@@jeffreymiller4814 Sorry there is plenty of effort in her singing. To me her basic tone is OK but her voice may not record well; she might sound better live - Sharon Sweet was example of that in the 90's, voice was lovely live in the theater but less so through a microphone.
@@williammaddox3339 Ah, that's because operatic voices are trained for the theater, not the microphone. Lighter lyric voices do better in the recording studio. It's why we have so many recordings of dramatic operas with people who would otherwise never sing those assignments in the theater. She sounds terrific in the theater!
Ma che bella sorpresa questo soprano, che non conoscevo. Voce ferma e sicura. Non condivido i commenti di chi parla di voce oscillante ed eccesso di vibrato.
Yeah because she’s singing on body, using proper support and not modifications and tricks and imagery and dumb crap they teach now in days. Just plain ole chord closure, low larynx, and the lower muscle support to sustain it!! 🙌🏽
@@jonlacayo92 There's an interview with Jessye Norman where she talks about how a lot of female singers begin training before their abdominal muscles are fully developed and as a result, they begin to use neck muscles for support which leads to the chewing movement as they sing.
She also sings a mean Trovatore, Ernani, Due Foscari. Very rare to have someone who can sing Turandot, early Verdi and Wagner. At least today it's rare. It used to be pretty "normal" 100 years ago.
A few deserters below complain about her rich vibrato. Have you listened to Turandots at the Met and elsewhere. The wobbles, the over-ripe vibratos that turn to wobbles. Wilson's voice is a wonder. She keeps it under superb control. The pitches are excellent. The style outstanding. There's both accuracy and emotion here, kept under excellent vocal control. I don't think she is interested in being stuck in the endless revolving door revivals of Zefirelli's now tacky production. It burns through sopranos. It is now just a hollow, crowd pleasing production with no soul. Here Wilson is singing about a real character. Excellent work by this outstanding American soprano.
@@mattialuise8726 She sang a stunning Forza Leonora at English National Opera, Valkyrie Act 3 and Verdi Requiem at the Proms. Aida in Verona was a 'never again' experience for her.
She took heavy roles (like Aida in Australia) very young. It would have kept the sheen on the voice longer if she had waited a few years before diving into the Spinto repertoire.
As beautiful as a lyric soprano's voice. There are a few of them, Goerke is another, and of course Inge Borkh was the quintessential, but even better as Electra. I would hope that Wilson would attempt some great Straussian parts. - Ah, but it is not just her, it's also a fabulous orchestral reading.
Her vibrato is so big that it is sometimes really difficult to say which note is she actually trying to sing but nevertheless I have the feeling that she always starts slightly under and finishes slightly above the correct pitch when trying to hit the high notes in forte. Once Calaf opened his mouth, I realized they go very well together though...
A nice voice ...for Turandot ! What on earth do you mean ? Turandot with a Susannavoice mayhap ? We hear voices differently but...a piano/pianissimo Turandot might spare your poor ears. The richness of opera nevertheless provides every one of us with unending pleasure. Let's enjoy it !
![[EXTRAIT] BEATRICE DI TENDA by Vincenzo Bellini (Tamara Wilson, Quinn Kelsey)](http://i.ytimg.com/vi/gSO9yxjPM14/mqdefault.jpg)
This is astonishing. She sings this role so well. How it should be sung. So much energy and force and precision. And intention.
Honestly why on earth is she not singing this at the Met?
RaShaun Campbell She’s singing Elsa at the met in March 2023. She really does sing without any stress or effort. Her Elsa should be quite gorgeous.
@@jeffreymiller4814 Sorry there is plenty of effort in her singing. To me her basic tone is OK but her voice may not record well; she might sound better live - Sharon Sweet was example of that in the 90's, voice was lovely live in the theater but less so through a microphone.
@@williammaddox3339 Ah, that's because operatic voices are trained for the theater, not the microphone. Lighter lyric voices do better in the recording studio. It's why we have so many recordings of dramatic operas with people who would otherwise never sing those assignments in the theater. She sounds terrific in the theater!
indeed, she is poor enough to sing at the met
Because she is not bad enough to sing there.
Ma che bella sorpresa questo soprano, che non conoscevo. Voce ferma e sicura. Non condivido i commenti di chi parla di voce oscillante ed eccesso di vibrato.
Well done, and unlike almost all other sopranos of her generation, her jaw doesn't shake when she sustains a note!
Yeah because she’s singing on body, using proper support and not modifications and tricks and imagery and dumb crap they teach now in days. Just plain ole chord closure, low larynx, and the lower muscle support to sustain it!! 🙌🏽
@@jonlacayo92 There's an interview with Jessye Norman where she talks about how a lot of female singers begin training before their abdominal muscles are fully developed and as a result, they begin to use neck muscles for support which leads to the chewing movement as they sing.
I saw this performance, she is astonishing, such a great beautiful round voice and such an amazing technique!
Beautiful singing. Would love to see her perform Turandot at the Met
What an excellent Principessa di morte.....today rare on this high level, even rare for famous opera houses as the Met, La Scala ,Vienna
More professional recordings of Tamara Wilson!!!
The voice of a generation!
Love this! Bravisimooo Tamara
She also sings a mean Trovatore, Ernani, Due Foscari. Very rare to have someone who can sing Turandot, early Verdi and Wagner. At least today it's rare. It used to be pretty "normal" 100 years ago.
too bad the Houston Grand Opera doesn't offer HD streaming like the Met.
I would love to see this performance.
A few deserters below complain about her rich vibrato. Have you listened to Turandots at the Met and elsewhere. The wobbles, the over-ripe vibratos that turn to wobbles. Wilson's voice is a wonder. She keeps it under superb control. The pitches are excellent. The style outstanding. There's both accuracy and emotion here, kept under excellent vocal control. I don't think she is interested in being stuck in the endless revolving door revivals of Zefirelli's now tacky production. It burns through sopranos. It is now just a hollow, crowd pleasing production with no soul. Here Wilson is singing about a real character. Excellent work by this outstanding American soprano.
Humble written. Different views, yes, but her voice is no "wonder". Keep well!
Великолепный голос!!!
Grossartige Stimme! Talent und Können, weiter so!!!
Великолепно!!! 👏👏👏
Согласна
Her voice is a unique. She should be singing in Europe! I wish my voice was as beautiful as hers. I use to have a voice like that once upon a time.
Paris this November
@@mattialuise8726 She sang a stunning Forza Leonora at English National Opera, Valkyrie Act 3 and Verdi Requiem at the Proms. Aida in Verona was a 'never again' experience for her.
😮sublime!!!!!!!
She took heavy roles (like Aida in Australia) very young. It would have kept the sheen on the voice longer if she had waited a few years before diving into the Spinto repertoire.
She just sang Isolde at the Santa Fe Opera.
Remarquable 👍👍👍
great control
As beautiful as a lyric soprano's voice. There are a few of them, Goerke is another, and of course Inge Borkh was the quintessential, but even better as Electra. I would hope that Wilson would attempt some great Straussian parts. - Ah, but it is not just her, it's also a fabulous orchestral reading.
Goerke is flat and horrible. Worst Turandot
amazing
Park and bark!
I'm assuming that's a Robert Wilson production so the park was a given. No barking. Superb articulation.
Her vibrato is so big that it is sometimes really difficult to say which note is she actually trying to sing but nevertheless I have the feeling that she always starts slightly under and finishes slightly above the correct pitch when trying to hit the high notes in forte. Once Calaf opened his mouth, I realized they go very well together though...
Wobbles are much worse in the tenor.
So right you are!
Why does the orchestra sounds so weak / muted ? Surely the HGO symphony is better than this?
I prefer the voice being featured to be honest.
The recording (including Wilson's voice) is not good.
Balance between orchestra and singers in all recordings is controlled entirely by the engineers.
So, EVERYTHING above G is not shrill and squally to you all??? What is wrong with my ears, then???
It absolutely is. It's been my beef with her singing for years. I wish she would open her mouth, for fucksake.
Nothing. She is shrill.
I guess you’d both prefer a netrebko train wreck 😂😂😂😂
For my ears too she is shrill, I cringed with her first note 😱
She's flat in the slow portions and sharp and shrill in the high parts. Used to be good, but pitch all over the place now.
OUCH! My poor ears!! What happened to her? She used to have a nice voice.....
A nice voice ...for Turandot ! What on earth do you mean ? Turandot with a Susannavoice mayhap ? We hear voices differently but...a piano/pianissimo Turandot might spare your poor ears. The richness of opera nevertheless provides every one of us with unending pleasure. Let's enjoy it !
Such an awful wobble!
Calaf has eaten one chimichanga too many.
Very true. She currently sings this role in Amsterdam...