[Leonie Rysanek] possessed a gleaming, refulgent soprano voice with an especially powerful top and a rich middle range, ideal for roles like Wagner's Sieglinde and Senta, Strauss's Chrysothemis, and Beethoven's Leonora.… Ms. Rysanek credited her longevity to careful pacing; even at the height of her career, she never sang more than 45 or so performances a year. But, in an interview with The Times on the occasion of her Met farewell, she also cited her ability to say no to the most taxing roles. And, in a way, she explained, the presence of her colleague Birgit Nilsson as the reigning dramatic soprano of her day, fortified her own resolve.
''Yes, I was asked to sing Brünnhilde,'' she said. ''But there was always Birgit, wonderful Birgit, next to me. She was my Brünnhilde, my Elektra. She was so wonderful in these parts. . . . Even Birgit asked, 'Why don't you sing Turandot?' I said, 'Because of you.' Maybe's it's Birgit who saved my voice.''
— from Anthony Tommasini’s obituary for Leonie Rysanek, New York Times, March 9, 1998
Thinking about the sisterly relationship between a Sieglinde and her Brünnhilde, a Chrysothemis and her Elektra, a Kaiserin and her Färberin… and how the same singers might find themselves in that relationship over and over in different operas 😭
[top L: Leonie Rysanek (Chrysothemis) and Birgit Nilsson (Elektra) in Strauss's Elektra, Metropolitan Opera 1966. top R: Anne Schwanewilms (Kaiserin) and Christine Goerke (Färberin) in Strauss's Die Frau ohne Schatten, Metropolitan Opera 2013.]
[top L: Nina Stemme (Brünnhilde) and Lise Davidsen (Sieglinde) in Wagner's Die Walküre, Deutsche Oper Berlin 2020. bottom R: Lise Davidsen (Chrysothemis) and Nina Stemme (Elektra) in Strauss's Elektra, Metropolitan Opera 2022.]
Remembering the greatest of the tenors and Joan's close friend - Luciano Pavarotti (12 October 1935 - 6 September 2007).
[…] "Going to Australia with Joan, first of all, I've learned to be a very serious professional singer and from her particularly, I learn to breath, who is the most important thing, but the most difficult. More than anything, I think the technique is perfect, I think it's probably the most incredible technique of all the time I would say." […]
Excerpt taken from the documentary "Pavarotti - 2019" by Ron Howard.
watching the sopranos rn (first time eva) and im 3 episodes into s4 which my dad told me is where it starts to really pick up. hey its a different show, like this is a different programme altogether
“When one is singing high and loud it’s as though one is in light air, high upon a mountain. I feel a lightness and dizziness. Exhilaration too. I’ve never smoked marijuana, but I fancy it might be the same sort of feeling.”