{"id":47165,"date":"2024-09-11T16:10:00","date_gmt":"2024-09-11T14:10:00","guid":{"rendered":"http:\/\/64630528-31b3-4f1c-aad0-d5c2274ceac9"},"modified":"2024-09-11T17:07:21","modified_gmt":"2024-09-11T15:07:21","slug":"from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom\/","title":{"rendered":"From Leontyne Price to Maria Callas, these are the 20 greatest sopranos of all time &#8211; and their words of wisdom"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Wednesday, 11 September 2024 at 14:10 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>Read on for our introduction to the greatest sopranos of all time.. <\/p><p>Why the soprano? Most of us would agree that she occupies a very powerful place in classical music. From an imperious onstage presence to an often similar personality offstage, the great diva has an air of daunting mystery about her.<\/p><p>And while it may be less so these days, the best soprano can occupy the same pedestal as many Hollywood actors. We worship and adore them for who they are and what they do, but we\u2019re ultimately petrified of them.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Lucia Popp -- The Queen of the Night, 1964\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/pDUyA-fVie8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>So who are \u2013 or were \u2013 the most magnificent sopranos of all time? A tricky one, to be sure. When we asked 22 major opera critics for their top ten sopranos our final list contained over 90 different singers.<\/p><p>Many names, of course, were instantly recognisable, a large number no longer alive and several were what you might call \u2018forgotten gems\u2019. Now, you\u2019ll find out which have meant the most to them, excited them and moved them. So sit back and let the show begin as we list the greatest sopranos of all time. And if you need a refresher on the various different <strong><a href=\"https:\/\/www.classical-music.com\/articles\/classical-voice-types\">classical voice types<\/a><\/strong>, we&#8217;ve got you covered. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/articles\/what-soprano\/\">What is a soprano?<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/20-greatest-tenors-all-time\/\">The 20 Greatest Tenors of all Time<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\">Contents<\/h2><ul><li><strong><a href=\"#sopranos20-16\">Greatest sopranos: counting down from numbers 20 to 16<\/a><\/strong><\/li><li><strong><a href=\"#sopranos15-11\">15 to 11<\/a><\/strong><\/li><li><strong><a href=\"#sopranos10-6\">10 to 6<\/a><\/strong><\/li><li><strong><a href=\"#sopranos5-2\">5 to 2<\/a><\/strong><\/li><li><strong><a href=\"#greatestsoprano\">And the greatest soprano of all is&#8230;<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"sopranos20-16\">Greatest sopranos: 20 to 16<\/h2><h3 class=\"wp-block-heading\" id=\"h-20-elly-ameling-b1933\"><strong>20. Elly Ameling (b. 1933)<\/strong><\/h3><p>In 20th position is Elly Ameling. Born in Rotterdam in 1933, the legendary Dutch soprano charmed audiences worldwide with her Lieder recitals for over four decades, before retiring to teach.<\/p><p>Though I never heard her live, Elly Ameling was the patron saint of my musical youth. I can\u2019t remember the recording I heard first \u2013 her light-as-air performance of Schubert\u2019s Seligkeit, her deeply-felt St Matthew Passion, her creamy <a href=\"https:\/\/www.classical-music.com\/features\/composers\/mozart\"><strong>Mozart<\/strong><\/a> Concert Arias, or her hilarious rendition of Cole Porter\u2019s \u2018It Don\u2019t Mean a Thing\u2019 \u2013 but my love of her voice has never faded.<\/p><p>In <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/franz-schubert\">Schubert<\/a><\/strong>, Mozart, Haydn, <strong><a href=\"https:\/\/www.classical-music.com\/articles\/the-history-of-french-art-song\">French song<\/a><\/strong>, and particularly in <a href=\"https:\/\/www.classical-music.com\/features\/composers\/johann-sebastian-bach\"><strong>Bach<\/strong><\/a>, Ameling was the standard-bearer for light sopranos: a singer with a natural smile in her voice, and one that could change from a beam of girlish glee to consolation.<\/p><p>In decades progressively intoxicated by larger voices, the candour, delicacy and charm of her singing was uniquely touching. And how can you not love a soprano who preferred the intimacy of <strong><a href=\"https:\/\/www.classical-music.com\/articles\/what-are-lieder\">Lieder<\/a><\/strong> recitals to the rough glamour of opera? <em>Anna Picard<\/em><\/p><p><strong>In her own words: <\/strong>\u2018I felt moved at the beginning of the concert, when I got a warm reception. This happened when I did my first recital at Alice Tully Hall in 1970 and I didn\u2019t understand what was happening. I thought they liked my dress.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Elly Ameling live sings Faur\u00e9's &quot;Apr\u00e8s un r\u00eave&quot;\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/0_H_tp0m8DQ?start=3&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-19-rosa-ponselle-1897-1981\"><strong>19. Rosa Ponselle (1897-1981)<\/strong><\/h3><p>Nineteenth place on the greatest sopranos ever list goes to Rosa Ponselle. For many of those who experienced both singers live, Rosa Ponselle was even greater, both as a voice and as an artist, than Maria Callas.<\/p><p>After a teenage career as a vaudeville singer Ponselle, at the age of 20 and with no previous operatic experience, made her debut at the New York Met in 1918 in the leading role of Leonora in Verdi\u2019s <em>La forza del destino<\/em>, partnering <strong><a href=\"https:\/\/www.classical-music.com\/articles\/enrico-caruso\">Enrico Caruso<\/a><\/strong>. Apart from three seasons at Covent Garden (1929-31) and one at the Maggio Musicale in Florence (1933), her operatic appearances were all with that company.<\/p><p>She created unforgettable impressions in such operas as Meyerbeer\u2019s <em>L\u2019Africaine<\/em>, Ponchielli\u2019s <em>La Gioconda<\/em>, Montemezzi\u2019s <em>L\u2019amore di tre re<\/em>, Verdi\u2019s <em>La traviata<\/em> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/vincenzo-bellini\"><strong>Bellini<\/strong><\/a>\u2019s <em>Norma<\/em>. Her recordings reveal the liquid gold of her voice, heady in emotional power, with a matchless sense of line and legato.<\/p><p>Bass Ezio Pinza recalled performances when, \u2018instead of thinking of my own role, I would be lost in the dark splendour of her voice\u2019. For Elisabeth Schwarzkopf, she was \u2018ultimate perfection\u2019, while for Callas she was \u2018the greatest singer of us all\u2019. <em>George Hall<\/em><\/p><p><strong>In her own words:<\/strong> \u2018Believe me, I worked hard, so hard that I never really had a life of my own in all the years I was singing. You also have to be somebody who is willing to suffer, to feel the pain that goes with all of it.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Rosa Ponselle sings Casta Diva\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/isoGu7utEBI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-18-renata-tebaldi-1922-2004\"><strong>18. Renata Tebaldi (1922-2004)<\/strong><\/h3><p>Renata Tebaldi was the leading Italian soprano of the 1950s and 1960s in the <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/giuseppe-verdi\">Verdi<\/a><\/strong> and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/giacomo-puccini\">Puccini<\/a><\/strong> repertoire. She had a creamy voice, in which the listener could bask.<\/p><p>Tebaldi began her career in Italy as World War II was ending, and came to international stardom singing under Toscanini at the re-opening of <strong><a href=\"https:\/\/www.classical-music.com\/articles\/when-was-milans-la-scala-built\">La Scala<\/a><\/strong> in 1946. She used her voice skilfully, and became the leading Desdemona in Verdi\u2019s <em>Otello<\/em> (101 performances) and Mim\u00ec in Puccini\u2019s <em>La boh\u00e8me<\/em> (111 performances), and she mainly confined herself to the late 19th and early 20th-century Italian repertoire.<\/p><p>She learned how to be an adequate actress, but mainly acted with the voice, and in certain roles she became a thrilling dramatic presence. Famous for her warm heart, perhaps also for her \u2018steel dimples\u2019 (Rudolph Bing), she was adored on two continents and had a long and fulfilling career. <em>Michael Tanner<\/em><\/p><p><strong>In her own words:<\/strong> \u2018I know that my voice has entered into the hearts of many people and has caused beautiful reactions. Therefore, how can I not be thankful for this great gift?\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-17-christine-brewer-b-1960\"><strong>17. Christine Brewer (b. 1955)<\/strong><\/h3><p>First heard as a Mozartian, Christine Brewer has retained the flexibility of her lyric voice while adding to its power.<\/p><p>A peerless Isolde in Wagner\u2019s <a href=\"https:\/\/www.classical-music.com\/article\/six-best-productions-wagners-tristan-und-isolde\"><em><strong>Tristan<\/strong><\/em><\/a>, she is now in her prime. At the height of the hoo-hah over Deborah Voigt\u2019s dismissal over weight issues from Christof Loy\u2019s production of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-strauss\">Strauss<\/a><\/strong>\u2019s <em>Ariadne auf Naxos<\/em>, it was odd that no one asked Christine Brewer what she thought about the Little Black Dress that caused all the trouble.<\/p><p>But the quietly-spoken Mid-Westerner has little interest in building a media profile, and would be the last to criticise a soprano for putting on weight or losing it. If her own physique has held her back on stage, she has triumphed in the concert hall. Brewer\u2019s magnificent, lustrous, easy sound is startling enough in <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/richard-wagner\">Wagner<\/a><\/strong>, Mahler, <a href=\"https:\/\/www.classical-music.com\/topic\/alban-berg\"><strong>Berg<\/strong><\/a> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/benjamin-britten-composer\"><strong>Britten<\/strong><\/a>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Christine Brewer Four Last Songs Jir\u030ci\u0301 Be\u030clohla\u0301vek Strauss\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/xhQErrkld4Y?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Married to perfect diction, meticulous shading and exquisite phrasing, it is a miracle in Schubert and Strauss. Less secure personalities would have lost the plot with a voice like this, yet Brewer never takes her glorious sound for granted and prioritises text and melody. She is a conscientious and generous musician, and one of the greatest sopranos of all time. <em>Anna Picard<\/em><\/p><p><strong>In her own words:<\/strong> \u2018The common threads in singing roles like Isolde, Elizabeth I [<em>Gloriana<\/em>], Leonora [<em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-beethovens-fidelio\">Fidelio<\/a><\/strong><\/em>] etc is that I find the vulnerability in these women \u2013 I try and find what makes them take risks, and then I take those risks.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-16-elisabeth-schumann-1888-1952\"><strong>16. Elisabeth Schumann (1888-1952)<\/strong><\/h3><p>These days, Schumann is seen as a connoisseur\u2019s singer, but her name was once inseparably linked with such Mozart roles as Susanna, Blonde and Despina, and Strauss\u2019s Sophie.<\/p><p>My introduction to historic recordings came through Elisabeth Schumann, and there could not have been a better one. My mother, who had never forgotten a Johannesburg recital Schumann gave shortly before her untimely death in 1952, cherished her records; and though as a young boy I first found the non-stereo sound a little off-putting, the soprano\u2019s special tone quality shone through.<\/p><p>She brought tangible human spirit to everything she sang. No less a discerning lover of the soprano voice than Richard Strauss adored her, persuading her to join the Vienna State Opera in 1919. He also accompanied her in his songs on a 1921 tour of the US, the country in which she was to settle when she decided to leave Nazi-occupied Vienna.<\/p><p>Though the sadness of exile combined with some inevitable loss of bloom may have affected her 1938 recordings of <a href=\"https:\/\/www.classical-music.com\/features\/composers\/johannes-brahms\"><strong>Brahms<\/strong><\/a> Lieder, these remain among her most haunting monuments on disc. <em>John Allison<\/em><\/p><p><strong>In her own words:<\/strong> \u2018The masterworks of song embody within themselves some secret powers.\u2019<\/p><h2 class=\"wp-block-heading\" id=\"sopranos15-11\">Greatest sopranos of all time: 15 to 11<\/h2><h3 class=\"wp-block-heading\" id=\"h-15-karita-mattila-b-1960\"><strong>15. Karita Mattila (b. 1960)<\/strong><\/h3><p>Known as the \u2018Finnish Venus\u2019, Karita Mattila is a stage animal whose performances carry conviction unsurpassed in the opera house today.<\/p><p>The BBC <strong><a href=\"https:\/\/www.classical-music.com\/articles\/winners-of-bbc-cardiff-singer-of-the-world-a-complete-list-of-winners-of-main-prize-song-prize-and-audience-prize-from-history\">Cardiff Singer of the World<\/a><\/strong> competition may have had its hits and misses, but it could hardly have got off to a better or more prophetic start than by making Mattila its first-ever winner in 1983.<\/p><p>Though Mattila is now instantly recognisable from her striking stage presence and Nordic-tinged voice, she took her career slowly and wisely, shying away from parts that might have damaged her voice, and it was as a Mozartian that she became famous. The turning point was Chrysothemis in <em>Elektra<\/em>, Strauss\u2019s drama of obsessive family vengeance, at Salzburg just over a decade ago.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Karita Matilla his a high C and does the splits\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/Q0rNlqzeyWw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Having discovered her penchant for roles into which she can throw herself \u2013 Wagner, Strauss, Verdi, Puccini and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/leos-janacek\"><strong>Jan\u00e1\u010dek<\/strong><\/a> all feature in her repertoire \u2013 Mattila combines physical and vocal glamour in equal measure to make her the diva of our day, and unquestionably one of the greatest sopranos of all time. <em>John Allison<\/em><\/p><p><strong>In her own words: <\/strong>\u2018You know what they say about artists: if we weren\u2019t artists, we\u2019d be psychopaths!&#8217;<\/p><h3 class=\"wp-block-heading\" id=\"h-14-gundula-janowitz-b-1937\"><strong>14. Gundula Janowitz (b. 1937)<\/strong><\/h3><p>Gundula Janowitz\u00a0is known for having the most beautiful voice of all time, and using it to express the voluptuous purity of German music.<\/p><p>If ever there was a voice to stop die-hard criminals in their tracks, it was Gundula Janowitz\u2019s limpid, otherworldly soprano \u2013 a good choice in the film The Shawshank Redemption for the stunning moment when Mozart\u2019s Canzonetta sull\u2019aria (sung by Gundula and Edith Mathis) echoes round the prison yard.<\/p><p>Her voice was as close as can be imagined to a stream of pure beauty. She was at her luminous best in Mozart, Schubert (her \u2018Du bist die Ruh\u2019 will make your hair stand on end),\u00a0<a href=\"https:\/\/www.classical-music.com\/features\/composers\/carl-maria-von-weber\"><strong>Weber<\/strong><\/a>\u00a0and Richard Strauss.<\/p><p>If you want to hear what an angel sounds like, listen to her Gabriel on\u00a0<a href=\"http:\/\/www.classical-music.com\/topic\/joseph-haydn\"><strong>Haydn<\/strong><\/a>\u2019s Creation\u202f conducted by\u00a0<strong><a href=\"https:\/\/www.classical-music.com\/articles\/trouble-karajan\">Herbert von Karajan<\/a><\/strong>. She retired from the stage in 1990 but still sings the odd Lied.\u00a0<em>Robert Thicknesse<\/em><\/p><p><strong>In her own words:<\/strong> \u2018I will put my handbag on the piano. If you make more than two mistakes, I will hit you with it.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-13-galina-vishnevskaya-1926-2012\"><strong>13. Galina Vishnevskaya (1926-2012)<\/strong><\/h3><p>Fiery\u00a0Galina Vishnevskaya, diva of the Bolshoi during Soviet times, was the muse of both Britten and Shostakovich, and a formidable interpreter of Russian repertoire.<\/p><p>Temperament incarnate, the great Russian soprano burned with a passionate intensity that could sometimes seem excessive. Yet she had a host of colours in her formidable vocal armoury, equally adept at the tenderness of\u00a0<a href=\"https:\/\/www.classical-music.com\/features\/composers\/pyotr-ilyich-tchaikovsky\"><strong>Tchaikovsky<\/strong><\/a>\u00a0songs as at the steel and satire of\u00a0<strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/modest-musorgsky\">Mussorgsky<\/a><\/strong>.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Galina Vishnevskaya - Tatyana's Letter Scene part 1\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/DdaGIuUqn04?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>It was after hearing a monumental Aldeburgh recital featuring Mussorgsky\u2019s <em>Songs and Dances of Death<\/em> that Britten composed the declamatory soprano role in the War Requiem for her.\u00a0<a href=\"https:\/\/www.classical-music.com\/features\/composers\/dmitri-shostakovich\"><strong>Shostakovich<\/strong><\/a>\u00a0immortalised her full dramatic range in his Blok song cycle and the\u00a0<strong><a href=\"https:\/\/www.classical-music.com\/articles\/introduction-shostakovichs-symphony-no-14\">14th Symphony<\/a><\/strong>.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/five-best-shostakovich-conductors\">Five of the best Shostakovich conductors<\/a><\/strong><\/li><\/ul><p>Never the most beautiful of voices, the strain began to tell in later recordings, and she should have avoided taking the role of the teenage Natasha in\u00a0<a href=\"https:\/\/www.classical-music.com\/features\/composers\/sergey-prokofiev\"><strong>Prokofiev<\/strong><\/a>\u2019s\u00a0<em>War and Peace<\/em>\u00a0for a second time at the age of 50.<\/p><p>Still, hearing her earlier recorded Natasha, along with a compelling Tatyana in Eugene Onegin, remains a moving experience. Her delivery of Russian songs, sensitively accompanied by her husband, the virtuoso cellist Mstislav\u00a0<a href=\"https:\/\/www.classical-music.com\/features\/artists\/mstislav-rostropovich\"><strong>Rostropovich<\/strong><\/a>, is always idiomatic. An autobiography, Galina, makes compelling reading.\u00a0<em>David Nice<\/em><\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/greatest-virtuosos-all-time\">The greatest virtuosos of all time<\/a><\/strong><\/li><\/ul><p><strong>In her own words: <\/strong>\u2018When I joined the Bolshoi I was already a creature of the stage, ready to sing the opera parts and to act the roles \u2013 to create stage images in the full sense of the words.\u2019<\/p><p>Greatest recording: Musorgsky songs etc EMI 365 0082 (3 discs)<\/p><h3 class=\"wp-block-heading\" id=\"h-12-regine-crespin-1927-2007\"><strong>12. R\u00e9gine Crespin (1927-2007)<\/strong><\/h3><p>R\u00e9gine Crespin made a mark on operatic history. She was an outstanding lyric-dramatic French soprano with a \u2018cleaner\u2019, more classical voice than her contemporaries.<\/p><p>I only heard the last great French dramatic soprano when she had already graduated to character mezzo parts: as the old, dying Prioress, Mme de Croissy in <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/francis-poulenc\">Poulenc<\/a><\/strong>\u2019s <em>Dialogues des Carmelites<\/em> at Covent Garden in the 1980s.<\/p><p>Crespin had been the composer\u2019s chosen singer for the role of the new Prioress, Mme Lidoine, in the Paris premiere of his opera in 1958, and the recording made at the time sets the standard for that role and the entire opera.<\/p><p>Acclaimed in her native French repertoire \u2013 incomparable as Gluck\u2019s Iphig\u00e9nie and Berlioz\u2019s Didon, she later sang the title-role in Bizet\u2019s <em>Carmen<\/em>, Charlotte in Massenet\u2019s <em>Werther<\/em> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/jacques-offenbach\"><strong>Offenbach<\/strong><\/a> heroines \u2013 she was also a famous Tosca and sang most of Verdi\u2019s dramatic repertoire.<\/p><p>Apart from her benchmark recordings of <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/maurice-ravel\">Ravel<\/a><\/strong>\u2019s <em>Sh\u00e9h\u00e9razade<\/em> and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/hector-berlioz\"><strong>Berlioz<\/strong><\/a>\u2019s <em>Les nuits d\u2019\u00e9t\u00e9<\/em>, she is remembered for two German roles on disc: a passionate Sieglinde in Wagner\u2019s Ring Cycle and a Marschallin of rare pathos in Strauss\u2019s <em>Der Rosenkavalier<\/em>, both conducted by Georg Solti. She may have been a flawed singer with an unreliable top register, but she took risks and her identification with the music she sang was complete. <em>Hugh Canning<\/em><\/p><p><strong>In her own words: <\/strong>\u2018When I have a success it is a double one. I always have to fight against the Italian and German sopranos.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-11-elisabeth-schwarzkopf-1915-2006\"><strong>11. Elisabeth Schwarzkopf (1915-2006)<\/strong><\/h3><p>Perfect voice, perfect technique, consummate artistry: a radiant blonde beauty who transcended the controversy about her Nazi years.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/how-the-royal-philharmonic-orchestra-became-a-pawn-in-a-nazi-propaganda-scheme\">How the London Philharmonic Orchestra became a pawn in a Nazi propaganda scheme<\/a><\/strong><\/li><\/ul><p>To hear anything sung by Schwarzkopf \u2013 but especially Strauss, Mozart and <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/hugo-wolf\">Hugo Wolf<\/a><\/strong> \u2013 was, and is, to receive a masterclass in the art of singing at its subtlest. The way she conjured myriad tonal colours to convey the mood, context and significance not just of individual phrases but of single notes within those phrases; the sheer intelligence of her approach to words and music; her flawless intonation, diction and control: all these made her the singer\u2019s singer, the Olympian ideal.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Elisabeth Schwarzkopf sings &quot;An die Musik&quot; by Schubert\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/Bm_AKMV0ME0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>True, she commanded every vocal art except that of concealing how artful she was. Her self-esteem was too pronounced for that. She was, after all, the castaway who chose eight records of herself for <em>Desert Island Discs<\/em>. But if I had her voice, I would do the same. She was the ultimate professional: immaculately prepared; tirelessly perfectionist. One of the greatest sopranos of all time. <em>Richard Morrison<\/em><\/p><p><strong>In her own words:<\/strong> \u2018Many composers today don\u2019t know what the human throat is.\u2019<\/p><h2 class=\"wp-block-heading\" id=\"sopranos10-6\">Greatest sopranos of all time: 10 to 6<\/h2><h3 class=\"wp-block-heading\" id=\"h-10-emma-kirkby-b-1949\"><strong>10. Emma Kirkby (b. 1949)<\/strong><\/h3><p> \u2018Queen of Early Music\u2019 is only half the story \u2013 Emma Kirkby&#8217;s voice is refreshing, incisive, clean and infinitely adaptable to solo or ensemble use.<\/p><p>Plenty of vocalists can be emotional and sob in tune, but it takes someone special to transform the practices within their field, to command a repertory covering a thousand years of music, to excel at ensemble as well as solo performance, and to have influenced a generation of singers.<\/p><p>Kirkby\u2019s vibrato-less voice has shed new light on everything from <strong><a href=\"https:\/\/www.classical-music.com\/articles\/life-hildegard-von-bingen\">Hildegard of Bingen<\/a><\/strong> to Schubert, and on operatic roles in <a href=\"https:\/\/www.classical-music.com\/features\/composers\/claudio-monteverdi\"><strong>Monteverdi<\/strong><\/a>\u2019s <em>Orfeo<\/em>, Purcell\u2019s <em>Dido and Aeneas<\/em> and Hasse\u2019s Cleofide. Recently she has turned to Amy Beach and <a href=\"https:\/\/www.classical-music.com\/features\/composers\/claude-debussy\"><strong>Debussy<\/strong><\/a>, and in 2001 performed a revelatory <a href=\"https:\/\/www.classical-music.com\/features\/composers\/gustav-mahler\"><strong>Mahler<\/strong><\/a> Symphony No. 4 under Roger Norrington in New York. Such accomplishments in such a wide range of repertoire makes Emma Kirkby an easy addition to our list of the greatest sopranos of all time. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/justina-gringyte-how-to-sing-mahler\">Justina Gringyte: the secrets of singing Mahler<\/a><\/strong><\/li><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/which-is-the-best-mahler-symphony\">Which is the best Mahler symphony?<\/a><\/strong><\/li><\/ul><p>Behind the sweetness there is world-class musicality and professionalism and enormous sensitivity towards the text. In terms of the history of music Emma has made us look back, but in relation to the history of performance style (a rather separate matter) she points forward, signalling the death of the old Romantic indulgences. <em>Anthony Pryer<\/em><\/p><p><strong>In her own words:<\/strong> \u2018As a singer you are almost never alone completely; there\u2019s always someone to sing with, to interact with\u2026 I want to be expressive, but I know one achieves that power as a team effort, realising the elements the composer has combined.\u2019<\/p><h3 class=\"wp-block-heading\" id=\"h-9-kirsten-flagstad-1895-1962\"><strong>9. Kirsten Flagstad (1895-1962)<\/strong><\/h3><p>Glorious power, tonal beauty: the great Norwegian Kirsten Flagstad set a vocal standard in Wagner and Strauss that was never been surpassed. We named her one of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/greatest-norwegian-sopranos-of-all-time\">greatest Norwegian sopranos of all time<\/a><\/strong>, but her fame and glory spreads far beyond her native land.<\/p><p>\u2018Her intonation, phrasing, unhesitating attack of every declamatory utterance and sweeping dramatic style aroused constant admiration,\u2019 a New York critic raved in 1935 when Flagstad, then already 40, made her Met debut. They still do. Flagstad\u2019s critics paint her as the diva of decibels \u2013 and as a na\u00efve woman who needlessly got herself tarred with the Nazi brush by returning to German-occupied Europe in 1941.<\/p><p>But just listen to the dark, burnished beauty of that voice, especially as captured on early career recordings. Consider the refined musicality that allowed her to scale it down for <a href=\"https:\/\/www.classical-music.com\/features\/composers\/christoph-willibald-gluck\"><strong>Gluck<\/strong><\/a> (or even <a href=\"https:\/\/www.classical-music.com\/features\/composers\/henry-purcell\"><strong>Purcell<\/strong><\/a>!) or beef it up to thrilling dimensions for Br\u00fcnnhilde\u2019s battle-cry.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/little-bit-good-gluck\">Gluck: his best lesser-known works<\/a><\/strong><\/li><\/ul><p>It was for this sublime instrument that Strauss wrote the greatest orchestra Lieder of the 20th century \u2013 the <em>Four Last Songs<\/em> (which Flagstad premiered). No wonder that grown men wept when she sang. Her view? \u2018Men are all romantics at heart.\u2019 <em>Richard Morrison<\/em><\/p><p><strong>In her own words:<\/strong> \u2018I was never ambitious. I always wanted to be a private person.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Kirsten Flagstad - Liebestod - 1936 Covent Garden\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/3dfbZ6S6DU4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-8-margaret-price-1941-2011\"><strong>8. Margaret Price (1941-2011)<\/strong><\/h3><p>Margaret Price owned one of the most sheerly beautiful soprano voices to have emerged in the last half-century, equally at home in Mozart and Wagner.<\/p><p>About one of the Welsh-born soprano\u2019s many Wigmore Hall appearances, I waxed lyrical in The Guardian that she was perhaps \u2018the most complete soprano of our time\u2019. I don\u2019t regret it. Anyone who can encompass Mozart, Wagner, Strauss, Verdi and Lieder with equal command well deserves the accolade.<\/p><p>Price could easily manage the more florid aspects of Mozart\u2019s Donna Anna in <em>Don Giovanni<\/em> and his most brilliant concert arias, and although she never sang Wagner\u2019s Isolde on stage, her recording with Carlos Kleiber matches incandescent tone with text-conscious intelligence.<\/p><p>She could sometimes seem a shade detached, and came a cropper performing the notoriously difficult role of Bellini\u2019s Norma at Covent Garden, but the beauty of tone remained in performances throughout the 1990s, including an unforgettable Tove in <a href=\"https:\/\/www.classical-music.com\/features\/composers\/arnold-schoenberg\"><strong>Schoenberg<\/strong><\/a>\u2019s <em>Gurrelieder<\/em> in Paris.<\/p><p>Choosing one recording is a hard choice; her Schubert or Strauss Lieder, Amelia in Verdi\u2019s <em>Un ballo in maschera<\/em> or her two Mozart arias discs for RCA deserve equal honours alongside her Isolde. <em>David Nice<\/em><\/p><p><strong>In her own words:<\/strong> \u2018I initially said no to Donna Anna in Don Giovanni because I thought it was too heavy \u2013 the tessitura is treacherously high \u2013 but in the end I accepted the part and it made my career.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Margaret Price - Ave Maria - Otello\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/y_DZ966n1Yw?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-7-lucia-popp-1939-1993\"><strong>7. Lucia Popp (1939-1993)<\/strong><\/h3><p>Until her tragic death from cancer in 1993, Popp was one of the most sought-after sopranos.<\/p><p>Has there ever been a more enchanting soprano than Lucia Popp? Charming, vivacious and seductive on stage, she also had such an inner strength and seriousness that helped to make her a complete artist. With ancestry drawn from all corners of the Austro-Hungarian Empire, she was truly cosmopolitan, one reason perhaps for her versatility.<\/p><p>She began her career as a fiery Queen of the Night in Mozart\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/best-recordings-mozart-magic-flute\">Magic Flute<\/a><\/strong><\/em>, and made her name in a range of Mozart roles. Incomparable in the <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/the-ten-best-czech-composers\">Czech<\/a><\/strong> repertoire, she graduated from soubrette to lyrical parts as her voice matured, and will always be remembered for such Strauss ladies as the Marschallin (in <em>Der Rosenkavalier<\/em>), the title role in Arabella and the Countess (in <em>Capriccio<\/em>).<\/p><p>From Leh\u00e1r\u2019s bittersweet \u2018Vilja Song\u2019 from The Merry Widow to Strauss\u2019s title-role of Daphne, she left a large recorded legacy. Her second version of Strauss\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/when-did-richard-strauss-write-his-four-last-songs\">Four Last Songs<\/a><\/strong><\/em> became her valedictory disc. <em>John Allison<\/em><\/p><p><strong>In her own words:<\/strong> \u2018Because I find it easy to communicate with people in real life, I am also able to do so on stage. I\u2019m basically an extrovert. That helps.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Lucia Popp: Song to the Moon (Rusalka)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/4qxi-sYUT9s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-6-montserrat-caballe-1933-2018\"><strong>6. Montserrat Caball\u00e9 (1933-2018)<\/strong><\/h3><p>Caball\u00e9 is best known for bringing Bellini back into fashion, and making the world remember the point of him, by showing that all you had to do was sing it right.<\/p><p>She sailed like a Spanish galleon, in the traditional operatic manner, and nobody went to see her for her thespian skills or indeed intelligibility of diction. \u2018I am not now nor have I ever been a diva. I am only Montserrat!\u2019 she says, suitably rock-like.<\/p><p>All that matters with Montserrat is the music, the line, the control, the shading: listen to her \u2018Vissi d\u2019arte\u2019 from Puccini\u2019s <em>Tosca<\/em> for superhuman amounts of all those qualities.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/articles\/six-best-puccini-arias\">Six of the best: Puccini arias<\/a><\/strong><\/li><\/ul><p>But for those of us who sometimes think there is no point in any opera other than bel canto, Montserrat is the goddess for whom many of the operas of Donizetti and Bellini \u2013 previously seen as pretty pointless \u2013 were revived and given meaning through the medium of pure sound.<\/p><p>Listen to her in Bellini\u2019s <em>Il pirata<\/em> or <em>I puritani<\/em>: that \u2013 those hypnotic, time-stopping pirouettes through the musical ether \u2013 is the point of opera. <em>Robert Thicknesse<\/em><\/p><p><strong>In her own words:<\/strong> \u2018When a singer truly feels and experiences what the music is all about, the words will automatically ring true.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Freddie Mercury &amp; Montserrat Caball\u00e9 - Barcelona (Live at La Nit, 1988 Remastered)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/hkskujG0UYc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\" id=\"sopranos5-2\">Greatest sopranos: 5 to 2<\/h2><h3 class=\"wp-block-heading\" id=\"h-5-birgit-nilsson-1918-2005\"><strong>5. Birgit Nilsson (1918-2005)<\/strong><\/h3><p>Birgit Nilsson appeared on my horizon first of all as a person, then as a singer.<\/p><p>She was much discussed in the press in the early 1980s as she prepared to retire from her singing career following a thundering series of performances at the Met in New York where at the age of 60 her powers were, by all accounts, undiminished.<\/p><p>I was hooked by the story of a Swedish farm girl who graduated from milking cows to become a legend in her own lifetime on the operatic stage. I liked Nilsson\u2019s wit. The anecdotes are legion: from her quip in response to the question \u2018What does it take to be a great Isolde?\u2019 (\u2018Comfortable shoes!\u2019); to the \u2018do not disturb\u2019 sign that she wore on her breastplate as the sleeping Br\u00fcnnhilde, much to the consternation of Siegfried as he came to the rescue.<\/p><h3 class=\"wp-block-heading\" id=\"h-her-dramatic-thrust-leaves-me-shattered\">&#8216;Her dramatic thrust leaves me shattered&#8217;<\/h3><p>Nilsson\u2019s recordings reveal a true, vibrant and steely quality that pierces straight to the heart of the matter. Her phrasing is indefatigable, spinning out Isolde\u2019s long vocal lines in a breathtaking arc, wherein the tone doesn\u2019t waver. Her Salome and Turandot seethe with feminine power. Nilsson\u2019s dramatic thrust in these roles still leaves me shattered, so that I regard these discs as rare treats rather than constant friends.<\/p><p>The recordings with Solti, made in Vienna in the late 1950s and early \u201960s, are the most remarkable: a wonderful <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/wagner-ring-cycle\">Ring Cycle<\/a><\/strong>, blessed by Nilsson\u2019s incandescent Br\u00fcnnhilde; and above all an Elektra that grabs you by the throat and then squeezes, not so gently.<\/p><p>Nilsson is sometimes described as a \u2018cool\u2019 singer. The quality of her voice can be characterised by a glacial brilliance and purity. But frigid? Absolutely not: here is a singer who, even on record, connects totally with the roles that she is portraying and communicates them with a dazzling generosity and intensity that sets the music ablaze. <em>Ashutosh Khandekar<\/em><\/p><p><strong>In her own words:<\/strong> \u2018I do nothing special. I was born with the right set of parents.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Birgit Nilsson - Liebestod\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/_mOA8pZ_I4M?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-4-leontyne-price-b-1927\"><strong>4. Leontyne Price (b. 1927)<\/strong><\/h3><p>Now in her 90s, <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/leontyne-price\">Leontyne Price<\/a><\/strong> was the outstanding lyric-dramatic US soprano of her generation, with a uniquely recognisable timbre.<\/p><p>Arguably the possessor of the most sumptuously beautiful soprano voice of the recording era, Leontyne Price achieved international acclaim in a variety of lyric, lirico-spinto dramatic roles, although she is remembered for her Verdi and Puccini heroines, especially the title role of A\u00efda in which she made her debuts at Covent Garden and the Vienna State Opera in 1958, and the following year at La Scala, Milan.<\/p><p>Her last appearance on stage was in the same role at the New York Met in 1985. Her recorded legacy comprises her core repertoire of <em><a href=\"https:\/\/www.classical-music.com\/articles\/when-and-why-did-verdi-write-aida\"><strong>A\u00efda<\/strong><\/a><\/em>, <strong><em><a href=\"https:\/\/www.classical-music.com\/features\/works\/puccinis-tosca-guide\">Tosca<\/a><\/em><\/strong>, Leonora in Verdi\u2019s <em>La forza del destino<\/em>, all recorded twice, Leonora in Verdi\u2019s <em>Il trovatore<\/em>, three times, and Amelia in <em>Un ballo in maschera<\/em>.<\/p><p><strong><a href=\"https:\/\/www.classical-music.com\/articles\/karajan-conducting-five-fantastic-karajan-moments\">Karajan<\/a><\/strong> prized her as Donna Anna in Mozart\u2019s <em><a href=\"https:\/\/www.classical-music.com\/features\/recordings\/mozarts-don-giovanni-best-recordings\"><strong>Don Giovanni<\/strong><\/a><\/em>, Puccini\u2019s title role of Tosca, the Trovatore Leonora, and chose her for his first recording of Bizet\u2019s <em>Carmen<\/em>, a role she never sang on stage but to which her smokey, sultry tone brings a hot-house sensuality rarely achieved on disc.<\/p><h3 class=\"wp-block-heading\" id=\"h-like-the-sun-bursting-out-of-the-clouds\">&#8216;Like the sun bursting out of the clouds&#8217;<\/h3><p>Price famously declared that she adored the sound of her own voice. In any other singer, this would have smacked of arrogance, but Price\u2019s self-assessment was endorsed by critics, conductors and audiences worldwide.<\/p><p>The glory of her voice was the gleaming upper register which sounds like the sun bursting out of the clouds as she ascended towards high\u202f C \u2013 the thrill of her rising phrases in A\u00efda\u2019s \u2018O patria mia\u2019, Amelia\u2019s scene and duet in Act II of <em>Un ballo in maschera<\/em>, or Leonora\u2019s great expansive phrase, \u2018Se tu dal ciel discendi\u2019 in the nunnery scene of Il trovatore still have the power to send shivers down the spine when heard on disc.<\/p><p>Price\u2019s repertoire extended far beyond the Verdi and Puccini roles for which she was famed: in her early career she shone as <a href=\"https:\/\/www.classical-music.com\/features\/composers\/george-gershwin\"><strong>Gershwin<\/strong><\/a>\u2019s Bess \u2013 has there ever been a more gorgeous account of \u2018Summertime\u2019 than Price\u2019s? \u2013 but she also sang Mme Lidoine in the US premiere of Poulenc&#8217;s <em>Dialogues des Carmelites<\/em>, and Strauss\u2019s Ariadne.<\/p><p>Her close friendship with the composer <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/samuel-barber\">Samuel Barber<\/a><\/strong> brought forth the Hermit Songs and the female title role of his opera, <em>Anthony and Cleopatra<\/em> that opened the new Metropolitan Opera in 1966. Above all their names are linked in the glorious recording of Barber\u2019s soprano scena <em>Knoxville: Summer of 1915<\/em>. It was written for Eleanor Steber, but Price\u2019s version is matchless. <em>Hugh Canning<\/em><\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/five-essential-works-samuel-barber\">Samuel Barber: five essential works<\/a><\/strong><\/li><\/ul><p><strong>In her own words:<\/strong> \u2018Once you get on stage, everything is right. I feel the most beautiful, complete, fulfilled.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Leontyne Price sings Aida, &quot;O patria mia&quot;\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/IaV6sqFUTQ4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-3-victoria-de-los-angeles-1923-2005\"><strong>3. Victoria de los Angeles (1923-2005)<\/strong><\/h3><p>Victoria de los Angeles\u2019s classic recordings capture the essence of great singing and remain among the most profoundly affecting in the repertoire.<\/p><p>De los Angeles\u2019s career was forged during an era of tremendous prima donnas. But there were none of the tantrums or torrid affairs that rocked the careers of her counterparts such as Callas and Schwarzkopf. She had a gentle serenity and humanity about her that enchanted me when I first came across her in early EMI recordings with Sir <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/thomas-beecham\">Thomas Beecham<\/a><\/strong>.<\/p><p>Listening to de los Angeles singing gave me my first experience of how a great voice doesn\u2019t just imitate emotion, but embodies it. Her Butterfly may not have the tragic nobility of, say, Renata Scotto, but it has a sense of blighted innocence, a childish pathos that goes to the character\u2019s heart.<\/p><p>I love the sassy humour that de los Angeles brings to <a href=\"https:\/\/www.classical-music.com\/features\/composers\/georges-bizet\"><strong>Bizet<\/strong><\/a>\u2019s Carmen. The mellow mezzo range and seductive low register made her perfect for the role. Other memorable encounters on disc include Marguerite\u2019s wide-eyed delight tinged with a sense of the absurd as she opens the jewel box in <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/charles-gounod\">Gounod<\/a><\/strong>\u2019s <em><strong><a href=\"https:\/\/www.classical-music.com\/articles\/four-essential-recordings-gounods-faust\">Faust<\/a><\/strong><\/em>, a flirtatious Manon in <a href=\"https:\/\/www.classical-music.com\/features\/composers\/jules-massenet\"><strong>Massenet<\/strong><\/a>\u2019s <em>Manon Lescaut<\/em>, and Rosina in Rossini\u2019s <em>Barber of Seville<\/em>. Ashutosh Khandekar<\/p><p><strong>In her own words:<\/strong> \u2018I never wanted to be a singer&#8230; I like what it is to sing, or to be with others singing, to make music. But the fuss, and all the things that are the exterior part of a career, has never interested me. So I don\u2019t think in reality I am a singer. I think I am a human being that has sung, always, all her life.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Victoria de Los Angeles - O Mio Babbino Caro\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/9mViZx5Z3OU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><h3 class=\"wp-block-heading\" id=\"h-2-joan-sutherland-1926-2010\"><strong>2. Joan Sutherland (1926-2010)<\/strong><\/h3><p><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/joan-sutherland-1926-2010\">Joan Sutherland<\/a><\/strong> proved just how agile a big soprano voice could be, reviving many bel canto works over a four-decade career.<\/p><p>Sutherland\u2019s stage personality contained a warmth that reached out to audiences and made them love her. She was rewarded with one of the most loyal followings accorded an opera singer.<\/p><p>Born in Sydney in 1926, she studied and gained experience in Australia before heading to London and the Royal College of Music in 1951. There she made an impression and soon joined the Covent Garden Opera Company. Gradually her repertoire increased to take in such big assignments as Mica\u00ebla, A\u00efda and Eva in <em>The Mastersingers of Nuremberg<\/em>. <\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/dame-joan-sutherlands-best-operatic-roles\/\">Dame Joan Sutherland&#8217;s best operatic roles<\/a><\/strong><\/li><\/ul><p>After the badgering of the Australian pianist Richard Bonynge, whom she married in 1954, her potential in the <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-is-coloratura\">coloratura<\/a><\/strong> repertory was recognised, and Covent Garden staged Donizetti\u2019s <em>Lucia di Lammermoor<\/em> for her. The first night on 17 \u202fFebruary 1959 changed her life \u2013 and musical history. Its success meant she was thereafter in demand as an exponent of bel canto roles and 19th-century French rarities.<\/p><h4 class=\"wp-block-heading\" id=\"h-la-stupenda\">&#8216;La Stupenda&#8217;<\/h4><p>Following her debut at La Fenice in <strong><a href=\"https:\/\/www.classical-music.com\/features\/composers\/george-frideric-handel\">Handel<\/a><\/strong>\u2019s <em>Alcina<\/em> in 1960, the Italians labelled her \u2018La Stupenda\u2019. Yet throughout the remainder of her career, she was as renowned for her down-to-earth attitudes and capacity for hard work as for the beauty of her voice and vocal technique that was ready for any challenge <a href=\"https:\/\/www.classical-music.com\/features\/composers\/gioachino-rossini\"><strong>Rossini<\/strong><\/a>, Donizetti, Bellini and all the rest could throw at her.<\/p><p>She was a consistent artist, able to revisit earlier triumphs in later years with success \u2013 as she proved with a great Lucia at Covent Garden in 1985. She also chose wisely when to retire, with a still glittering account of Marguerite de Valois in Meyerbeer\u2019s <em>Les Huguenots<\/em> for the Australian Opera in 1990.<\/p><p>What carried her throughout, apart from a God-given voice and technique, was a personal strength combined with a sense of humour that kept her feet on the ground. <em>George Hall<\/em><\/p><p><strong>In her own words:<\/strong> \u2018Technique is the basis of every pursuit. If you\u2019re a sportsman, or you\u2019re a singer\u2026 you have to develop a basic technique to know what you\u2019re doing at any given time.\u2019<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Joan Sutherland &quot;Casta diva&quot; from &quot;Norma&quot;\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/EJ2L_B7VOWs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><ul><li><a href=\"https:\/\/www.classical-music.com\/features\/works\/verdis-requiem-guide\/\">A quick guide to Verdi&#8217;s Requiem<\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/article\/20-greatest-conductors-all-time\">The 20 Greatest Conductors of all time<\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"greatestsoprano\">And the greatest soprano of all time is&#8230;<\/h2><h3 class=\"wp-block-heading\"><strong>1. Maria Callas (1923-1977)<\/strong><\/h3><p>The Greek soprano <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/maria-callas-soprano\">Maria Callas<\/a><\/strong> was by far the most famous and controversial operatic artist of her time, a singing actress with a unique intensity, often employed in neglected repertoire.<\/p><p>Maria Callas was born in New York of Greek parents, who separated; her mother returned to Greece with her, where she grew up during World War II. She made her international debut in Verona in 1947 and became an international star in 1951, her major stage career lasting hardly more than a decade.<\/p><p><span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">Her last operatic performance was in London in 1965 and she made a comeback tour with tenor Giuseppe di Stefano in 1973-74 before her death in Paris in 1977. Her reputation, extremely high when she died, has become ever greater in the 30 years since her death.<\/span><\/p><p>As a personality she remains controversial, but as an artist hardly at all: her genius is recognised as supreme by virtually all opera lovers, indeed it is often from listening to her many recordings that people discover what an incredibly potent art form opera can be.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"> <iframe loading=\"lazy\" title=\"Maria Callas - Puccini - O mio babbino caro\" width=\"800\" height=\"600\" src=\"https:\/\/www.youtube.com\/embed\/l1C8NFDdFYg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen=\"\"\/><\/div><\/figure><p>Callas was always insistent that opera is drama. She had no time for it as an exhibition of vocal or technical prowess, both of which she possessed to an extreme degree. Everything had to serve the purposes of the dramatic action, which she saw as an almost religious act of purgation, for the singer and the spectator-listener.<span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\"> <\/span><\/p><p>And what she demonstrated to almost everyone\u2019s amazement was that the operas of such neglected Italian masters as <a href=\"https:\/\/www.classical-music.com\/features\/composers\/gaetano-donizetti\"><strong>Donizetti<\/strong><\/a> and Bellini could be brought back to vivid life, on stage and on record, if they were no longer treated as vehicles of display but taken with the same seriousness as Mozart or even Wagner<span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">.<\/span><\/p><h4 class=\"wp-block-heading\">&#8216;Her <span style=\"background-color: rgba(80, 87, 94, 0.2); color: var(--bodyColor); font-size: revert; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">voice is not beautiful in any conventional way, but it is uncannily expressive&#8217;<\/span><\/h4><p><span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">That would have seemed absurd until Callas proved it, above all in Bellini\u2019s <\/span><em style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">Norma<\/em><span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">, her favourite role, Donizetti\u2019s <\/span><em style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">Lucia di Lammermoor<\/em><span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">, and <\/span>Verdi<span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">\u2019s <\/span><em style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">La traviata<\/em><span style=\"font-size: revert; color: initial; font-family: -apple-system, BlinkMacSystemFont, &quot;Segoe UI&quot;, Roboto, Oxygen-Sans, Ubuntu, Cantarell, &quot;Helvetica Neue&quot;, sans-serif;\">, to which she brought an intensity which can be downright unnerving. <\/span>So she is as Tosca and <strong><a href=\"https:\/\/www.classical-music.com\/articles\/madam-butterfly-a-guide-to-puccinis-famous-opera-and-its-best-recordings\">Madam Butterfly<\/a><\/strong>, the first of which she professed to despise, but which she performed to lacerating effect (its hair-raising Act II is the only complete act in which she can be seen, from Covent Garden in 1964). <\/p><p>Her voice is not beautiful in any conventional way, but it is uncannily expressive, and not only in tragic operas, though it is there that she reigns unchallenged. With Callas no phrase is treated as secondary, there are no dead notes, the effect is of someone who is so alive to every impression that life itself is \u2013 the clich\u00e9 is unavoidable \u2013 an agony and ecstasy.<\/p><h4 class=\"wp-block-heading\">&#8216;It\u2019s hard to know whether you even want to experience something at this level of intensity&#8217;<\/h4><p>As with all the greatest artists \u2013 and Callas ranks with creative artists, as only two or three performing musicians do \u2013 she takes you into a realm where it\u2019s hard to know whether you even want to experience something at this level of intensity, where the demands of being alive seem simultaneously intolerable and exhilarating.Even if she had not run into severe vocal problems (and into Aristotle Onassis) it seems that she must have burned herself out, and not given a damn if she did, so long as she conveyed, through her singing, what it is like to insist on embracing life in its depths and heights. <em>Michael Tanner<\/em><\/p><p><strong>In her own words:<\/strong> \u2018An opera begins long before the curtain goes up and ends long after it has come down. It starts in my imagination, it becomes my life, and it stays part of my life long after I\u2019ve left the opera house.\u2019<\/p><ul> <li><a href=\"https:\/\/www.classical-music.com\/article\/six-most-inspiring-women-music\"><strong>Six of the most inspiring women in music<\/strong><\/a><\/li><\/ul><h3 class=\"wp-block-heading\" id=\"h-read-the-reaction\">Read the reaction:<\/h3><ul><li><strong><a href=\"https:\/\/www.theguardian.com\/music\/musicblog\/2007\/mar\/14\/arethesethe20bestsopranos1\" target=\"_blank\" rel=\"noreferrer noopener\"><em>The Guardian<\/em>: Are these the 20 greatest sopranos of all time?<\/a><\/strong><\/li><\/ul> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Wednesday, 11 September 2024 at 14:10 PM Read on for our introduction to the greatest sopranos of all time.. Why the soprano? Most of us would agree that she occupies a very powerful place in classical music. From an imperious onstage presence to an often similar personality offstage, the great diva has an [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":47166,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"26"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom.jpg",1200,800,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom-150x150.jpg",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom-300x200.jpg",300,200,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom-768x512.jpg",768,512,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom-1024x683.jpg",800,534,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom.jpg",1200,800,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/09\/from-leontyne-price-to-maria-callas-these-are-the-20-greatest-sopranos-of-all-time-and-their-words-of-wisdom.jpg",1200,800,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Wednesday, 11 September 2024 at 14:10 PM Read on for our introduction to the greatest sopranos of all time.. Why the soprano? Most of us would agree that she occupies a very powerful place in classical music. From an imperious onstage presence to an often similar personality offstage, the great diva has an&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/47165"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/47166"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=47165"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=47165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}