mystified over the praise for Nina Stemme's Isolde. That voice has a wide vibrato and it appears only I can hear; or only I care about it.

It is odd how we hear the same things differently, Callas is often the touchstone for me: but I have to wait until my wife is out of the house to listen to her; the voice sounds like nails down a blackboard to my wife.

So, yes, Sutherland, (earliest possible) or Callas.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Offline zamyrabyrd

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Re: Beverly Sills Dies
« Reply #23 on: September 29, 2016, 10:22:00 PM »
I bought that recording on LP when it first came out. The most notable thing about it was that the Mad Scene was played as composed, with glass harmonica. However, I could not get along with Sills's voice which I found shallow in tone and fluttery, a matter of taste I guess.
At present I seem alone in being mystified over the praise for Nina Stemme's Isolde. That voice has a wide vibrato and it appears only I can hear; or only I care about it.
It is odd how we hear the same things differently, Callas is often the touchstone for me: but I have to wait until my wife is out of the house to listen to her; the voice sounds like nails down a blackboard to my wife.
So, yes, Sutherland, (earliest possible) or Callas.
Mike

I don't like a wide vibrato in a voice. It usually betrays a lack of support. Yes, that is the one reason that kept me away from Sills.
I have the 1953 Callas, di Stefano. Gobbi, Serafin recording of Lucia bought as an LP and never looked back. 
Igitur primo pecuniae, deinde imperi cupido crevit.

Offline knight66

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Re: Beverly Sills Dies
« Reply #24 on: September 29, 2016, 10:49:55 PM »
I never could stand Gwyneth Jones either, that great swinging vibrato. Yet some glory in that voice. Stemme seems to evince the problem in the lower half of her voice at under full volume. I find it odd that her top loud, sustained notes are relatively clean and that is more often where the problem would be most acute. I bought the Abbado Fidelio which I enjoyed a lot until Stemme opened up. I have listed to it twice and I might as well get rid of it.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Online Don Carlo

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Re: Beverly Sills Dies
« Reply #25 on: September 29, 2016, 11:30:06 PM »
There's tough competition from Maria Callas and Joan Sutherland.
That's what I like, everybody his own taste.  ;)

Offline knight66

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Re: Beverly Sills Dies
« Reply #26 on: September 29, 2016, 11:37:10 PM »
That's what I like, everybody his own taste.  ;)

Opinions always welcome, esp when we have a new vocal music enthusiast.

MIke
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Offline Tsaraslondon

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Re: Beverly Sills Dies
« Reply #27 on: October 04, 2016, 03:20:53 AM »
I bought that recording on LP when it first came out. The most notable thing about it was that the Mad Scene was played as composed, with glass harmonica. However, I could not get along with Sills's voice which I found shallow in tone and fluttery, a matter of taste I guess.




I have the same problem with Sills. Though she was an intelligent singer, with a keen dramatic awareness, I found the voice too pallid and fluttery for much of the repertoire she sang. The Donizetti Tudor queens suffer in that respect. They lack grandeur, especially compared to Caballe in all three, and Callas in Anna Bolena.

I do quite enjoy her Giulietta in Bellini's I Capuleti e i Montecchi (with Baker a superb Romeo) which suits her light voice better, and the voice is also well suited to Massenet's Manon, which she gives an excellent account of in her studio recording. That said, I still prefer the golden-voiced De Los Angeles in the role.

For Lucia, well it has to be Callas or early Sutherland. I also quite like Caballe's less showy rendition, which restores the original keys (actually higher for the Mad Scene, which means no stratospheric top notes).

\"A beautiful voice is not enough.\" Maria Callas

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