# TRULY Spectacular: Eva Marton Nais a Db in Die Frau



## Seattleoperafan (Mar 24, 2013)

I am often very impressed with Marton but find that her C's in Turandot come off more like B's. This really floored me as she truly nails this Db and it is one of the most spectacular notes above the staff I've ever heard. I wonder the reason why it worked was because her attempts at C in Turandot come off as not going fully into head voice, whereas in this instance she gets fully into head voice .Check it out and let me know what you think. I just got done listening to her Immolation Scene and I was really, really impressed.


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## Seattleoperafan (Mar 24, 2013)

I see I am alone in my appreciation of Madame Marton.


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## BalalaikaBoy (Sep 25, 2014)

this recording is from before she even debuted Turandot. her voice was likely a bit more crisp at that point in her career.


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## Pugg (Aug 8, 2014)

The only two thing she moves me are Korngold :Violanta and Catalani: La Wally.
I do have a DVD doing Trovatore with Pavarotti but I always have in the back of my mind: who can sing the loudest watching that.


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## Seattleoperafan (Mar 24, 2013)

She was much better earlier in her career. Some claim her voice was even bigger than Nilsson's, but unlike Nilsson, she did not have dynamic control over her voice. Nilsson sang some of the best piannisimi in the business. Nilsson never sang loud just to sing loud. There is a Santi di Patria of Marton's by Verdi on video by her early before she left Hungary that is stupendous. I had problems with her back in the day because I was always comparing her to Birgit, but in retrospect I value her more now. The video of her as Elektra is shocking in it's intensity and is well sung. The best thing I heard her do other than this bit is a Puccini album she did 30 years ago. Despite being a slender woman she seemed to have great vocal stamina. She was a great Turandot but for most of her career she never quite made it up to High C. She llooked great on stage, which is not essential but can add to the enjoyment of a performance.


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## BalalaikaBoy (Sep 25, 2014)

Seattleoperafan said:


> She was much better earlier in her career. Some claim her voice was even bigger than Nilsson's, but unlike Nilsson, she did not have dynamic control over her voice. Nilsson sang some of the best piannisimi in the business. Nilsson never sang loud just to sing loud. There is a Santi di Patria by Verdi on video by her early before she left Hungary that is stupendous. I had problems with her back in the day because I was always comparing her to Birgit, but in retrospect I value her more now. The video of her as Elektra is shocking in it's intensity and is well sung. The best thing I heard her do other than this bit is a Puccini album she did 30 years ago. Despite being a slender woman she seemed to have great vocal stamina. She was a great Turandot but for most of her career she never quite made it up to High C. She llooked great on stage, which is not essential but can add to the enjoyment of a performance.


Nilsson could turn into a light bel canto coloratura at will put out pianissimo high Cs like she was Ingaborg Hallstein XD


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## Seattleoperafan (Mar 24, 2013)

My sister , the voice teacher, said that most likely her always singing loud approach was a result of being from Eastern Europe, as that has been a tradition in their training.She knew many singers like this who were singing in Germany that she sang with. I know an exception to this was Dimetrova, who had a wide palate of dynamics to pull from.


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## BalalaikaBoy (Sep 25, 2014)

Seattleoperafan said:


> My sister , the voice teacher, said that most likely her always singing loud approach was a result of being from Eastern Europe, as that has been a tradition in their training.She knew many singers like this who were singing in Germany that she sang with. I know an exception to this was Dimetrova, who had a wide palate of dynamics to pull from.


I have a vast preference for male Eastern European singers (though sometimes the mezzos are wonderful too). Eastern European sopranos come off too belt-y and come off almost lower class (yes, I'm looking at you Gheorghiu...)


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## Seattleoperafan (Mar 24, 2013)

BalalaikaBoy said:


> I have a vast preference for male Eastern European singers (though sometimes the mezzos are wonderful too). Eastern European sopranos come off too belt-y and come off almost lower class (yes, I'm looking at you Gheorghiu...)


:lol:You didn't just say that!!!


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## Tuoksu (Sep 3, 2015)

BalalaikaBoy said:


> I have a vast preference for male Eastern European singers (though sometimes the mezzos are wonderful too). Eastern European sopranos come off too belt-y and come off almost lower class (yes, I'm looking at you Gheorghiu...)


And sassy too maybe?






Say that to Virginia Zeani


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## Tuoksu (Sep 3, 2015)

Seattleoperafan said:


> My sister , the voice teacher, said that most likely her always singing loud approach was a result of being from Eastern Europe, as that has been a tradition in their training.She knew many singers like this who were singing in Germany that she sang with. I know an exception to this was Dimetrova, who had a wide palate of dynamics to pull from.


the only singers that I can think of who fit this stereotype are Eva Marton, Ghena Dimitrova and Maria Guleghina. 
I can think of many exceptions however: Virginia Zeani, Raina Kabaivanska, Illeana Cotrubas and even Lyudmila Monastyrska, Sylvia Sass, Alexandrina Pendatchanska and Elena Mosuc...


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## Pugg (Aug 8, 2014)

Tuoksu said:


> the only singers that I can think of who fit this stereotype are Eva Marton, Ghena Dimitrova and Maria Guleghina.
> I can think of many exceptions however: Virginia Zeani, Raina Kabaivanska, Illeana Cotrubas and even Lyudmila Monastyrska, Sylvia Sass, Alexandrina Pendatchanska and Elena Mosuc...


Those three are far more stylish then Marton indeed .


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## Tuoksu (Sep 3, 2015)

Pugg said:


> Those three are far more stylish then Marton indeed .


Exactly my point


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## BalalaikaBoy (Sep 25, 2014)

Tuoksu said:


> And sassy too maybe?
> 
> 
> 
> ...


exceptions don't make the rule


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## jdcbr (Jul 21, 2014)

I have recently re-discovered Marton. I think all the heavy Wagner roles took a toll. The earlier Turandot with Carreras is the best, and her Gioconda and Madalena are not chopped liver.


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## Seattleoperafan (Mar 24, 2013)

jdcbr said:


> I have recently re-discovered Marton. I think all the heavy Wagner roles took a toll. The earlier Turandot with Carreras is the best, and her Gioconda and Madalena are not chopped liver.


You know Nilsson of course had a huge voice, but she kept it lean and never sang a whole role in 6th gear. Marton for all of her considerable gifts, never learned neither artistry of using vocal dynamics nor the voice saving properties of such an undertaking. I think that is why her Wagner was so damaging. Early Marton as you describe was thrilling.


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