Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

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Music reviews of Donizetti's Lucia di Lammermoor: Complete Opera (with full libretto and translation)

Music Review: Sills is the BEST Lucia in history!!!
Rating: 5 Stars

Now to talk about Bev's technique which seems to be the topic of bashing from jealous long-time Sutherland fans who can't stand the thought of new recordings from Beverly being released that show Sutherland was not the best Lucia, Elvira (Puritani), Marie (daughter of the regiment), etc. And no, Sutherland did not have lightning fast staccati. Fast, yes, but not lightning. I've heard so many recordings from Sutherland, and they simply don't compare to Beverly's. Sutherland at her fastest is no match for Bev at her fastest. Listen to her performance of Fille Du Regiment on the live-performance label Opera D'oro. You'll agree that Sutherland was the dullest soprano ever to sing Marie, when compared to Beverly. And you'll see that Bev's singing in Fille, now THAT is lightning fast staccati (as well as the cleanest, fastest coloratura you'll ever hear). Examples of her unmatchable technique can be sampled in this compilation in the Mignon, doll song, and Manon gavotte pieces, and especially in the Linda piece. These show Bev at her best, and this is one time I agree with Sutherland fans: Beverly has the best fioritura this world has ever heard. As for high notes, Bev can match Sutherland up to a high F sharp if she wanted. She had em', she just wasn't in the best voice when recording the Lucia and Puritani (which seems to be the main reason for all this bashing). In Lucia, the high notes above high C were a bit pinched (and pray remember, Beverly had a smaller voice than Sutherland's to begin with...but then again if you spend a day swimming with a Blue whale, and get used to perceiving it's size, a humpback whale will appear small too). And in the Puritani selections, her vocal decline was already beginning. But you also have to remember, although the D's in "Vieni, vieni fra queste braccia" showed signs of strain, Bev sung them full-throated, and not in a smaller, glimmer note fashion, something no soprano has ever done. Some even transpose the whole thing down a whole step because of their incapabilities. To hear glorious high D's, listen to the gavotte from Manon, and to O luce di quest'anima (Linda). To hear rock-solid E flats, listen to the doll song. To hear dynamite E's, may I refer you back to her live performance of Fille du regiment, and to her Vorrei spiegarvi from her disc from the Singers series. And also, for Bev's explosive, solid high F's listen to her Der Holle Rache (Queen of the Night's vengeance aria), it's COMPLETELY AMAZING. And we can never forget her unparalleled recording of Cleopatra. If Sutherland were to sing this she would ruin the beautiful arias with her huge a** (substitute * with the letter that comes after "r") voice, and with poor vocal acting...never mind, the damage would be too great. Handel doesn't deserve it.
As for the claim that Bev is shrill, well, she had a tanginess, and sharpness to her voice naturally. So, yes, in the high notes, they are relatively shrill. As for having a small voice, I'll say it again. A blue whale dwarfs a humpback. Even Decca admitted that Sutherland had an uncommonly huge soprano (for a coloratura). So if you're used to hearing her, of course Bev's voice will seem "small". But in my opinion, it's a perfect size lyric-coloratura voice.

Ok, so Bev's got the fioritura, the high notes, and the staccati. So Sutherland fans, stop bashing, will ya??? Too often, it's not the recordings that get the bashing (now those if you feel inclined to bash, well, that's your own opinion, and you have the right to), but don't dare bash Sill's technical skills and call her an inferior arist! If you listen to the above mentioned recordings, such as the Fille, you'll hear THE best of her. While some of the recordings, such as the Lucia and Puritani do not show her at her absolute prime (which would be the 1960's recordings, and the Manon), they do exhibit a great artist with exceptional coloratura ability. And she could act too, physically on stage, and vocally. The previous reviewer did not even mention any of the content on THIS compilation, but instead took the liberty to praise Sutherland irrelevantly. I have to wonder whether the person even heard this album at all!

To sum up, Beverly Sills is the best coloratura ever, and these recordings help demonstrate! This collection would be even more complete had there been included perhaps something from Traviata (Violetta a signature role), and of course from Julius Caesar. But it's a small quibble. LISTEN first, and then judge. Chances are, you'll hear the glorious Art of Beverly Sills! And check out her complete recordings!

The fan from Louisiana needs to get a LIFE! He/she keeps bashing Sills' recordings persistently. I am tired of his/her hurtful reviews!

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