# Underrated Singers and Singers with Missed Potential



## adriesba (Dec 30, 2019)

What singers do you think are or were underrated or had missed potential?


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## nina foresti (Mar 11, 2014)

Meghan Kasanders has a rich full soprano voice and is an able actor as well. Her problem is being able to get enough work because of her "avoirdupois" which is considerable for a 20-ish person.


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## Revitalized Classics (Oct 31, 2018)

Underrated could include both Alessandra Marc and Giuseppe Giacomini: there are good live recordings of _Don Carlo_ and _Aida_





I've read rather a lot of negative criticism regarding Mario Filippeschi while I think his work in _Guglielmo Tell_, _Vespri Siciliani_ and some other really difficult parts he was very impressive





I don't know if Ezio Flagello is mentioned very much but I've really enjoyed his recordings


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## Revitalized Classics (Oct 31, 2018)

If I can suggest a singer for 'missed potential' it would be Gino Bechi.

Bechi made brilliant records in the 1940s but his recording career completely withered in the fifties just when LP recordings were being issued: perhaps his forthright singing just did not lend itself to longevity? As far as I know he didn't record anything in the studio in stereo.

Besides a recording of _Barbiere di Siviglia_ where he does not sound his best at only age 40, he is absent from complete LP opera recordings. To my taste, Bechi as captured on some of those 78s was at times even more impressive than his contemporary Tito Gobbi- whose recording career in contrast flourished during the same period and as we know recorded even into the late 1970s...





Bechi as Rigoletto - one of many roles I wish he had recorded complete on LP: we are left with tantalising snippets on 78 suggesting what might have been.

Bechi in 1946


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## Becca (Feb 5, 2015)

Elena S[o]uliotis would be a poster-child for squandered opportunity. Probably poor training and then trying to do far too much, far too soon.


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## Revitalized Classics (Oct 31, 2018)

Becca said:


> Elena S[o]uliotis would be a poster-child for squandered opportunity. Probably poor training and then trying to do far too much, far too soon.


I've read that Souliotis' teacher was Mercedes Llopart whose pupils included "Renata Scotto, Fiorenza Cossotto, Anna Moffo, Elena Souliotis [and] Alfredo Kraus".

I'm not sure if it is just coincidence but all three sopranos went on to sing roles which were intensely dramatic - arguably too heavy for their respective voices - and while it was Moffo and Souliotis who had pretty spectacular burnouts, Scotto's voice was also distinctly wiry years before her retirement.

Hard to reconcile that with Lloparts other pupils, Cossotto and Kraus, who at their best were very polished singers - Cossotto's Adalgisa made Souliotis' Norma sound pretty rough on the recording they shared - and particularly in Kraus' case he was singing very well as a mature singer... I guess a clever choice of repertoire was key.


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## Bonetan (Dec 22, 2016)

nina foresti said:


> Meghan Kasanders has a rich full soprano voice and is an able actor as well. Her problem is being able to get enough work because of her "avoirdupois" which is considerable for a 20-ish person.


I know Meghan! She's very talented and a lovely person


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## silentio (Nov 10, 2014)

Rosanna Carteri was a great soprano who retired very early for a family life. She could have been the leading lyric soprano of the 60s and 70s (much better than Scotto and Freni IMO).

Florence Quartararo was another soprano with great potential -indeed she could be up there with the golden age singers- but retired after her marriage. Check out her recording of Handel's _Care Selve_!

Maria Cebotari had already achieved the international fame by her untimely death at 39 due to cancer. But still, such a waste. She is a true assoluta.


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## nina foresti (Mar 11, 2014)

Revitalized Classics said:


> If I can suggest a singer for 'missed potential' it would be Gino Bechi.
> 
> Bechi made brilliant records in the 1940s but his recording career completely withered in the fifties just when LP recordings were being issued: perhaps his forthright singing just did not lend itself to longevity? As far as I know he didn't record anything in the studio in stereo.
> 
> ...


His Alfio in _Cavalleria Rusticana_ is totally superb.


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## Revitalized Classics (Oct 31, 2018)

nina foresti said:


> His Alfio in _Cavalleria Rusticana_ is totally superb.


I agree, he was terrific 

I'm realising now as I check that in April 1940 for that recording he was just 26? He sounded like a singer at the peak of his career and pretty mature.





I guess he packed a lot of heavy roles and performances into that time!


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## Seattleoperafan (Mar 24, 2013)

Revitalized Classics said:


> Underrated could include both Alessandra Marc and Giuseppe Giacomini: there are good live recordings of _Don Carlo_ and _Aida_
> 
> 
> 
> ...


Definiitely Marc. One critic said she had the most beautiful voice in the world today. It was after reading that review that I started listening to and being floored by her. She was one of my favorite singers but was hurt by being excessively heavy.


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## mparta (Sep 29, 2020)

I've discovered House of Opera as a source of live recordings and inexpensive downloads.
So, with that, recently curious about the Donizetti 3 queens led me to a Renata Scotto performance of Anna Bolena from Dallas in 1975. There's also one the same year from Philadelphia, but the Dallas performance with Tatiana Troyanos is the gem.

Scotto is certainly not unknown, but her history is mired in the problems with Met performances in the early '80s. I recognized some of her gifts
But the Anna Bolena is a world-beating performance, better than Callas, the voice inherently more beautiful, the characterization just magnificent. And maybe only 1 or 2 of those disasters _in alt_, which I can forgive for the rest.
of course the live take sound is not ideal, but the performance silences all concerns

highly recommended and will give you an entirely new appreciation of a singer/actress, explains what the Met hoped they were getting.


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## Revitalized Classics (Oct 31, 2018)

mparta said:


> I've discovered House of Opera as a source of live recordings and inexpensive downloads.
> So, with that, recently curious about the Donizetti 3 queens led me to a Renata Scotto performance of Anna Bolena from Dallas in 1975. There's also one the same year from Philadelphia, but the Dallas performance with Tatiana Troyanos is the gem.
> 
> Scotto is certainly not unknown, but her history is mired in the problems with Met performances in the early '80s. I recognized some of her gifts
> ...


Very interesting - thanks for sharing


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## adriesba (Dec 30, 2019)

For both underrated and lost potential, my choice goes to Ursula Schröder-Feinen. She had a really short career because of vocal problems. She sang the big and challenging roles. Her repertoire included Elektra, Brünnhilde (in _Siegfried _at least), Senta, Ortrud, Kundry, Salome, Isolde, Tosca, and Turandot among other things. I thought her voice declined because she took all these big roles fast, but apparently she said that she stressed herself out while singing which caused her to tense up and damage her voice. Perhaps it was both. Honestly, I believe she would have been a worthy successor to Nilsson had her career not been so short. Her voice had a very unique, beautiful color, and her singing sounded so effortless. She doesn't seem to have made any studio recordings, but there are live recordings with her in most of her roles, including several Elektra performances. Many are on Opera Depot.
















Supposedly there is a full recording of her as Turandot. I wish I knew where that one uploader found that excerpt of her with Hugh Beresford.

Some performances that can be downloaded:

https://parterre.com/2018/07/19/neither-wine-nor-apples-can-appease-my-desire/

https://parterre.com/2015/10/15/dancing-in-the-dark/

Another singer that seems underrated to me is Jean Madeira. She was Erda for the Solti _Das Rheingold_. Her voice was booming, a true contralto. She also sang Klytämnestra and Carmen. I don't think her Klytämnestra will ever be equalled. She was so frightening! She really makes you feel the character's suffering more than any other singer who sang the role. She sang other roles, but is probably most known for those three.











Lastly, I'd like to mention that there are several good singers deserving of more recognition on the Downes recordings of Wagner's early three operas. I especially enjoyed John Mitchinson as Arindal and Rienzi.


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## Seattleoperafan (Mar 24, 2013)

I was blown away with Lori Phillips in Turandot in Seattle. Tall, attractive, big dark beautiful true dramatic soprano voice. With the demand for dramatic sopranos I am amazed she wasn't used more elsewhere. Her high notes were chills inducing.


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## mparta (Sep 29, 2020)

Alessandra Marc a very remarkable voice, but came at a time when the issue of the adverse health impact of being "large" was enough to keep Deborah Voigt out of Covent Garden. I saw Marc at Carnegie Hall with Dresden Staatskapelle, I don't want to dwell on the physical appearance but it was alarming.


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## mparta (Sep 29, 2020)

Probably should correct, Covent Garden didn't take Deborah Voigt because of appearance, they didn't give a rat's *** about her health.
Their loss, she was a great singer then.


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## nina foresti (Mar 11, 2014)

Due to his untimely death by plane crash into a mountain, we shall never have the privilege of seeing a full blown, but difficult to work with handsome, sexy David Poleri in performances at the height of his superb tenorial days.
To hear an example of his talents, he can be heard in the original production of "The Saint of Bleecker Street".


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## mparta (Sep 29, 2020)

Probably should correct, Covent Garden didn't take Deborah Voigt because of appearance, they didn't give a rat's *** about her health.
Their loss, she was a great singer then.


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## mparta (Sep 29, 2020)

apparently one can't say *** on here, which may limit discussion of midsummer night's dream


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## MAS (Apr 15, 2015)

mparta said:


> apparently one can't say *** on here, which may limit discussion of midsummer night's dream


But they can say Bottom?


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## MAS (Apr 15, 2015)

mparta said:


> Probably should correct, Covent Garden didn't take Deborah Voigt because of appearance, they didn't give a rat's *** about her health.
> Their loss, she was a great singer then.


But, unfortunately, it ruined her career, as the voice was never the same.


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## Seattleoperafan (Mar 24, 2013)

My sister was a lyric soprano and then a teacher in Germany. She said that it is not enough to have a wonderful voice. You have to work very hard and choose your roles carefully to have a long successful career. Her best friend had a wonderous dramatic mezzo/ soprano voice but who floundered in her career. My sister said if she had that voice she could be the top soprano in the world.


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## Tsaraslondon (Nov 7, 2013)

mparta said:


> apparently one can't say *** on here, which may limit discussion of midsummer night's dream


It wouldn't be a problem if Americans pronounced and spelt the word meaning bottom correctly. :devil:

*** only means only thing to us British. Donkey.


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## The Conte (May 31, 2015)

TESTING 123 TESTING!

**** biscuits!

N.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> It wouldn't be a problem if Americans pronounced and spelt the word meaning bottom correctly. :devil:
> 
> *** only means only thing to us British. Donkey.


No, it works in both versions (see above).

N.


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## The Conte (May 31, 2015)

There are a number of ways of looking at this question. As suggested upthread a great, famous singer who had a very short career such as Souliotis qualifies and I agree that she would be the 'poster child' for doing too much too soon. Callas almost fits that category, but started with better technique and lasted longer (she put Turandot aside so as not to damage the voice and only sang Abigaille and Lady Macbeth once each).

In the had a great, big career but didn't reach their potential I would put Gheorgiu. Whilst some of her foibles (Tosca and Adriana) could be forgiven, had she concentrated on more lyric repertoire and learned more new roles (it's too late now as her voice no longer has the fresh suppleness it used to) she could have almost been as sensational as she was in her own head. Imagine her in her palmy days as Lucia, Elvira or Amina. Her Casta Diva disc shows that she could have handled that rep and it would have suited her better than some of her spotty outings with Alagna and her by now traditional two performances of Tosca at the ROH every three years or so.

When it comes to young singers who we hope have promising careers in front of them then I would plump for Lisette Oropesa (who has a voice that is not dissimilar to Gheorgiu's dark tone) and she IS singing those roles. I would love to hear a soprano sing Puritani and Sonnambula well and with feeling and she gives me hope that it may, one day happen.

There is another category of singer that could be mentioned here and that is the underappreciated singer of their day. This is a common topic here and everybody knows that I'm very fond of Gabriella Tucci. Her Aida, Desdemona and Trovatore Leonora are very high quallity, but with Callas, Price and Tebaldi around there was extremely strong competition. In any case she is the Leonora opposite Corelli's unsurpassed Manrico in his studio recording, so she wasn't totally unappreciated in her day.

N.


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## MAS (Apr 15, 2015)

The Conte said:


> .......Callas only sang Abigaille and Lady Macbeth once each.
> 
> N.


I'm sure you meant to say that Callas only sang Abigaille and the Lady in one series of performances each, not only one time: 3 performances of Abigaille, 5 of Lady Macbeth.


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## The Conte (May 31, 2015)

MAS said:


> I'm sure you meant to say that Callas only sang Abigaille and the Lady in one series of performances each, not only one time: 3 performances of Abigaille, 5 of Lady Macbeth.


Yes. I of course meant for solely one _run_ of each, but I didn't type what I meant! Thanks for picking up the ball.

N.


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## mparta (Sep 29, 2020)

"I must to the barber's, monsieur, for methinks I am marvelous hairy about the face. And I am such a tender ***, if my hair do but tickle me, I must scratch."


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## mparta (Sep 29, 2020)

Shakespeare, too spicy for this site.


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## MAS (Apr 15, 2015)

Could we count *Anna Netrebko* as a singer with missed potential? Maybe not, as we could view her changes in _fach_ (repertoire?) as a progression of sorts. From Russian _koloratura_ soprano to _soubrette_, to _bel canto_ lyric and recently a _spinto_ soprano and now a would-be _hochdramatische sopran_. If that was her aim, she got there, despite the naysayers and to the regret of many. In the meantime, she conquered San Francisco, the Metropolitan, Europe, England, and points East, returning triumphant to Mother Russia, and points in between (what?).

But...?


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## The Conte (May 31, 2015)

I consider Netrebko like Gheorgiu and Dessay not to have reached her full potential. It's a shame that Netrebko left singing in German so late and didn't master the language. Her Russian roles were all superb, though and she could have made audiences reconsider some of that rep, rather than being dramatic, but sloppy in Italian flexible vehicles.

Dessay should have done more comedy, she didn't have the soul to pull off the bel canto tragic heroines.

N.


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## mparta (Sep 29, 2020)

Reaching potential, I can't imagine a finer performance than Dessay's in orfee aux enfers. So that's pretty much potential, whether she shouldn't have done other things, I don't know, but she's a miracle in Offenbach.


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## The Conte (May 31, 2015)

mparta said:


> Reaching potential, I can't imagine a finer performance than Dessay's in orfee aux enfers. So that's pretty much potential, whether she shouldn't have done other things, I don't know, but she's a miracle in Offenbach.


Yes, I agree and she was the perfect Fille too. I liked her Manon, but she was having vocal problems by then. I would rather she had concentrated on Donizetti and Rossini comedy with a bit of Mozart and French frou frou thrown in. Netrebko reached her potential when she sang Tatiana in Eugene Onegin and Gheorgiu's Violetta was something to be seen. However, one good night does not a diva make.

N.


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## adriesba (Dec 30, 2019)

This early video of Anna Netrebko is quite a revelation:


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## MAS (Apr 15, 2015)

I liked *Dessay* very much early in her career, when she was still a _coloratura soprano_. She, like many of her type, wanted to sing more than her voice allowed. Fortunately, she stuck to her _fach_. She was a sensational _Olympia_ in *Les Contes d'Hoffman* and _Zerbinetta_ in *Ariadne auf Naxos*.

Later she did *Lucia di Lammermoor* and _Cleopatra_ in Händel's *Giulio Cesare*. Both roles were noted as much for their physical acting as for the singing, as was her _Marie_ in *La fille du regiment*. Unfortunately, her voice did not broaden and grow in volume like some sopranos so she could've moved into weightier roles. It just slowly lost the richness and sap it used to have.

But she had an honorable career, she used her voice well and had enough physical acting chops to be exceptional in everything she sang. Though I think she loved the acting part of the roles she sang more than the singing. I really doubt we could have expected any more from her, or anyone else.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> I liked *Dessay* very much early in her career, when she was still a _coloratura soprano_. She, like many of her type, wanted to sing more than her voice allowed. Fortunately, she stuck to her _fach_. She was a sensational _Olympia_ in *Les Contes d'Hoffman* and _Zerbinetta_ in *Ariadne auf Naxos*.
> 
> Later she did *Lucia di Lammermoor* and _Cleopatra_ in Händel's *Giulio Cesare*. Both roles were noted as much for their physical acting as for the singing, as was her _Marie_ in *La fille du regiment*. Unfortunately, her voice did not broaden and grow in volume like some sopranos so she could've moved into weightier roles. It just slowly lost the richness and sap it used to have.
> 
> But she had an honorable career, she used her voice well and had enough physical acting chops to be exceptional in everything she sang. Though I think she loved the acting part of the roles she sang more than the singing. I really doubt we could have expected any more from her, or anyone else.


Early on Dessay's beautiful singing and range were spectacular as well as her riveting acting. I was very impressed at the time. Because she trashed the reputation of Joan Sutherland and said she was superior to La Stupenda the gods smote her and she lost her voice at a time when Sutherland was still in her prime and Joan had a major career for many years after the age Dessay ended her career because of wrecking her voice. If I am not mistaken she developed vocal nodes.


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## Rogerx (Apr 27, 2018)

MAS said:


> I liked *Dessay* very much early in her career, when she was still a _coloratura soprano_. She, like many of her type, wanted to sing more than her voice allowed. Fortunately, she stuck to her _fach_. She was a sensational _Olympia_ in *Les Contes d'Hoffman* and _Zerbinetta_ in *Ariadne auf Naxos*.
> 
> Later she did *Lucia di Lammermoor* and _Cleopatra_ in Händel's *Giulio Cesare*. Both roles were noted as much for their physical acting as for the singing, as was her _Marie_ in *La fille du regiment*. Unfortunately, her voice did not broaden and grow in volume like some sopranos so she could've moved into weightier roles. It just slowly lost the richness and sap it used to have.
> 
> But she had an honorable career, she used her voice well and had enough physical acting chops to be exceptional in everything she sang. Though I think she loved the acting part of the roles she sang more than the singing. I really doubt we could have expected any more from her, or anyone else.


That Lucia at The Met with Joseph Calleja is out of this world, shame no commercial recording though.


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## Agamenon (Apr 22, 2019)

Jean Madeira is a hidden gem. Also, Francisco Araiza.


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## Seattleoperafan (Mar 24, 2013)

Agamenon said:


> Jean Madeira is a hidden gem. Also, Francisco Araiza.


Jean was a great Klytemnestra.


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## adriesba (Dec 30, 2019)

Agamenon said:


> Jean Madeira is a hidden gem.





Seattleoperafan said:


> Jean was a great Klytemnestra.


Yes, Jean Madeira was also someone I mentioned earlier. Honestly I think she was under-recorded, at least on the major labels. Most of her recordings are live performances. But she sang 369 performances at the MET.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> Early on Dessay's beautiful singing and range were spectacular as well as her riveting acting. I was very impressed at the time. Because she trashed the reputation of Joan Sutherland and said she was superior to La Stupenda the gods smote her and she lost her voice at a time when Sutherland was still in her prime and Joan had a major career for many years after the age Dessay ended her career because of wrecking her voice. If I am not mistaken she developed vocal nodes.


I find it hard to believe Dessay is so unkind as to trash another singer, let alone Joan Sutherland! In one aspect she *is* better, and that is in physical *acting*, which Dessay enjoys.

I think she had two operations for a cyst and a polyp, and lost her highest notes (F, G, and A).


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## Bonetan (Dec 22, 2016)

David Ward, bass baritone. He studied the helden baritone roles with Hotter and was groomed to be his successor, but never fulfilled the potential Hotter saw. My fellow Wagnerians may be able to give more details about his career because my memory is failing me.


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## mparta (Sep 29, 2020)

I listened to this again during a walk last night.

I have been ambivalent about much Donizetti, it doesn't often "stick" even when I like it. There are some great moments in Anna Bolena, though, and for any aficionado of great singing, please treat yourself to this. Scotto is world beating and Tatiana Troyanos extremely fine, both the tenor and bass contribute honorably. Sound not the worst for a live performance.

Please hear Scotto in this performance.

Available as an inexpensive download from House of Opera. Be sure to get this Dallas performance, Philadelphia is good but not as good to my ear, this Dallas one is extraordinary.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Could we count *Anna Netrebko* as a singer with missed potential? Maybe not, as we could view her changes in _fach_ (repertoire?) as a progression of sorts. From Russian _koloratura_ soprano to _soubrette_, to _bel canto_ lyric and recently a _spinto_ soprano and now a would-be _hochdramatische sopran_. If that was her aim, she got there, despite the naysayers and to the regret of many. In the meantime, she conquered San Francisco, the Metropolitan, Europe, England, and points East, returning triumphant to Mother Russia, and points in between (what?).
> 
> But...?


I liked her a lot as Lady Macbeth. Her voice was prettier when she was younger but it is definitely big now. She is a certified star, but I choose others to listen to in audio performances. Some question her progression in vocal size, but she is in the esteemed company of Flagstad and Goerke who were singers who began with lyric roles but who's voices tripled in size later on.


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## Seattleoperafan (Mar 24, 2013)

Andrea Gruber had a glorious voice but lifestyle issues and gastric bypass ruined that potential. She didn't sound like the same singer after the weight loss. By the time she was quite pretty






hit it big she was past her prime. I saw her before her problems as Chrysothemis in Seattle and she had a big LUSH voice that was a joy to listen to. When she came back as Minnie she was a ghost of her former self vocally.


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## adriesba (Dec 30, 2019)

Seattleoperafan said:


> I liked her a lot as Lady Macbeth. Her voice was prettier when she was younger but it is definitely big now. She is a certified star, but I choose others to listen to in audio performances. Some question her progression in vocal size, but she is in the esteemed company of Flagstad and Goerke who were singers who began with lyric roles but who's voices tripled in size later on.


To me, Netrebko sounds like a small voice pretending to be big. I think she missed potential in roles for small voices.


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## Seattleoperafan (Mar 24, 2013)

adriesba said:


> To me, Netrebko sounds like a small voice pretending to be big. I think she missed potential in roles for small voices.


To me the best way to be sure is to ask someone who heard her live, but I've yet to hear a recent reliable report. I have asked on here, I am sure. You could be correct.


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## The Conte (May 31, 2015)

Seattleoperafan said:


> To me the best way to be sure is to ask someone who heard her live, but I've yet to hear a recent reliable report. I have asked on here, I am sure. You could be correct.


Her voice has definitely got bigger and richer. It also seems darker, but I'm not sure that's her natural voice. Her best role to date has been Tatiana (I didn't see her in it live, though) and Natasha in War and Peace (which I did).

N.


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## BalalaikaBoy (Sep 25, 2014)

Becca said:


> Elena S[o]uliotis would be a poster-child for squandered opportunity. Probably poor training and then trying to do far too much, far too soon.


she wasn't poorly trained at all. her technique was remarkable. she was over zealous


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## BalalaikaBoy (Sep 25, 2014)

adriesba said:


> This early video of Anna Netrebko is quite a revelation:


been saying it all along: she is a light lyric or even a straight up coloratura. her in dramatic soprano rep is nonsense.


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## Reichstag aus LICHT (Oct 25, 2010)

Alberto Remedios could have been one of the most widely-admired Heldentenors of the last Century. A remarkable and beautiful voice, way better than many of his contemporaries in the same repertoire.

Harry Secombe. Of course, he had a successful career in other fields but, if he'd concentrated on singing, he'd have been one of the great British tenors. I remember a blind test where different recordings of Cilea's tricky "Lamento di Federico" were played, and Secombe's was easily among the best.


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## MAS (Apr 15, 2015)

The Conte said:


> Her voice has definitely got bigger and richer. It also seems darker, but I'm not sure that's her natural voice. Her best role to date has been Tatiana (I didn't see her in it live, though) and Natasha in War and Peace (which I did).
> 
> N.


I saw her early on, when SF Opera did *Russlan and Lyudmilla*. She was a _coloratura_ then, though the voice was not pipsqueak.


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## Tsaraslondon (Nov 7, 2013)

I'd nominate Valerie Masterson, who was a lot more well known in the UK and in Europe than she was in the US. She did do a couple of seasons in San Francisco, as Cleopatra in *Giulio Cesare* and as Violetta, but I'm not sure if she sang anywhere else over the pond.

An arrestingly beautiful woman, it didn't surprise me to hear that she had once been sought by Hollywood but she had set her sights on an operatic career. She started off singing lead soprano roles with the D'Oyly Carte company, but joined the English National Opera in 1971, when the company was no doubt at its peak. She was pafticularly well known for her Handel (a stunning Cleopatra opposite Dame Janet Baker at the ENO) and in French opera (an ideal Manon), the French taking her to their heart as they had done Mary Garden and Maggie Teyte before her. She was also an excellent Violetta, Adele in Rossini's *Le Comte Ory*, Governess in Britten's *The Turn of the Screw*, Sophie and eventually Marschallin.

She first came international attention when she sang the role of Matilde at the Aix-en-Provence festival with Caballé, a role she went on to record in the Philips recording with Caballé and Carreras.

She had a very beautiful and easily recognisable voice with stunningly accurate coloratura, as can be heard in her singing of Cleopatra's music. Mackerras, who conducted her quite a few times, thought the brilliance of her coloratura singing in *Semele* was the best he'd ever heard.


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## damianjb1 (Jan 1, 2016)

Revitalized Classics said:


> If I can suggest a singer for 'missed potential' it would be Gino Bechi.
> 
> Bechi made brilliant records in the 1940s but his recording career completely withered in the fifties just when LP recordings were being issued: perhaps his forthright singing just did not lend itself to longevity? As far as I know he didn't record anything in the studio in stereo.
> 
> ...


He's also a fabulous Nabucco with Callas from 1949. A fabulous recording.


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## damianjb1 (Jan 1, 2016)

mparta said:


> Alessandra Marc a very remarkable voice, but came at a time when the issue of the adverse health impact of being "large" was enough to keep Deborah Voigt out of Covent Garden. I saw Marc at Carnegie Hall with Dresden Staatskapelle, I don't want to dwell on the physical appearance but it was alarming.


How did she sound? And what did she sing?


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## damianjb1 (Jan 1, 2016)

The Conte said:


> There are a number of ways of looking at this question. As suggested upthread a great, famous singer who had a very short career such as Souliotis qualifies and I agree that she would be the 'poster child' for doing too much too soon. Callas almost fits that category, but started with better technique and lasted longer (she put Turandot aside so as not to damage the voice and only sang Abigaille and Lady Macbeth once each).
> 
> In the had a great, big career but didn't reach their potential I would put Gheorgiu. Whilst some of her foibles (Tosca and Adriana) could be forgiven, had she concentrated on more lyric repertoire and learned more new roles (it's too late now as her voice no longer has the fresh suppleness it used to) she could have almost been as sensational as she was in her own head. Imagine her in her palmy days as Lucia, Elvira or Amina. Her Casta Diva disc shows that she could have handled that rep and it would have suited her better than some of her spotty outings with Alagna and her by now traditional two performances of Tosca at the ROH every three years or so.
> 
> ...


I completely agree with you regarding Gheorgiu. Imagine what an exquisite Desdemona, Donna Anna, Manon Lescaut she could have been. Very much a wasted talent.


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## The Conte (May 31, 2015)

Tsaraslondon said:


> I'd nominate Valerie Masterson, who was a lot more well known in the UK and in Europe than she was in the US. She did do a couple of seasons in San Francisco, as Cleopatra in *Giulio Cesare* and as Violetta, but I'm not sure if she sang anywhere else over the pond.
> 
> An arrestingly beautiful woman, it didn't surprise me to hear that she had once been sought by Hollywood but she had set her sights on an operatic career. She started off singing lead soprano roles with the D'Oyly Carte company, but joined the English National Opera in 1971, when the company was no doubt at its peak. She was pafticularly well known for her Handel (a stunning Cleopatra opposite Dame Janet Baker at the ENO) and in French opera (an ideal Manon), the French taking her to their heart as they had done Mary Garden and Maggie Teyte before her. She was also an excellent Violetta, Adele in Rossini's *Le Comte Ory*, Governess in Britten's *The Turn of the Screw*, Sophie and eventually Marschallin.
> 
> ...


Wow, that Handel! I only know her from her G&S recordings and that Elisabetta.

Another underrated singer is Irene Dalis. She has turned up in a number of live recordings I've listened to lately and I have been impressed with each (her Kundry, of course, but her Amneris in Aida with Tucci and Corelli is very good).

N.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I'd nominate Valerie Masterson, who was a lot more well known in the UK and in Europe than she was in the US. She did do a couple of seasons in San Francisco, as Cleopatra in *Giulio Cesare* and as Violetta, but I'm not sure if she sang anywhere else over the pond.
> 
> An arrestingly beautiful woman, it didn't surprise me to hear that she had once been sought by Hollywood but she had set her sights on an operatic career. She started off singing lead soprano roles with the D'Oyly Carte company, but joined the English National Opera in 1971, when the company was no doubt at its peak. She was pafticularly well known for her Handel (a stunning Cleopatra opposite Dame Janet Baker at the ENO) and in French opera (an ideal Manon), the French taking her to their heart as they had done Mary Garden and Maggie Teyte before her. She was also an excellent Violetta, Adele in Rossini's *Le Comte Ory*, Governess in Britten's *The Turn of the Screw*, Sophie and eventually Marschallin.
> 
> ...


The Handle is amazing. Those are the most virtuoso ornamentations I've heard on this aria. Sutherland had better trills to my ear and a bigger voice, but this lady held her own. I like her version possibly better than Sills ( haven't heard for a while, though). Thanks.


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## MarioDelMonacoViva (Apr 1, 2019)

That Callas/Bechi Nabucco is indeed marvellous. Gui's conducting is also on fire.

I think it can be safely said that most singers today have 'missed potential' - hardly any develop their voices enough, with Kaufmann, Netrebko, Garanca, Pape, Florez and Schrott as the most glaring examples.

For underrated singers, I would say the dramatic baritone Gianni Maffeo, who is completely unknown to most opera fans and for no good reason:


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## The Conte (May 31, 2015)

PlacidoDomingo said:


> That Callas/Bechi Nabucco is indeed marvellous. Gui's conducting is also on fire.
> 
> I think it can be safely said that most singers today have 'missed potential' - hardly any develop their voices enough, with Kaufmann, Netrebko, Garanca, Pape, Florez and Schrott as the most glaring examples.
> 
> For underrated singers, I would say the dramatic baritone Gianni Maffeo, who is completely unknown to most opera fans and for no good reason:


Yes, wow! Did something happen to Maffeo? How did he not have a great career?

N.


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## Revitalized Classics (Oct 31, 2018)

PlacidoDomingo said:


> That Callas/Bechi Nabucco is indeed marvellous. Gui's conducting is also on fire.
> 
> I think it can be safely said that most singers today have 'missed potential' - hardly any develop their voices enough, with Kaufmann, Netrebko, Garanca, Pape, Florez and Schrott as the most glaring examples.
> 
> ...




That's crazy! Who on Earth sounds like that since Ruffo or Bastianini or somebody very famous? Thanks for sharing.

I see there are some live recordings but - besides Schaunard (which seems to have been his calling card) with RAI in 1969 - mostly the roles are away from Milan and Rome: _Andrea Chenier_ in Rimini (1966), _Puritani_ during 1967 in Oviedo, _Forza del Destino_ from Feanza in 1974...

There are few studio recordings and even they have little currency apart from Schaunard in the famous _Boheme_ with Pavarotti, Freni and Karajan.

I'm not sure that his other recordings have been reissued. On this evidence it's a crying shame.

I have enjoyed his Belcore on the Supraphon recording of _Elisir d'amore_ with Tagliavini, Valdengo and Ciano. There is a clip on Youtube:





He recorded Leoporello on a Concert Hall recording of _Don Giovanni_ with Hans Swarowsky in the mid 1970s. I don't think I recall seeing or hearing that anywhere...

There was a short recital on Supraphon but even there it is shared with a soprano. One of the excerpts was this aria from _Ernani_





This aria from _Fanciulla del West_ is also worth a listen.


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## nina foresti (Mar 11, 2014)

It saddens me that Marina Poplavskaya has come into voice problems. Hers was a unique kind of soprano voice to match her unequalled and singular physiognomy which is extremely appealing to me.
I just saw her in today's free Met 24 hours streaming as Elisabetta in _Don Carlo_ and she was spectacular in a role that has to be one of the most difficult to sustain for a soprano.


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## Bonetan (Dec 22, 2016)

nina foresti said:


> It saddens me that Marina Poplavskaya has come into voice problems. Hers was a unique kind of soprano voice to match her unequalled and singular physiognomy which is extremely appealing to me.
> I just saw her in today's free Met 24 hours streaming as Elisabetta in _Don Carlo_ and she was spectacular in a role that has to be one of the most difficult to sustain for a soprano.


I read that she's reinventing herself as a mezzo. I hope it goes well for her.


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## nina foresti (Mar 11, 2014)

Bonetan said:


> I read that she's reinventing herself as a mezzo. I hope it goes well for her.


Yes I just heard the same thing. I hope she is successful.


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## damianjb1 (Jan 1, 2016)

Bonetan said:


> I read that she's reinventing herself as a mezzo. I hope it goes well for her.


I heard she is now selling Real Estate in New York.


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## adriesba (Dec 30, 2019)

I just discovered this Italian soprano Maria Chiara (Nov. 24th is her birthday).

Her discography is minimal, the most notable recording of hers is probably the Maazel _Aida_ on Decca.

Here she is singing "Senza mamma" \/






Absolutely beautifully sung! Why is she not more well known?


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## Rogerx (Apr 27, 2018)

adriesba said:


> I just discovered this Italian soprano Maria Chiara (Nov. 24th is her birthday).
> 
> Her discography is minimal, the most notable recording of hers is probably the Maazel _Aida_ on Decca.
> 
> ...


She did a La fanciulla del West on Sony and I've got two wonderful recitals from Decca Japan. 
( now in a double pack, cheap)


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## adriesba (Dec 30, 2019)

Rogerx said:


> She did a La fanciulla del West on Sony and I've got two wonderful recitals from Decca Japan.
> ( now in a double pack, cheap)


I can't find the _La Fanciulla_. Is it the Maazel one?


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## Rogerx (Apr 27, 2018)

adriesba said:


> I can't find the _La Fanciulla_. Is it the Maazel one?


You've got it in one! :cheers:


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## adriesba (Dec 30, 2019)

I don't see her in the list.


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## Rogerx (Apr 27, 2018)

adriesba said:


> I don't see her in the list.


Ooos.........................senior moment. 
I mean: Puccini* / Chiara* / King* / Prey* / Giuseppe Patanè - Madame Butterfly


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## adriesba (Dec 30, 2019)

Here is Chiara again. Is it just me, or does she sound a lot different here?


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## vivalagentenuova (Jun 11, 2019)

The maker of this YouTube video mistook Alessandro Valente for Caruso, so that's why Caruso's picture is up there. Personally, I don't think they sound much alike except that both have wonderfully free voices. Too me he sounds much more like Piccaver with an Italian accent. Valente made the first recording of Nessun dorma, which made him instantaneously famous, even though he had virtually no stage career, except in vaudeville. He was already 37 when this record was made, and although the record became well known he never really had a stage career afterwards either. It's a shame, as he was obviously absurdly gifted. He's clearly an example of a singer who had massive potential that never materialized beyond a few astonishing records.


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## Woodduck (Mar 17, 2014)

vivalagentenuova said:


> The maker of this YouTube video mistook Alessandro Valente for Caruso, so that's why Caruso's picture is up there. Personally, I don't think they sound much alike except that both have wonderfully free voices. Too me he sounds much more like Piccaver with an Italian accent. Valente made the first recording of Nessun dorma, which made him instantaneously famous, even though he had virtually no stage career, except in vaudeville. He was already 37 when this record was made, and although the record became well known he never really had a stage career afterwards either. It's a shame, as he was obviously absurdly gifted. He's clearly an example of a singer who had massive potential that never materialized beyond a few astonishing records.


Never heard of this guy. He does sound a lot like Piccaver. Too bad he didn't pursue a career.


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## Seattleoperafan (Mar 24, 2013)

adriesba said:


> I just discovered this Italian soprano Maria Chiara (Nov. 24th is her birthday).
> 
> Her discography is minimal, the most notable recording of hers is probably the Maazel _Aida_ on Decca.
> 
> ...


https://www.amazon.com/Verdi-Chiara...WFFMG09PNRQ&psc=1&refRID=47TN3RM8YWFFMG09PNRQ Here she is in Aida with Pavarotti and Dimitrova


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## adriesba (Dec 30, 2019)

Seattleoperafan said:


> https://www.amazon.com/Verdi-Chiara...WFFMG09PNRQ&psc=1&refRID=47TN3RM8YWFFMG09PNRQ Here she is in Aida with Pavarotti and Dimitrova


I'm curious how she sounds in this recording. In the "Senza mamma" video she sounds prettier than in the Aida video, not sure why.


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## Baritenor (Dec 13, 2015)

Has Eula Beal been mentioned in this thread by now? 

One of my all time favorites. I love her low but super flowery voice. 

What do you guys think of her and how does she compare to all time greats??


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## Op.123 (Mar 25, 2013)

I've been quite impressed by Ewa Plonka recently, she isn't flawless but this is a voice far more suited to dramatic roles like Turandot than Anna Netrebko. Needs some work in the lower registers, but good top.


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## Seattleoperafan (Mar 24, 2013)

6 ft dramatic soprano Lori Phillips was a really wonderful Turandot here with a beautiful dark timbred sound that sounded huge in the balcony. I am so surprised with the dearth of dramatic sopranos that she didnt perform more. She was a discovery of Speight Jenkins who had an eye for new talent. She sang here 10 years ago and 
haven't heard of her ever singing at the Met yet.


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## nina foresti (Mar 11, 2014)

Meghan Kasanders: What a great talent as yet underdiscovered by some of the higher venues. Vergogna!


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## Baritenor (Dec 13, 2015)

Baritenor said:


> Has Eula Beal been mentioned in this thread by now?
> 
> One of my all time favorites. I love her low but super flowery voice.
> 
> What do you guys think of her and how does she compare to all time greats??


Bump. Anyone at all?


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## Opera Classica (9 mo ago)

MarioDelMonacoViva said:


> That Callas/Bechi Nabucco is indeed marvellous. Gui's conducting is also on fire.
> 
> I think it can be safely said that most singers today have 'missed potential' - hardly any develop their voices enough, with Kaufmann, Netrebko, Garanca, Pape, Florez and Schrott as the most glaring examples.
> 
> For underrated singers, I would say the dramatic baritone Gianni Maffeo, who is completely unknown to most opera fans and for no good reason:


The reason is, He would have been competition for the people who were cashing in on having only their own "singers" sing. This is the scam system that destroyed the Opera World of the past where the most important thing was, the Opera Singer. Very easy to trace everything to the early 1970's and very easy to know who was at fault. First clue Gianni Maffeo was not allowed to sing at the Met.


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## BBSVK (10 mo ago)

The black singer Esther Hinds (soprano) and her sisters, I guess Ruby and Grace Hinds. Recently, youtube showed me the recording of Norma, where all three of them sang. The recording qualoity was bad at high notes, so I cannot be sure how good they were at those, but the voices were beautiful and the singers pretty looking, acting pleasant to watch. Esther also received some awards etc, but the recordings of her voice are very rare.


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