# Queen Turandot: Who was best live: Nilsson or Dimitrova???



## Seattleoperafan (Mar 24, 2013)

In my opinion both are great Princess Turandots, but who impresssed you more live. They both had huge voices, but very different voices. Thanks.


----------



## Woodduck (Mar 17, 2014)

How many here have seen them both live? The nearest I get is a live recording with Nilsson, Corelli and Vishnevskaya under Gavazzeni at la Scala. For the vocal heat they generate you'd better have a fire extinguisher handy.


----------



## DavidA (Dec 14, 2012)

For me Sutherland (although she never took the part on the stage) was extraordinarily successful in her recording in conveying not just the iciness but the vulnerability too. Nilsson was, of course, one of the great voices but I never warmed to her that much. Admire - certainly. Love - well, no.


----------



## Granate (Jun 25, 2016)

DavidA said:


> Nilsson was, of course, one of the great voices but I never warmed to her that much. Admire - certainly. Love - well, no.


I hope I have a great feeling about her Turandots when I do the challenge. Your opinion reminds me of my views on her Salome.


----------



## Tuoksu (Sep 3, 2015)

Nilsson is Turandot.


----------



## BalalaikaBoy (Sep 25, 2014)

DavidA said:


> For me Sutherland (although she never took the part on the stage) was extraordinarily successful in her recording in conveying not just the iciness but the vulnerability too. Nilsson was, of course, one of the great voices but I never warmed to her that much. Admire - certainly. Love - well, no.


^this. she also effortlessly handles the high tessitura in a manner which a typical dramatic soprano is incapable of.

between the two in the OP, probably Nilsson, even though overall I prefer Dimitrova (who consistently ranks 2-3rd best for me in dozens of roles, but never seems to take the top spot).


----------



## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> ^this. she also effortlessly handles the high tessitura in a manner which a typical dramatic soprano is incapable of.
> 
> between the two in the OP, probably Nilsson, even though overall I prefer Dimitrova (who consistently ranks 2-3rd best for me in dozens of roles, but never seems to take the top spot).


I wonder if I would feel the same about Dimitrova. Live makes a difference.


----------



## Bonetan (Dec 22, 2016)

Seattleoperafan said:


> In my opinion both are great Princess Turandots, but who impresssed you more live. They both had huge voices, but very different voices. Thanks.


You're so dramatic soprano-centric that I feel like you're being cheated of a huge amount of incredible voices! I somehow feel bad about this lol


----------



## Seattleoperafan (Mar 24, 2013)

Bonetan said:


> You're so dramatic soprano-centric that I feel like you're being cheated of a huge amount of incredible voices! I somehow feel bad about this lol


I love David Hansen , Renee Fleming and Maureen Forrester. Do they count.


----------



## adriesba (Dec 30, 2019)

I'm surprised this discussion didn't go further. Now I didn't see either of them live since they both died when I was just a little kid, but from video I have watched on YouTube and recordings I've listened to, I'd say my favorite is definitely Nilsson. Dimitrova was interesting, but I just am not enraptured by her quite like Nilsson. I think that's important since Calaf should have some reason to be attracted to such a cold person. When I hear Dimitrova, all I feel is fear, whereas with Nilsson, I see the more delicate side of the character. A good example of this is the part after Calaf solves the riddles when Turandot begs her father not to let "the stranger" marry her. When Dimitrova sings this part, it comes across as lacking emotion or almost as disrespect or something. It's hard for me to say exactly, but it just doesn't work for me. When Nilsson sings this though, she legitimately sounds desperate. It as if her cold persona has disappeared and she has become a little girl running to her father. It reminds me of Brünnhilde pleading with Wotan in Act III of _Die Walküre_. Nilsson portrayed this well also. Dimitrova is just loud singing with little characterization other than frightening cold killer. Plus, I just find Nilsson's high notes more attractive.

I may start a thread based on this video I have linked, but I think the uploader has a good summary (in the description) of Turandot singers which tends to reflect my opinions on at least the ones I have listened to much of:


----------



## Granate (Jun 25, 2016)

OMG Time has passed so fast



















_On picture: Turandot Scala 1958, Turandot Met 1961_

Recommended listens


----------



## adriesba (Dec 30, 2019)

Granate said:


> OMG Time has passed so fast
> 
> 
> 
> ...


I really want to get that box set of live Nilsson CDs.


----------



## The Conte (May 31, 2015)

I didn't see either of them live, however it's Nilsson from the recordings for me.

This being my favourite of them:









N.


----------



## VitellioScarpia (Aug 27, 2017)

An interesting Turandot I saw live was Linda Kelm in the mid 80s. Kelm sang the role in San Francisco and later at the NYCO where I saw the production which executed the full Alfano ending. What struck me of her performance in the role was the warmth in the voice in spite of it being huge and virtually swallowing the chorus and orchestra at the end of the second act with _mi vuoi tu cup d'odic, riluttante e fremente_. However, she brought great warmth in the duet with Calaf. I liked her much better than Marton and Dimitrova.

I have not been able to find a good live recording of her Turandot as the one from Hamburg is not well recorded. Anyone knows of one?


----------



## Rogerx (Apr 27, 2018)

Ghena Dimitrova - Turandot - In questa reggia
Talking about a ice cold princess. :angel:


----------



## VitellioScarpia (Aug 27, 2017)

DavidA said:


> For me Sutherland (although she never took the part on the stage) was extraordinarily successful in her recording in conveying not just the iciness but the vulnerability too. Nilsson was, of course, one of the great voices but I never warmed to her that much. Admire - certainly. Love - well, no.


Perhaps it is only me but I feel that Sutherland modeled her very human Turandot after Callas. There are several points using her chest voice (e.g., _se sogni la conquista *avvampa, avvampa*_) or portamenti, most notably _conosco il nome dello straniero, il duo nome è am*o-or*_ which bring Callas' interpretation to mind. Obviously, Sutherland's vocalizing in 1973 is way more secure than Callas' in 1957. I wonder where Callas' Turandot would rank if they had recorded it in 1952-1954...

Nilsson must have been a blast live because her voice by all accounts was warmer than she sounds on records. She herself said that she sounded like Minnie Mouse in the recordings.


----------



## Tsaraslondon (Nov 7, 2013)

VitellioScarpia said:


> Perhaps it is only me but I feel that Sutherland modeled her very human Turandot after Callas. There are several points using her chest voice (e.g., _se sogni la conquista *avvampa, avvampa*_) or portamenti, most notably _conosco il nome dello straniero, il duo nome è am*o-or*_ which bring Callas' interpretation to mind. Obviously, Sutherland's vocalizing in 1973 is way more secure than Callas' in 1957. I wonder where Callas' Turandot would rank if they had recorded it in 1952-1954...


If it had been recorded even at the same time as she recorded _In questa reggia_ for her Puccini recital in 1954, I think it would have been hard to beat.


----------



## VitellioScarpia (Aug 27, 2017)

Tsaraslondon said:


> If it had been recorded even at the same time as she recorded _In questa reggia_ for her Puccini recital in 1954, I think it would have been hard to beat.


What do you all think about my question "Perhaps it is only me but I feel that Sutherland modeled her very human Turandot after Callas." in post #16?


----------



## Tsaraslondon (Nov 7, 2013)

VitellioScarpia said:


> What do you all think about my question "Perhaps it is only me but I feel that Sutherland modeled her very human Turandot after Callas." in post #16?


I wouldn't be at all surprised. She might have been interested to hear what another _bel canto_ soprano did with the role. As Katia Ricciarelli once said,



> 'Don't believe those sopranos who say they don't listen to Callas's reocrds. All sopranos get up in the morning, pour the orange juice and coffee, and then settle down to listen to Callas's recordings to try to learn from them.


----------

