Sorge il tremendo fantasma
POSTED at
9:14 PM
15 November 2007
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23 Comments:
I think it's an Anglophone singer, for some reason. Dame Joan Hammond??
Why it's miss Sarah Brightman herself...I imagine she is singing this while floating above the stage in a see-through spandex Mermaid outfit.
EASY: Sarah Brightman, I own this recording, which was made live and it was in print for a long time. The diction is atrocious but with good coaching and Italian lessons she could've been turned into a decent opera singer.
Whoever she is, she sounds like she's singing with a mouth full of marbles.
If it's Miss Brightman, maybe it's not so much a mouthful of marbles as a mouthful of Andrew Lloyd Webber. (Sorge il tremendo something else ...?)
Her 'soft-palatal' sound was always rather repulsive. Even when she lost her heart to a Starship Trooper.
Can the folks who identified Sarah Brightman tell us when this recording was made, if it is commercially available and if possible, an Amazon link?
Although I usually abhor most crossover acts, I have to confess that I've always had a soft spot for Ms Brightman. It was her and the 3 Tenors that graudually developed a taste for mainstream opera in me, although once I've adapted to the 'real' thing I've stopped listening to these acts altogether. Still, I'm living proof that the 3 Tenors projects have converted new opera fans, and I remained wowed by Sarah's ability to sing and do mid-air backflips simultaneously.
Steven
The Mad Scene
I know this person - who like many of his children will remain nameless - who does a perfectly politically incorrect impersonation of la devina Sarah. Protruding teeth, slight Sylvester the Catish speach, she attributes her success to f...g with ALW and a good divorce lawyer and she bemoanst he sad fact that she can only get Andrea Bocelli to sing love duets with her.
As I say its total unPC but when enough wine has been consumed and the atmosphere is right it wows the punters.
Um she's singing almost a half tone flat. Horrible.
Wow! If that really is Sarah Brightman I hang my head in shame for all the brickbats I have thrown at her.
I actually think she has a lovely (not opera trained) voice with potential.
(running for cover...)
so very clearly Sarah brightman although considering the source I must say the coloratura's not horrific
-Primodon1
Isn't that what we're told we want to hear in a soprano? An immediately identifiable timbre.
Suck on that one.
don't laugh, but my first reaction was Joanie S., but then i thought, it couldn't be her.
At least I was right on "Anglophone"!
It's MARGARET JUNTWAIT of course! When bel canto didn't work out, she chose the next best thing!
It sounds strangely matronly, yet entirely plausible! That being said, cuts are a good thing. As are choruses and real trills and high D's
I think legato should be added to Chacowhacko's list. That being said, for her I'm way impressed.
La Cieca,
I see you got my email. I really dont know what to label this. ''dementia'' or ''what could have been''. From what I understand, this was recorded in 1995 in a concert given in Japan. SHe definately had it in her to be something she isnt now, but the world will never know. I agree with the previous post stating how Sarah opened up ''opera conciousness'' in me (if that even is a term). I was a sarah-phile before I knew any better, but I will still buy her records and attend those over-the-top concerts because without Sarah, my opera-listening career would be non-existant. Thank you, ''Diva''.
Brightman HAS had classical training. At least back in the mid-1990s, she was studying with Ellen Faull )http://efgcompetition.tripod.com/AVI_intr.htm). On two occasions she and Ms. Faull were at the table next to me - in the Met cafeteria and at another Met Opera event.
I would have never guess Brightman but now that I know it's her, I can hear the sound.
Interestingly, I didn't find the timbre to be particularly interesting or attractive. It's a nice, light voice with an easy facility for high notes, especially when sung as part of a scale, though her coloratura is sloppy at times. It's missing a trill and that cadenza moment at the end (with no D, despite the anticipation created) is tacky. I also found some of her attacks on the acuti ugly.
As for her Italian, I admit that I don't speak the language. But I thought that she did a credible job. In fact, I was impressed by how diligent she was with her consonants.
When I didn't know who the soprano was, I thought it was OK. But I have to say that, for Brightman, I'm somewhat impressed.
Are you kidding me? The first note is under pitch. Singing the notes in tune is like, the BASE MINIMUM requirement for making music. If you can't even sing in tune, you aren't yet making music. This is totally embarrassing and horrible in every way.
LIsa and Ms Creant- you are way off base. Joan Hammond was a great artist in her time and way over anything Ms Brightman could do - and Ms Creant- when you say "Joannie?" you can't mean.... cos if you did it is too stupid to even comment on.
I thought it was Dolora Zajick making fun of Anna Moffo. Turns out it was Sarah Brightman making fun of Anna Moffo.
Trying desperately to remember if the Dame Joan (something) I have, who isn't Sutherland, is Cross or Hammond. It is good solid singing, not what I would call great. So my guess may simply have been confused.
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