The Metropolitan Opera’s new staging of Verdi’s La Forza Del Destino has caused much comment about the performance of one of the composer’s great soprano roles by a singer (Lise Davidsen) best known for her performances of the heroic German roles. Many reviewers felt that her performance was an outstanding effort. Others, including me, thought that while she had a great instrument, it was not best suited for Verdi.
For the dramatic parts l heard in performance, the finest Verdi soprano was Zinka Milanov (1908-89). Her great strengths were threefold. She had the perfect timbre for Verdi. Her voice was smooth, without a hint of stridency, and was rich and lush. Second, she had the powerful high notes. required for Verdi’s depiction of moments of extreme emotional intensity. Lastly, she could float a pianissimo high note that though fully supported took on a life of its own as it seemed to come from all parts of the auditorium. I have heard many great sopranos who could sing high notes in alt with delicacy and beauty, but none who could match Milanov in this type of singing. Here she was unique. She worked very hard for a long time to reach the level of excellence that characterized her best years, which were from about age 45 to 50.
Davidsen’s voice is large and powerful. She can sing softly, but it’s not the strongest part of her vocal apparatus. She is reminiscent of Birgit Nilsson. Whether she’ll add the title role of Puccini’s Turandot to her repertory is uncertain, but it’s likely the Italian role that’s best suited for her voice.
I thought it would be of interest to compare the two singers’ rendition of the great aria ‘Pace, pace, mio Dio!’ from Forza’s final scene. I heard Milanov sing Forza in two performances in the 50s. Davidsen I have yet to hear in the theater.
As the biographer of Rosa Ponselle, who created the role of Leonora at the Met in 1918, I had the opportunity to ask her about other Leonoras, including Zinka Milanov. In turn, I had the opportunity to ask Milanov about Ponselle. When I asked Ponselle if she heard any similiarites between Milanov’s voice and hers, she said, “None at all. She has a Slavic voice and I have an Italian voice.” When I asked Milanov about any similarities, she replied, “Ponselle had the range and timbre of a mezzo. I am a dramatic soprano.” I’m convinced that if either had heard Lise Davidsen sing “Pace, pace mio Dio,” both would have said that the voice is not likely to last. While Davidsen’s pianissimi are commendable, it’s mainly because of the contrast between those tones and her full voice, which to my ears has too wide a vibrato. Birgit Nilsson sang the aria “live” on television (which is accessible on YouTube) and at no point in that or any other aria did her vibrato widen when she sang forte. A voice like Davidsen’s is increasingly rare, and I hope she has the benefit of teachers and coaches who can help preserve and refine her technique.