# Round Two: Ah, Non Giunge. Gruberova, Tetrazinni, Sutherland



## Seattleoperafan (Mar 24, 2013)

The winner will compete against Callas. We can discount the first round completely.


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## Op.123 (Mar 25, 2013)

Gruberova is horrible, Sutherland is good, Tetrazzini is wonderful!


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## nina foresti (Mar 11, 2014)

I've just never been a Gruberova fan and surprisingly I did not appreciate Sutherland's rendition. However, Tetrazzini really showed some interesting passages and even had a decent chest tone.
Of course, this is all so very unfair as in the back of my head I am requiring the way I wish it to be done by "the one whose name must not be mentioned."


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## Woodduck (Mar 17, 2014)

What key is this written in? Gruberova seems to sing it in B, Sutherland in Bb, and Tetrazzini in I don't know what. 

Gruberova is playing to the high note crowd with numerous high Es and even a climactic F#. I could do without the show-offery even if she made a nicer sound. The tempo is fast and she can handle it, but it all feels frantic and vulgar. Sutherland is less irritating, though not interesting (or maybe I'm just not interested). Tetrazzini omits the high Eb and descending scale - isn't it in the score? - and does some other variants. She wins on sheer voice, so I needn't waste any more time on this earworm breeder.


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## Seattleoperafan (Mar 24, 2013)

I much prefer this version from her mid 50's by Sutherland with 9 staccato high Eb's. Most of you run from her after the Art of the Prima Donna though. She is much more exciting here. This is one of my favorite Tetrazzini's.


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## MAS (Apr 15, 2015)

No need to waste time on Gruberova or Sutherland, Tetrazzini for me


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## BBSVK (10 mo ago)

It's pretty hard to keep an open mind here. I attended a fantastic lecture series on Bellini, and our charming teacher showcased Sutherland as the perfection itself for this cabaletta. So all I can do is vote for her. But I will have some additional comments:

Gruberova - I finally understand, what the big deal about her is ! I have always felt I am supposed to patriotically love her, only I didn't. As usual, it is the matter of the right recording. She gives me almost exactly what I want from this aria, only towards the end, she produces some kind of gargling sound, which she luckily abandons at the very end. And her voice is a little too high pitched, not her fault obviously.

Tetrazzini - a very unusual interpretation for me, but I am learning from TC there has been a period of time when singers played with the tempi more. It is very interesting and joyful, in spite of a sometimes slower speed. I also like the moments, when her voice sounds deeper.

Sutherland - a standard classic for me, as described above. I even became a little bored on the second listen, because this is the canonic way I know it. Also, those ornaments are little too many in the end, I know the cabaletta is a place to do them, but still. Should I commit a heresy and vote for someone else ? No, I can't do that, but I really like all three.


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## Seattleoperafan (Mar 24, 2013)

BBSVK said:


> It's pretty hard to keep an open mind here. I attended a fantastic lecture series on Bellini, and our charming teacher showcased Sutherland as the perfection itself for this cabaletta. So all I can do is vote for her. But I will have some additional comments:
> 
> Gruberova - I finally understand, what the big deal about her is ! I have always felt I am supposed to patriotically love her, only I didn't. As usual, it is the matter of the right recording. She gives me almost exactly what I want from this aria, only towards the end, she produces some kind of gargling sound, which she luckily abandons at the very end. And her voice is a little too high pitched, not her fault obviously.
> 
> ...


"I really like all three"... music to my ears. Tetrazinni had a huge voice. She sang to the largest crowd ever for an opera singer without a mic- 100,000 in SF.


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## Tsaraslondon (Nov 7, 2013)

Woodduck said:


> What key is this written in? Gruberova seems to sing it in B, Sutherland in Bb, and Tetrazzini in I don't know what.
> 
> Gruberova is playing to the high note crowd with numerous high Es and even a climactic F#. I could do without the show-offery even if she made a nicer sound. The tempo is fast and she can handle it, but it all feels frantic and vulgar. Sutherland is less irritating, though not interesting (or maybe I'm just not interested). Tetrazzini omits the high Eb and descending scale - isn't it in the score? - and does some other variants. She wins on sheer voice, so I needn't waste any more time on this earworm breeder.


I'm pretty sure it's in Bb. I don't know what's actually written in the score, but Callas sang a completely different set of variants in 1955 under Bernstein than she did in all her 1957 performances. She only does the Eb and descending scale in 1957, but the ornaments that Bernstein gave her in 1955 are unbeliavably intricate.


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## Tsaraslondon (Nov 7, 2013)

I didn't like Grubertova at all. Sutherland isn't bad obviously, but she didn't thrill me. Tetrazzini did, so she gets my vote.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I'm pretty sure it's in Bb. I don't know what's actually written in the score, but Callas sang a completely different set of variants in 1955 under Bernstein than she did in all her 1957 performances. She only does the Eb and descending scale in 1957, but the ornaments that Bernstein gave her in 1955 are unbeliavably intricate.


Is that normal for a conductor to give ornaments to a diva for her to sing. I thought they brought their own.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> Is that normal for a conductor to give ornaments to a diva for her to sing. I thought they brought their own.


Callas always said it was a joint thing and that they would discuss them together. I suppose it might also depend on the conductor. I'm sure Bonynge would have suggested most of Sutherland's ornamentation.


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