# ‘D’amor sull’ali rosee’ challenge



## Op.123 (Mar 25, 2013)

Leontyne Price

@9:05





Zinka Milanov






Montserrat Caballé






Rosa Ponselle






Iva Pacetti


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## Op.123 (Mar 25, 2013)

I thought I’d do one more of these. I chose not to include Callas as I know her earlier ‘live’ interpretations of this aria would win by a landslide and didn’t want to use her studio recording which is less steady despite being a moving interpretation. All of these sopranos impress me, but I have to give it to Milanov who never sounded better than on this recording.


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## Shaafee Shameem (Aug 4, 2021)

Ponselle is magnificent! So young(just 22), and such fluid legato, the best trills here, great sense of phrasing and dynamics! Perhaps Milanov and Caballe may execute the dolce notes more 'dolce', yet Ponselle triumphs, as only she has all the tricks demanded by this aria in her arsenal!


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## MAS (Apr 15, 2015)

Too bad Price's video is in such poor sound. Her voice sounds very fluttery as recorded - this is one of her signature roles and, in the house, it was a miraculous sound.

Milanov, as usual displays her voice for all to hear; she sounds ideal for the part and gives us wonderful _pianissimi_, but it all sounds mechanical.

I was surprised at how dark Caballe's voice sounds here and as usual, she overdoes the _pianissimo_ effects; whenever the line gets too difficult, she resorts to a _pianissimo_. They're gorgeous, of course. Elsewhere she slithers in some of the more florid passages, manages to fake trills and invent a meandering cadenza (at least one I haven't heard).

Ponselle starts with a gorgeous voice, sings everything practically perfect in every way but, to my mind rather mechanically. She finds a note she likes and seems to extends its value ( 2:31). Great trills. I really don't like the way she sings high notes, whitely and non-propulsively.

Pacetti doesn't belong in this company. No trills, sketchy coloratura and a voice that is of a smaller caliber than necessary.

I'm not sure who to vote for yet.

P.S. Update: I finally voted for Ponselle, though I find her version lacking; the others have more deficit points for various reasons. Zinka a close second - she did, after all, sing the role frequently at the Metropolitan Opera; it was "her" role. I couldn't vote for Leontyne Price even though hers was a famous assumption: I hear all of the later faults in her vocalism and she doesn't grab me in this video.


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## nina foresti (Mar 11, 2014)

John, is that the new you? I like your new user name.
THis was another brain twizzler because when I first started loving opera Price was the Queen Bee of this aria and no one could touch her except u no hoo. And I still think her rendition is superb but ... look how time changes one.

Of course I am adding Sondra Radvanovsky because she has a way with expressing herself that is outstanding and her high notes are simply exquisite.
But of this group, who all have their usual pluses (and minuses), the one that gives it the most passion and unique delivery to me far and away is Rosa Ponselle.


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## nina foresti (Mar 11, 2014)

Having read Mas' post now I must admit that I wanted to tweak Ponselle's "white" highs which contain some steely sounds and certainly are no match for either Milanov or Caballe.
But Ponselle adds such interesting delivery that to me it sounded like she was more involved than most of the others but Price.


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## nina foresti (Mar 11, 2014)

OP. 123
It says I already voted on this poll. When? I don't recall doing so but I'll bet if it was posted before and I did do it I voted Price.
"'Is a puzzlement" said the King.


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## MAS (Apr 15, 2015)

nina foresti said:


> John, is that the new you? I like your new user name.
> THis was another brain twizzler because when I first started loving opera Price was the Queen Bee of this aria and no one could touch her except u no hoo. And I still think her rendition is superb but ... look how time changes one.
> 
> Of course I am adding Sondra Radvanovsky because she has a way with expressing herself that is outstanding and her high notes are simply exquisite.
> But of this group, who all have their usual pluses (and minuses), the one that gives it the most passion and unique delivery to me is far and away is Rosa Ponselle.


Nina, I also think that Radvanovsky is the best modern proponent of the role of the *Trovatore* Leonora. I prefer her singing of this aria to most of these ladies on the list. She sang it San Francisco and it was perfection.


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## Shaafee Shameem (Aug 4, 2021)

MAS said:


> Too bad Price's video is in such poor sound. Her voice sounds very fluttery as recorded - this is one of her signature roles and, in the house, it was a miraculous sound.
> 
> Milanov, as usual displays her voice for all to hear; she sounds ideal for the part and gives us wonderful _pianissimi_, but it all sounds mechanical.
> 
> ...


Pacetti was a dramatic soprano. Her repertoire included Santuzza, Aida, Minnie, Norma, Turandot, Elisabeth(Tannhäuser), Maddalena, the Dyer's wife, Tosca, Fidelio, Elisabetta(Don Carlo), Abigaille, Imogene(Il Pirata), all dramatic roles. I think only Ponselle, here, has a larger voice than her.


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## MAS (Apr 15, 2015)

Shaafee Shameem said:


> Pacetti was a dramatic soprano. Her repertoire included Santuzza, Aida, Minnie, Norma, Turandot, Elisabeth(Tannhäuser), Maddalena, the Dyer's wife, Tosca, Fidelio, Elisabetta(Don Carlo), Abigaille, Imogene(Il Pirata), all dramatic roles. I think only Ponselle, here, has a larger voice than her.


It's not evident in the recording. The voice doesn't seem to have amplitude or darkness that I associate with a dramatic soprano. She may have been a lyric that sang dramatic soprano repertoire (like Maria Chiara or, eventually, Katia Ricciarelli).


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## Shaafee Shameem (Aug 4, 2021)

MAS said:


> It's not evident in the recording. The voice doesn't seem to have amplitude or darkness that I associate with a dramatic soprano. She may have been a lyric that sang dramatic soprano repertoire (like Maria Chiara or, eventually, Katia Ricciarelli).


She does sound lighter than she usually doea in this recording, but even so the voice still seems darker and stronger particularly in the lower middle comparing to lyrics like Caballe and Price. How about this one?




She sounds darker and fuller here, with great low notes.


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## MAS (Apr 15, 2015)

Shaafee Shameem said:


> She does sound lighter than she usually doea in this recording, but even so the voice still seems darker and stronger particularly in the lower middle comparing to lyrics like Caballe and Price. How about this one?
> 
> 
> 
> ...


Sorry, I don't buy it - she goes cautiously into the lower register, hardly in the chest and, to me, doesn't sound like a dramatic soprano at all. But it's just my opinion, or my preference?


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## ALT (Mar 1, 2021)

My vote goes to Pacetti. Next down, Ponselle.


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> John, is that the new you? I like your new user name.
> THis was another brain twizzler because when I first started loving opera Price was the Queen Bee of this aria and no one could touch her except u no hoo. And I still think her rendition is superb but ... look how time changes one.
> 
> Of course I am adding Sondra Radvanovsky because she has a way with expressing herself that is outstanding and her high notes are simply exquisite.
> But of this group, who all have their usual pluses (and minuses), the one that gives it the most passion and unique delivery to me far and away is Rosa Ponselle.


It is a contest free for all. No one seems to be able to post any contests except sopranos when it is the men I need help on in creating contests, and they need contests . I will post only soprano arias for a while or i will never get to do any I 
have planned. I don't think contests should have five contestants like every one else does unless it is a very short aria as most don't have the time to listen to so much. We already did a contest of this aria by Bonetan.


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## nina foresti (Mar 11, 2014)

Seattleoperafan said:


> It is a contest free for all. No one seems to be able to post any contests except sopranos when it is the men I need help on in creating contests, and they need contests . I will post only soprano arias for a while or i will never get to do any I
> have planned. I don't think contests should have five contestants like every one else does unless it is a very short aria as most don't have the time to listen to so much. We already did a contest of this aria by Bonetan.


Now I am completely confused. I see that Op123 is not my dear Seattleoperafan.
Anyway, being a tenor lover first I would be more than happy to help you with your wish. Why not start with my favorite tenor aria, "Kuda, kuda?" (Even Shicoff does a good one.):lol:
Why not consider Mario Lanza who sings gorgeous tenor arias and is a neat contender. (I figure if Barbra can sneak in there why not Mario?)


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Now I am completely confused. I see that Op123 is not my dear Seattleoperafan.
> Anyway, being a tenor lover first I would be more than happy to help you with your wish. Why not start with my favorite tenor aria, "Kuda, kuda?" (Even Shicoff does a good one.):lol:
> Why not consider Mario Lanza who sings gorgeous tenor arias and is a neat contender. (I figure if Barbra can sneak in there why not Mario?)


I am set with tenors for a while as I have been very busy. I will check with you later when I'm getting low. Lower voices are more work for me. So you think Lanza is good for contests even though he was mainly a movie star???


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## MAS (Apr 15, 2015)

MAS said:


> Sorry, I don't buy it - she goes cautiously into the lower register, hardly in the chest and, to me, doesn't sound like a dramatic soprano at all. But it's just my opinion, or my preference?


@Shaafe Schameen

In the book *The Last Prima Donnas*, author Lanfranco Rasponi writes about Iva Pacetti:"Among the great dramatic sopranos Italy produced in the 1920s and 1930s, Iva Pacetti stood out…," etc.

So, I stand corrected, but immovable! :lol:


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## Op.123 (Mar 25, 2013)

nina foresti said:


> Now I am completely confused. I see that Op123 is not my dear Seattleoperafan.
> Anyway, being a tenor lover first I would be more than happy to help you with your wish. Why not start with my favorite tenor aria, "Kuda, kuda?" (Even Shicoff does a good one.):lol:
> Why not consider Mario Lanza who sings gorgeous tenor arias and is a neat contender. (I figure if Barbra can sneak in there why not Mario?)


Sorry, no I'm just jumping on the band-wagon haha. I like SeattleOperaFans contests very much and thought I'd do a couple. If I do another I'll make sure it's a bass one I've not seen many of those.


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## ALT (Mar 1, 2021)

nina foresti said:


> Why not consider Mario Lanza who sings gorgeous tenor arias and is a neat contender. (I figure if Barbra can sneak in there why not Mario?)


Because Lanza was NOT an opera singer. Never was. Never could be.


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## nina foresti (Mar 11, 2014)

Op.123 said:


> Sorry, no I'm just jumping on the band-wagon haha. I like SeattleOperaFans contests very much and thought I'd do a couple. If I do another I'll make sure it's a bass one I've not seen many of those.


Aha! Thanks for clearing my feeble brain.
For basses please consider Gremin's aria from _Eugene Onegin_. It brings tears to my eyes every time I hear it. Another beauty is "Ella giammai m'amo" from _Don Carlo_.


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## Tsaraslondon (Nov 7, 2013)

Ponselle is the only singer to have a proper trill, which gives her a head start as far as I'm concerned. Are there other Ponselle performances out there? I'm sure I've heard her more engaged. However I still liked her performance the best.

Milanov sings the end exquisitely, except for a rather ill defined trill, but doesn't seem very interested in the rest of it. As usual, I find her dull.

The sound on the Price is so wretched it's hard to hear just what is going on. There are much better recorded performances of her singing what was one of her signature roles.

Caballé surprised me. The voice sounds darker than usual, but she is fully engaged. Her trills are as usual a bit hit or miss, though she manages a fine one towards the end. Hers was my next favourite after Ponselle.

Pacetti was ok, but she doesn't really have a trill and the trills in this aria are really important.


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## The Conte (May 31, 2015)

One of the best things about these contests is how surprising the results can be on listening compared to my preconceived ideas. I would have guessed that my order would be:

1) Ponselle
2) Price
3) Pacetti/Caballe
4) Milanov

Price's lush sound is gorgeously luxurious, but I preferred all the others above her version. Ponselle's perfect technique and contraltoish dark sound would normally make her the outright winner. However, I prefer her later recording as she is more involved than in this one. Milanov and Caballe surprised me as I thought they would be towards the bottom, but Price is my least favourite here.

I suspect that other recordings of this aria by Ponselle and Price show them in a better light and we probably have the best versions of this aria by Caballe and Milanov. Pacetti is very good, but is a little behind the rest.

This is a tough one, but Ponselle gets it.

N.


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## nina foresti (Mar 11, 2014)

Tsaraslondon said:


> Ponselle is the only singer to have a proper trill, which gives her a head start as far as I'm concerned. Are there other Ponselle performances out there? I'm sure I've heard her more engaged. However I still liked her performance the best.
> 
> Milanov sings the end exquisitely, except for a rather ill defined trill, but doesn't seem very interested in the rest of it. As usual, I find her dull.
> 
> ...


You expressed my points exactly (and saved me all that typing time -- thanks!) )


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> One of the best things about these contests is how surprising the results can be on listening compared to my preconceived ideas. I would have guessed that my order would be:
> 
> 1) Ponselle
> 2) Price
> ...


Ponselle only recorded one version as far as Youtube is concerned and it was 1918, when she was 21. Can you imagine any other 21 year old singing like this!!!!!!!???????????? Perhaps only Maria could have done so. Still, Suicidio and Casta Diva, which are such well rounded performances, were recorded after she had some time to mature as an artist. She became one of the great interpreters with time.
Price on her Verdi album sings this with breathtaking beauty but indifferent interpretation. Milanov had one of the greatest Verdi voices of all time, but was never much of an interpreter. You also have to consider Milanov was mostly a pre Callas career so tastes changed. She must have been something to hear live with that set of pipes, though. Both Callas versions that I know of are great, but her early one finds her in incredible vocal form and the only real contender with Ponselle. I think Callas has the interpretive edge and sings with such musical precision.


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## The Conte (May 31, 2015)

Seattleoperafan said:


> Ponselle only recorded one version as far as Youtube is concerned and it was 1918, when she was 21. Can you imagine any other 21 year old singing like this!!!!!!!???????????? Perhaps only Maria could have done so. Still, Suicidio and Casta Diva, which are such well rounded performances, were recorded after she had some time to mature as an artist. She became one of the great interpreters with time.
> Price on her Verdi album sings this with breathtaking beauty but indifferent interpretation. Milanov had one of the greatest Verdi voices of all time, but was never much of an interpreter. You also have to consider Milanov was mostly a pre Callas career so tastes changed. She must have been something to hear live with that set of pipes, though. Both Callas versions that I know of are great, but her early one finds her in incredible vocal form and the only real contender with Ponselle. I think Callas has the interpretive edge and sings with such musical precision.


I agree. My apologies, you are correct, Ponselle didn't record this Trovatore aria again (I wonder why? She recorded other Verdi arias more than once.) I was thinking about the Miserere, where her interpretation is deeper than here.

N.


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## Seattleoperafan (Mar 24, 2013)

The Conte said:


> I agree. My apologies, you are correct, Ponselle didn't record this Trovatore aria again (I wonder why? She recorded other Verdi arias more than once.) I was thinking about the Miserere, where her interpretation is deeper than here.
> 
> N.


With the greats Ponselle and Callas, dates matter. It is easy to forget.


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## The Conte (May 31, 2015)

Seattleoperafan said:


> With the greats Ponselle and Callas, dates matter. It is easy to forget.


Absolutely, it was a senior moment where I was thinking of one piece and getting it confused with another! (It doesn't help that I tend to think of the scene up to and including the Miserere as one long aria for Leonora!)

Even young Ponselle was superior to the others in this contest in any case.

N.


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## ScottK (Dec 23, 2021)

"To piannissimo or not to piannissimo....." And once again, how great is this forum? In a couple of days I've heard Cerquetti, Dimitrova, Cigna, Turner and Pacetti all for the first time. All just names before and all fabulous singers.

To my ear, no one was not engaged with the song and no one was eye-opening in terms of interpretation. Ponselle and Milanov felt slower and since they weren't too slow, that gave their renditions added weight. But, to me they pretty much sang it the same with the one huge difference - for this aria - being that the names Ponselle, Milanov and Caballe are at the top of the mountain for spinning out those ravishing piannissimi.

There is one other major difference, to me. I find that Ponselle, like her mentor Caruso, was blessed with one of those sounds that simply hits my ear as being emotionally involved from the first note. I'm not saying she didn't also commit to the song but something, maybe a darkness in the voice, conveys that impression. Christoff and Schipa can give me the same impression.
And because of that, and the fact that the sound is luscious she gets my vote.


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## ScottK (Dec 23, 2021)

ALT said:


> Because Lanza was NOT an opera singer. Never was. Never could be.


You don't think that he had the basic goods, with proper training and preparation, to have been a full fledged opera singer?


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## Azol (Jan 25, 2015)

From my least favorite (Patria mia) to my best favorite (D’amor sull’ali rosee)!
To be honest, I voted for Price. The sound is not great, but I'm sure I can hear a proper trill there and the singing is emotional and thrilling. Those (relatively) early Price performances are priceless (see what I did there?)
Without you-know-who's touchstone version of this aria, Leontyne Price is my best bet.

Oh, and I feel obliged to at least say a word why not Ponselle... I find her just too refined a lady... the singing is glorious but it really does not moves me... I think of Gilda, not Leonore.


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## ScottK (Dec 23, 2021)

nina foresti said:


> Aha! Thanks for clearing my feeble brain.
> For basses please consider Gremin's aria from _Eugene Onegin_. It brings tears to my eyes every time I hear it. Another beauty is "Ella giammai m'amo" from _Don Carlo_.


I'll add a vote for Ella Giammai m'amo !


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> Aha! Thanks for clearing my feeble brain.
> For basses please consider Gremin's aria from _Eugene Onegin_. It brings tears to my eyes every time I hear it. Another beauty is "Ella giammai m'amo" from _Don Carlo_.


I put them in the list.


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## Shaafee Shameem (Aug 4, 2021)

Azol said:


> From my least favorite (Patria mia) to my best favorite (D'amor sull'ali rosee)!
> To be honest, I voted for Price. The sound is not great, but I'm sure I can hear a proper trill there and the singing is emotional and thrilling. Those (relatively) early Price performances are priceless (see what I did there?)
> Without you-know-who's touchstone version of this aria, Leontyne Price is my best bet.
> 
> Oh, and I feel obliged to at least say a word why not Ponselle... I find her just too refined a lady... the singing is glorious but it really does not moves me... I think of Gilda, not Leonore.


But Leonora is a noble woman, isn't she? Gilda on the other hand is the daughter of a jester. Leonora must be refined.


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## Azol (Jan 25, 2015)

Shaafee Shameem said:


> But Leonora is a noble woman, isn't she? Gilda on the other hand is the daughter of a jester. Leonora must be refined.


A valid point no doubt but I come back to this whole scene (Miserere follows and don't forget frequently omitted cabaletta) exclusively to hear one of the best "damsel in distress" opera has to offer. I don't hear anything of the sort in this case!


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## Shaafee Shameem (Aug 4, 2021)

Azol said:


> A valid point no doubt but I come back to this whole scene (Miserere follows and don't forget frequently omitted cabaletta) exclusively to hear one of the best "damsel in distress" opera has to offer. I don't hear anything of the sort in this case!


Again I don't see how she is a damsel in distress, because it is Leonora who saves Manrico, not the other way around, by offering herself to the count, killing herself afterwards by drinking poison. She is the bravest of the characters, and the noblest as well.


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## eblackadder (10 mo ago)

Ponselle certainly.


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## Francasacchi (7 mo ago)

Shaafee Shameem said:


> Pacetti was a dramatic soprano. Her repertoire included Santuzza, Aida, Minnie, Norma, Turandot, Elisabeth(Tannhäuser), Maddalena, the Dyer's wife, Tosca, Fidelio, Elisabetta(Don Carlo), Abigaille, Imogene(Il Pirata), all dramatic roles. I think only Ponselle, here, has a larger voice than her.


Pacetti was one of the few sopranos to sing Norma, Isolde, and Turandot. She must have had vocal cords of steel given her repertoire. The live excerpts from FROSCH at its Italian premier at La Scala show her soaring over the orchestra. She did not do well at Covent Garden (critics found her shrill) and there's an edge, but what a rich personal timbre.


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## Woodduck (Mar 17, 2014)

If I listen to this five times I'll have an earworm day and night until the next contest replaces it.


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## Shaafee Shameem (Aug 4, 2021)

Francasacchi said:


> Pacetti was one of the few sopranos to sing Norma, Isolde, and Turandot. She must have had vocal cords of steel given her repertoire. The live excerpts from FROSCH at its Italian premier at La Scala show her soaring over the orchestra. She did not do well at Covent Garden (critics found her shrill) and there's an edge, but what a rich personal timbre.


I didn’t know that she sang Isolde. I knew about the FROSCH though. Although not many sang all 3 of the roles you mention, a number of them have sung 2 of them. Raisa sang Norma and Turandot, could’ve sung Isolde as well. Mazzoleni amd most of the Wagnerians before Flagstad sang Norma and Isolde. Turner sang Isolde and Turandot, and was supposed to sing Norma, though unfortunately, it didn’t happen for some reason. If Turandot had been composed earlier, I suppose there would’ve been many who sang all 3. By 1924, sopranos weren’t as versatile as before.


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## Seattleoperafan (Mar 24, 2013)

Shaafee Shameem said:


> I didn’t know that she sang Isolde. I knew about the FROSCH though. Although not many sang all 3 of the roles you mention, a number of them have sung 2 of them. Raisa sang Norma and Turandot, could’ve sung Isolde as well. Mazzoleni amd most of the Wagnerians before Flagstad sang Norma and Isolde. Turner sang Isolde and Turandot, and was supposed to sing Norma, though unfortunately, it didn’t happen for some reason. If Turandot had been composed earlier, I suppose there would’ve been many who sang all 3. By 1924, sopranos weren’t as versatile as before.


Well there was Caballe, who sang Norma, Isolde and Turandot and I have to say to my Seattle ears her Isolde's Curse was not half bad.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> Well there was Caballe, who sang Norma, Isolde and Turandot and I have to say to my Seattle ears her Isolde's Curse was not half bad.


Callas sang all three roles during her Italian heyday, but gave up both Isolde and Turandot by 1950, keeping only *Norma *in her repertoire which she sang until the end of her stage career.


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## Shaafee Shameem (Aug 4, 2021)

Seattleoperafan said:


> Well there was Caballe, who sang Norma, Isolde and Turandot and I have to say to my Seattle ears her Isolde's Curse was not half bad.


Oh yes, I forgot, Caballe sang 88 roles, and explored all the repertories possible in the 80s, when she was unfortunately past her prime. Still as you say she has some great moments even then.


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## Shaafee Shameem (Aug 4, 2021)

MAS said:


> Callas sang all three roles during her Italian heyday, but gave up both Isolde and Turandot by 1950, keeping only *Norma *in her repertoire which she sang until the end of her stage career.


I’m not 100 percent sure of this, but I remember reading somewhere that Callas never really gave up the wagnerian roles from her repertoire, like she did with Turandot, Gioconda and Aida. She was supposed to sing Parsifal in 1956 with Kleiber, but due to his indisposition, it was changed to Fedora. I think there were some plans to sing Isolde sometime in the mid or late 50s as well.


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## Tsaraslondon (Nov 7, 2013)

Shaafee Shameem said:


> I’m not 100 percent sure of this, but I remember reading somewhere that Callas never really gave up the wagnerian roles from her repertoire, like she did with Turandot, Gioconda and Aida. She was supposed to sing Parsifal in 1956 with Kleiber, but due to his indisposition, it was changed to Fedora. I think there were some plans to sing Isolde sometime in the mid or late 50s as well.


There could be some truth in this. I know Parsifal was definitely planned, but she did revisit Isolde's Liebestod at the Athens concert of 1957. Maybe she was considering doing the whole opera again.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> There could be some truth in this. I know Parsifal was definitely planned, but she did revisit Isolde's Liebestod at the Athens concert of 1957. Maybe she was considering doing the whole opera again.


I recall hearing that 1957 Liebestod and finding it unsatisfying, definitely less attractive than her 1949 studio recording. But the idea of the later Callas returning to Kundry makes me salivate. Had she worked on her German she might have been a revelation in this most enigmatic role, as she already was to a degree in 1951.


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## Francasacchi (7 mo ago)

There was some talk of Callas singing Ortrud to the Elsa of Elisabeth Schwarzkopf, Klemperer conducting, early 60s. Now that would have been interesting. Though I can't see Callas even at that time consenting to do the "seconda donna" part.


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## Viardots (Oct 4, 2014)

Shaafee Shameem said:


> I’m not 100 percent sure of this, but I remember reading somewhere that Callas never really gave up the wagnerian roles from her repertoire, like she did with Turandot, Gioconda and Aida. She was supposed to sing Parsifal in 1956 with Kleiber, but *due to his indisposition*, it was changed to Fedora. I think there were some plans to sing Isolde sometime in the mid or late 50s as well.


The reason for the replacement of the planned _Parsifal_ with _Fedora_ was much, much more serious than mere "indisposition" - Erich Kleiber's sudden, untimely death on 27 January 1956 (he was very much active up to then and had in fact conducted a broadcast concert with the Köln Radio Symphony Orchestra on 20 January 1956, just a week before his death). Callas had enjoyed working with Kleiber senior in 1951 during the Maggio Musicale Fiorentino for _Vespri siciliani _and the world premiere of Haydn's _Orfeo ed Euridice _and probably wished to collaborate with him again, hence the plan for _Parsifal_ at La Scala. With Kleiber senior out of the picture, La Scala could have as well find another conductor, but what happened was that the plan was abandoned altogether, so it was possibly that Callas lost whatever motivation to take up the role again after the death of Kleiber senior.


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