My friends who love horror movies ask why I love opera. This was a fantastic way to spend 3 hours in a theater for a Saturday matinee. Simply brilliant!
Maria Callas is smiling down with absolute approval on this brilliant singer who sings on of Maria Callas's roles she absolutely owned. Brilliant performance. Bravaaaaa.
Look, clearly there's a nice version with subtitles floating around out there somewhere.... Bits and pieces show op on TH-cam. Where is it in its entirety?
Vocalement c'est vraiment très bon. C'est rare , tellement rare un voix qui se fracasse pas sur la partition " satanique " de medea...par contre le côté punk a chien plein de crack crasseuse qui se traine par terre c'est tellement l'image pathétique de notre époque où folie rime avec fange.....pas du tout celle de cherubini et encore moins callas où la pire folie ne se departissait pas de classe .. mais ca ce n'est pas la faut de cette pauvre soprano transformé en vieux sac de jute
👀✨if there is any possibility for all here ✨get your hands & ears on the medee production from the staatsoper berlin under maestro barenboim with sonya yoncheva as medee ✨🖤🎼🖤✨the most outstanding vocalist the little old 🐧✨ever saw on a opera stage&athrilling production 🖖🏻✨&what the met does was also good 🖖🏻✨
Sang it spectacularly well. Acting? She chewed scenery all bloody night. No sense of nobility in the beginning, a semi-demented bag lady who smiled demonically every time the word 'revenge' was mentioned, absolutely NO CHARACTER DEVELOPEMENT throughout the opera, no big surprise she would kill her children, - a sense of relief when all the scenery chewing was over. All the poise and beauty of this opera occurred during the 'dull' opening section before Medea appeared. - where it was shown by competent singers to be an absolutely beautiful and dramatic opera, - and at least had hints that it could have been an absolutely beautiful, poised and noble performance all the way through as it was intended.
"smiled demonically every time the word 'revenge' was mentioned" unfortunately that's one of her acting weak spots that she also employs in "Il Trovatore". She gives us a sinister smile with a gesture of hand/fingers over mouth, which doesn't work well, it's almost annoying. In "Medea" the smile is more dramatic and menacing and she emphasizes that with a clenched fist over her mouth, so it mitigates the silliness of the gesture. Other than that bit of nit-picking, it was a very exciting performance. Having said that, IMO her stellar success was in "Roberto Devereaux", an absolutely phenomenal production.
In normal circumstances I would agree with you however Sondra just simply blows me away every move reaction the way she revels in this role knocked it out the park for me.
I am a big fan of hers, but I don’t think that this is the best vocal fit for her. She also lags behind the beat quite a bit here. Regardless, the most frustrating thing is that even though she has sung in Met broadcasts for over 20 years, the Met still hasn’t bothered to figure out how to record her voice properly. This isn’t remotely representative of how she sounds live.
I have always thought her dreadful. Amazing what she can pull off and get away with. But, I think her career illustrates how horrible singing and productions have become- beginning at least in the 90s. I am surprised she can even talk today.
I wouldn't call her dreadful. She doesn't have the most balanced voice but unfortunately they don't teach proper singing any longer. She does bring a lot to the table and is still a compelling artist. I wish she had better technique but this is what we have today
@@operadoc You certainly are correct about not teaching singing in a scientific way anymore. I do think she is dreadful; I can't stand the sound because it is so tight and screamed, usually. But, it is all so subjective...to a point. I can tell you that I heard her sing the big scena of Ballo once, and it was one of the most incredible pieces of singing I have ever heard. I really don't think she is a true soprano, based on passaggio areas and comfortable tessitura ranges. I know most will disagree. She certainly has guts!
@@josephcollins6033 Ballo was the first time I saw her live as well and it was compelling. I know there are irritating features of her voice but there is still something very exciting about her. Certainly we do not have anyone on the level of callas or caballe and probably never will again. Is there anyone out there particularly great at this time. I like saioa hernandez but she has flaws as well such as lack of nuance and agility
@@operadoc Absolutely. There is something exciting or people wouldn't love her as they do. I don't know of a singer today who comes close to what they had in the 60s. I didn't begin to listen to opera until the late 70s. I am not a fan of Callas. I will find Hernandez and listen.Thank you!!
That sound she makes at 3:25, what is it? Because that's not how a dramatic soprano's 'voce di petto' should sound like. Overall, an underwhelming performance both vocally and dramatically.
I don’t know how to express my disappointment the only great thing of this production is the orchestra but even the conductor slows everything down. Sondra is unexpectedly Terrible, the pressure she has to use to bring out a tone but you can barely hear her when she’s singing low notes. Stage is boring doesn’t have any deeper sense and is looking incredibly cheap. And the worst of all the costumes. She looks like a fallen crow abandoned and really awful non of the costumes have a similar theme really just fabrics and shapes put together with a slight historical accent. Also my absolute fav moments: 3:00 and 3:18
@@KajiVocals I don’t think her primo passaggio is coordinated in a way that allows her to bring the chest up into the middle voice healthily, so she doesn’t, and that’s where all the declaratory passages lie in this role.
Giusto, e ameremo sempre Callas per questo e altri ruoli. Di, certo! Ma possiamo forse apprezzare anche altri che condividono la passione e l'impegno per l'arte, no? 🙂
My friends who love horror movies ask why I love opera. This was a fantastic way to spend 3 hours in a theater for a Saturday matinee. Simply brilliant!
Thank you soooo much! Just came home from the movie theatre and great to be able to hear and see it again!!! If you have more … :)
When most of us are long gone, I predict these extracts will be viewed as perennially astonishing and enthralling.
Impactante, cuanto talento de la cantante, sin mencionar la impecable puesta en escena, maravilloso
This is extremely good. I hope to hear the other two hours soon :)
Her last "pieta" is soooo amazing !!!
Браво !!! Хай Бог вас охороняє !
Sondra Radanovsky siempre maravillosa en sus actuaciones !!!! 🌟🎶🌟🎶🌟
I Think Sondra was absolutely amazing! Love the way she revels in the role. Bravo
Omg thank you for posting this. Please post more lol
Magnificent Sondra! The best Medea! Great production! Congrats, all the cast!💖
fabulous!!!
If after this performance no one gets a tattoo of Medea, then I don’t know. Epic!
Maria Callas is smiling down with absolute approval on this brilliant singer who sings on of Maria Callas's roles she absolutely owned. Brilliant performance. Bravaaaaa.
Thanks
Look, clearly there's a nice version with subtitles floating around out there somewhere.... Bits and pieces show op on TH-cam. Where is it in its entirety?
Vocalement c'est vraiment très bon. C'est rare , tellement rare un voix qui se fracasse pas sur la partition " satanique " de medea...par contre le côté punk a chien plein de crack crasseuse qui se traine par terre c'est tellement l'image pathétique de notre époque où folie rime avec fange.....pas du tout celle de cherubini et encore moins callas où la pire folie ne se departissait pas de classe .. mais ca ce n'est pas la faut de cette pauvre soprano transformé en vieux sac de jute
👀✨if there is any possibility for all here ✨get your hands & ears on the medee production from the staatsoper berlin under maestro barenboim with sonya yoncheva as medee ✨🖤🎼🖤✨the most outstanding vocalist the little old 🐧✨ever saw on a opera stage&athrilling production 🖖🏻✨&what the met does was also good 🖖🏻✨
Finally someone, the production in Berlin is the best production EVER
I have full opera
Sang it spectacularly well. Acting? She chewed scenery all bloody night. No sense of nobility in the beginning, a semi-demented bag lady who smiled demonically every time the word 'revenge' was mentioned, absolutely NO CHARACTER DEVELOPEMENT throughout the opera, no big surprise she would kill her children, - a sense of relief when all the scenery chewing was over. All the poise and beauty of this opera occurred during the 'dull' opening section before Medea appeared. - where it was shown by competent singers to be an absolutely beautiful and dramatic opera, - and at least had hints that it could have been an absolutely beautiful, poised and noble performance all the way through as it was intended.
"smiled demonically every time the word 'revenge' was mentioned"
unfortunately that's one of her acting weak spots that she also employs in "Il Trovatore".
She gives us a sinister smile with a gesture of hand/fingers over mouth, which doesn't work well, it's almost annoying.
In "Medea" the smile is more dramatic and menacing and she emphasizes that with a clenched fist over her mouth, so it mitigates the silliness of the gesture.
Other than that bit of nit-picking, it was a very exciting performance.
Having said that, IMO her stellar success was in "Roberto Devereaux", an absolutely phenomenal production.
I hate the microphones
In normal circumstances I would agree with you however Sondra just simply blows me away every move reaction the way she revels in this role knocked it out the park for me.
Her career is a great illustration as to the death of singing and opera in the past 30 years. I am surprised she can even talk!
@@theartstraveler I can't dislike her; I do not know her. I don't like her "singing".
I am a big fan of hers, but I don’t think that this is the best vocal fit for her. She also lags behind the beat quite a bit here. Regardless, the most frustrating thing is that even though she has sung in Met broadcasts for over 20 years, the Met still hasn’t bothered to figure out how to record her voice properly. This isn’t remotely representative of how she sounds live.
It’s depressing that this is the best we have in this role today…
I have always thought her dreadful. Amazing what she can pull off and get away with. But, I think her career illustrates how horrible singing and productions have become- beginning at least in the 90s. I am surprised she can even talk today.
I wouldn't call her dreadful. She doesn't have the most balanced voice but unfortunately they don't teach proper singing any longer. She does bring a lot to the table and is still a compelling artist. I wish she had better technique but this is what we have today
@@operadoc You certainly are correct about not teaching singing in a scientific way anymore. I do think she is dreadful; I can't stand the sound because it is so tight and screamed, usually. But, it is all so subjective...to a point. I can tell you that I heard her sing the big scena of Ballo once, and it was one of the most incredible pieces of singing I have ever heard. I really don't think she is a true soprano, based on passaggio areas and comfortable tessitura ranges. I know most will disagree. She certainly has guts!
@@josephcollins6033 Ballo was the first time I saw her live as well and it was compelling. I know there are irritating features of her voice but there is still something very exciting about her. Certainly we do not have anyone on the level of callas or caballe and probably never will again. Is there anyone out there particularly great at this time. I like saioa hernandez but she has flaws as well such as lack of nuance and agility
@@operadoc Absolutely. There is something exciting or people wouldn't love her as they do. I don't know of a singer today who comes close to what they had in the 60s. I didn't begin to listen to opera until the late 70s. I am not a fan of Callas. I will find Hernandez and listen.Thank you!!
That sound she makes at 3:25, what is it? Because that's not how a dramatic soprano's 'voce di petto' should sound like. Overall, an underwhelming performance both vocally and dramatically.
Turn off your troll-o-phones and she'll sound better.
I don’t know how to express my disappointment the only great thing of this production is the orchestra but even the conductor slows everything down. Sondra is unexpectedly Terrible, the pressure she has to use to bring out a tone but you can barely hear her when she’s singing low notes. Stage is boring doesn’t have any deeper sense and is looking incredibly cheap. And the worst of all the costumes. She looks like a fallen crow abandoned and really awful non of the costumes have a similar theme really just fabrics and shapes put together with a slight historical accent. Also my absolute fav moments: 3:00 and 3:18
Very odd because she has great low notes. Unclear why she doesn’t do them here.
@@KajiVocals I don’t think her primo passaggio is coordinated in a way that allows her to bring the chest up into the middle voice healthily, so she doesn’t, and that’s where all the declaratory passages lie in this role.
@@ER1CwC I saw her live in La forza and she actually did exactly that. She sustained a G in chest voice.
@@KajiVocals Which part? I think the issue in Medea too is that it’s so texty, and her diction traps her voice.
@@ER1CwC In the duet in act one.
Ecco come si fa.
th-cam.com/video/HSh3FTs4sQI/w-d-xo.html
Giusto, e ameremo sempre Callas per questo e altri ruoli. Di, certo! Ma possiamo forse apprezzare anche altri che condividono la passione e l'impegno per l'arte, no? 🙂