I hope you enjoy the demonstration of 19th century style and technique in this video. In this performance, you will notice Victoria: sings with the forward placement and legato line of the old Italian school; uses vibrato only for moments of heightened emotion; makes liberal use of portamento, as marked in the score, and rubato, and embellishes the music in the style of the era (much more restrained than the elaborate flourishes of the 18th century, of which her teacher, Luigi Lablache, disapproved). If you’re new to this channel, please stick around, check out my other videos, and subscribe to learn more about how classical and operatic singing was different before the 20th century.
Could you explain what you mean by forward placement, because from what I can tell the placement in this example is very much the opposite, kinda stuck in the back of the throat. Dark, instead of the typical bright humming buzz of a forward placement
You already talked about the myth of always singing with the larynx lowered together with maestro García, now I suggest that you talk about other controversial topics, such as: voice ringing on the mask, the use of the chest voice and, finally, the use of the “girare” technique formerly used by female operatic singers such as Luisa Tetrazzini to increase power and squillo in notes from C5 onwards.
Wow, Victoria and Albert have such amazing chemistry 🤭 This video was so beautifully done, giving us the history of the piano and a little about the monarchs. The piece you played/sang was lovely, and sounded amazing on the piano.
You've got to be kidding me...and somehow no one part of the auction knew about this?? I feel like if they did, they wouldn't want to part ways with it! What delightful serendipity that it found its way to you!
What a fabulous story and presentation---serendipity and well-deserved reward. This piano so happily found you. Many congratulations and thanks. What continuing joy you give us all..................
Wonderful! I also didn't know that the Queen Victoria could sing and was a gorgeous contralto voice. I love when you come up with a ghost of some famous singing personality, you do it perfectly well. I would really like you to appear in the next videos with the ghosts of María Malibrán and Mathilde Marchesi.
Wunderschön! Thank you! The costumes were impeccable, I immediately knew you were Queen Victoria when I saw you! And your German was quite good! All the littlle mannerisms of the two 'ghosts' were absolutely delightful to witness!
This was simply charming! I don't know where to start: first of all, what a beautiful instrument. I'm glad you had it restored. I've always loved the old square pianos and this one has a beautiful tone -- somewhere between the "fortepiano" and the modern piano. The song by Prince Albert was absolutely charming! The style and sound of your singing combined with the sensitive accompaniment was hauntingly beautiful. (Are you the pianist as well as the vocalist?) Thank you once again. I look forward to viewing and listening to more of your work.
Your voice really sounds wonderfully like the old records! I love the legato and the careful dosing of vibrato. The portamento is still very subtle - a lot less noticeable than on recordings I have heard. Taste really determines how much a performer indulges in this, I guess. I must say, as a German speaker myself, that I have great difficulty to understand the text you are singing. (The subtitles help a lot, thank you for that.) It seems like the vowels are all a bit distorted - homogenized to the point where they all sound a bit like a "schwa". Is this intentional? Is it a consequence of the placement some other technical thing? Or could it be the recording equipment? I really don't mean this in a trolling way. Kind regards and Merry Christmas!
What a marvelous video! So well done!!! And it's a Broadwood - AND belonged to Albert. What a find! Your singing is absolutely correct. I grew up on the earliest recordings - Melba, Lilli Lehmann, Patti et al. (And the men also!) As a result, I've always thought a noticeable vibrato is to be avoided.
Hi Phantoms of the Opera! Your late 19th century grand piano looks very much like the Blüthner my father rescued for little money from an inner contruction site of a movie theater where it served as accompaniment to silent pictures - and which obviously was not the first possessor of the piano either, as it is late 19th century. It still is in use today.
Marvolous done!!! It is great!!! I love your "pure clearly British English Speaking",I have alway been in the Englisch Speaking Country US 🇺🇸,and actually learned it there. Your "English English", Artikulation is just marvolous!!! Again thank you so much for your wonderful Performance artestry🙏🎶 beloved Greetings from Europe Waldshut-Tiengen,Germany 🙋♂️🎶🙏🍀 A
I had a pianoforte but not as extravagantly finished as your treasure. When you demonstrated the scale at the beginning before you had it restored, it reminded me of how mine sounded. Such a beautiful story you told and I’m always entranced by the sounds of your voice.
Very interesting video thank you. I hope you have many happy years of enjoyment from your square piano. I was fortunate to be present at the Prom (concert) in 2019 when five of Prince Albert’s songs for tenor were presented with Stephen Hough no less accompanying on a period piano borrowed from Buckingham Palace. I did hear on the grapevine it was a bit of a beast to play. But it sounded amazing!
Been looking forward to a new video! So deeply informative and charming as always. Loved the musical performance. Could you expand on the forward placement and vibrato details you note in the description in a future video perhaps?
A wonderful video. I had no idea Prince Albert was such a fine composer! Thank you for the video. It really is lovely. Thank you! I hope you can continue to make many more videos. I really appreciate them.
A very credible Victorian timbre, I must say. BTW Mendelssohn having met V&A in 1847, maybe he actually played on that instrument (adding a touch of real royalty)?
Hello once again. Thank you for the most interesting videos and the work you put into them. I, myself, was raised with all acoustic operatics. Most of the voices are familiar to me. My father started me as a young child. I still have about 4,000 acoustic operatic discs. My main reason for this message is: I've ever heard this Prinz Albert song before. It's almost haunting in nature. Did any of the recording artists of 1895-1925 record this song? I'd appreciate any feedback. Now, I am going to try and see if I can locate a record listed in Eduardo Bauer's reference book. I'm thinking of Melba or Patti to check first. Thank you for sticking up for all of us very few that know of all these singers and the lost methods of singing they used! PS: I was NOT successful finding a record of this in all of Bauer's Historic Records :/
Thank you. Have you pursued the manufacturing history via the Broadwood Archives in the Surrey County Record Office? Entries often record maintenance, moving, and other actions while an instrument was still in the care of the maker.
I have a letter from Broadwood with all the details they have of the history of this piano. The last image (of the replica piano) is taken from that letter!
Your comment is not only ignorant, but also insulting. 1- It is not possible for a woman to be a countertenor, that is a term used to describe a male operatic singer who sings in falsetto. 2- I suggest you listen to Rosa Ponselle, she has a near identical timbre to Ziazan. Maybe that will help you understand how a true dramatic soprano sounds like. Not a fake ignolato and wobbly sound like Anna Netrebko or Nina Stemme. But instead a creamy deep voice capable of tenor-like low notes, thrilling and velvety high notes, and a stable and well produced middle. Ziazan has all these traits and is miles above any so-called “stars” singing at the Met, or anywhere else for that matter today.
@@Tenore1921 think that her comment could be insulting, but isn't ignorant at all. actually it's very much accurate. today countertenors sing in falsetto, and because it is physically not possible to sing clear vowels other than "i" and "u" in the pure isolated falsetto their voices are small, collapsed and not clear. they don't sing pure vowels. go and listen to Russel Oberlin, a fantastic counter tenor who sang using well developed head and chest tones, not like other counter tenors isolated falsetto. listen also to his interview, he demonstrates there differences between the natural voice and the falsetto. so yes. she does sound like today's countertenors who have their registers undeveloped. the female middle register is alike men's falsetto and it should be always coordinated with chest and head voice, not isolated.
This is not good old technique, this is voce ingolata, constricted small sound caused by the tongue closing off the space in the back of the mouth. Dressing in drag is sin, and these videos are creepy. On top of it all the singing and instruction are very bad. 1 Corinthians 15:1-8 KJV Romans 10:2-13 KJV "This is opera ARCHIVE" channel on TH-cam
You already talked about the myth of always singing with the larynx lowered together with maestro García, now I suggest that you talk about other controversial topics, such as: voice ringing on the mask, the use of the chest voice and, finally, the use of the “girare” technique formerly used by female operatic singers such as Luisa Tetrazzini to increase power and squillo in notes from C5 onwards.
I hope you enjoy the demonstration of 19th century style and technique in this video. In this performance, you will notice Victoria: sings with the forward placement and legato line of the old Italian school; uses vibrato only for moments of heightened emotion; makes liberal use of portamento, as marked in the score, and rubato, and embellishes the music in the style of the era (much more restrained than the elaborate flourishes of the 18th century, of which her teacher, Luigi Lablache, disapproved). If you’re new to this channel, please stick around, check out my other videos, and subscribe to learn more about how classical and operatic singing was different before the 20th century.
Could you explain what you mean by forward placement, because from what I can tell the placement in this example is very much the opposite, kinda stuck in the back of the throat. Dark, instead of the typical bright humming buzz of a forward placement
What’s type of vocal trainings you do? Compare to modern vocal trainings?
There are not enough videos of you in TH-cam. I simply adore them.
You already talked about the myth of always singing with the larynx lowered together with maestro García, now I suggest that you talk about other controversial topics, such as: voice ringing on the mask, the use of the chest voice and, finally, the use of the “girare” technique formerly used by female operatic singers such as Luisa Tetrazzini to increase power and squillo in notes from C5 onwards.
The old recordings make sense. This is such a beautiful way of singing. Shades of Adelina Patti, Marcella Sembrich, and Nellie Melba. It is amazing.
Wow, Victoria and Albert have such amazing chemistry 🤭
This video was so beautifully done, giving us the history of the piano and a little about the monarchs. The piece you played/sang was lovely, and sounded amazing on the piano.
You've got to be kidding me...and somehow no one part of the auction knew about this?? I feel like if they did, they wouldn't want to part ways with it! What delightful serendipity that it found its way to you!
I do love a Christmas ghost story! Thank you for the beautiful song as well.
Thank your for watching! Merry Christmas!
What a fabulous story and presentation---serendipity and well-deserved reward. This piano so happily found you. Many congratulations and thanks. What continuing joy you give us all..................
Yes, I now think the piano and I were meant to be together! Merry Christmas!
Wonderful! I also didn't know that the Queen Victoria could sing and was a gorgeous contralto voice.
I love when you come up with a ghost of some famous singing personality, you do it perfectly well. I would really like you to appear in the next videos with the ghosts of María Malibrán and Mathilde Marchesi.
Just fabulous on so very many levels, as always! So wonderful that the piano "found you". Best wishes for the finishing touches to its restoration!
Wunderschön! Thank you! The costumes were impeccable, I immediately knew you were Queen Victoria when I saw you! And your German was quite good! All the littlle mannerisms of the two 'ghosts' were absolutely delightful to witness!
What a beautiful song!
Isn’t it lovely?
The way that unexpected jump to the high note at 6:46 was superbly beautifull !!! 🤗😍🤗
Yay you're back! What a perfect holiday gift!
Thank you for sharing this lovely musical story!
Thank you for watching!
This is wonderful! Your vocal performance is stunning! I so enjoyed the dramatic element as well. I felt transported to another time!
She reminds me of the Lucy Worsley, in a very historical and musical way!
This was simply charming! I don't know where to start: first of all, what a beautiful instrument. I'm glad you had it restored. I've always loved the old square pianos and this one has a beautiful tone -- somewhere between the "fortepiano" and the modern piano. The song by Prince Albert was absolutely charming! The style and sound of your singing combined with the sensitive accompaniment was hauntingly beautiful. (Are you the pianist as well as the vocalist?)
Thank you once again. I look forward to viewing and listening to more of your work.
Awesome video all round, best Opera channel.
Wonderful singing, and Piano playing.
Your voice really sounds wonderfully like the old records! I love the legato and the careful dosing of vibrato. The portamento is still very subtle - a lot less noticeable than on recordings I have heard. Taste really determines how much a performer indulges in this, I guess.
I must say, as a German speaker myself, that I have great difficulty to understand the text you are singing. (The subtitles help a lot, thank you for that.) It seems like the vowels are all a bit distorted - homogenized to the point where they all sound a bit like a "schwa". Is this intentional? Is it a consequence of the placement some other technical thing? Or could it be the recording equipment?
I really don't mean this in a trolling way.
Kind regards and Merry Christmas!
Your piano indeed is not only a gem, it is a crown jewel!
A new video! I'm so happy!
Goodness, that's absolutely incredible! Many congratulations, and all the best with the remaining restoration work 😀
What a marvelous video! So well done!!! And it's a Broadwood - AND belonged to Albert. What a find!
Your singing is absolutely correct. I grew up on the earliest recordings - Melba, Lilli Lehmann, Patti et al. (And the men also!) As a result, I've always thought a noticeable vibrato is to be avoided.
Thank you! I'm glad you enjoyed it.
What an absolutely beautiful recording of a beautiful song. Thank you for bringing such beauty to my ears. I am grateful.
I am so glad to see another video with your absolutely lovely voice. Thank you so much.
Zaizan, the best yet! 🌹🌹🌹❤
Your performance had tears of laughter running down my cheeks, and then you sang !!!
So beautifull!!! The piano, the singing, the video everything!!! 👏👏👏👏😍😍😍
Hi Phantoms of the Opera! Your late 19th century grand piano looks very much like the Blüthner my father rescued for little money from an inner contruction site of a movie theater where it served as accompaniment to silent pictures - and which obviously was not the first possessor of the piano either, as it is late 19th century. It still is in use today.
Marvolous done!!! It is great!!!
I love your "pure clearly British English Speaking",I have alway been in the Englisch Speaking Country US 🇺🇸,and actually learned it there.
Your "English English", Artikulation is just marvolous!!! Again thank you so much for your wonderful Performance artestry🙏🎶 beloved Greetings from Europe Waldshut-Tiengen,Germany 🙋♂️🎶🙏🍀
A
I had a pianoforte but not as extravagantly finished as your treasure. When you demonstrated the scale at the beginning before you had it restored, it reminded me of how mine sounded. Such a beautiful story you told and I’m always entranced by the sounds of your voice.
*sigh* so lovely. Thank you for a lovely song and a sweet story.
Wonderful! Post more, please! Love you, Ziazan.
Very interesting video thank you. I hope you have many happy years of enjoyment from your square piano.
I was fortunate to be present at the Prom (concert) in 2019 when five of Prince Albert’s songs for tenor were presented with Stephen Hough no less accompanying on a period piano borrowed from Buckingham Palace. I did hear on the grapevine it was a bit of a beast to play. But it sounded amazing!
Been looking forward to a new video! So deeply informative and charming as always. Loved the musical performance. Could you expand on the forward placement and vibrato details you note in the description in a future video perhaps?
What a gorgeous instrument! Congratulations! Great effects - such a well-produced video.
Your sound is magic ! I love it so much .More please :)))
A wonderful video. I had no idea Prince Albert was such a fine composer! Thank you for the video. It really is lovely. Thank you! I hope you can continue to make many more videos. I really appreciate them.
A very credible Victorian timbre, I must say. BTW Mendelssohn having met V&A in 1847, maybe he actually played on that instrument (adding a touch of real royalty)?
Always very creative, unique, and enchanting.
I really love you singing ❤ I was surprised not to find my favorite songs again in your channel. A Chloris, Si le veux, if it's ever spring again ❤❤❤❤
Really- hauntingly beautiful voice :) bravo!
Simply, touching!
You have a beautiful voice.
Congrats on sorting out the video 🙂 It has worked out very well 🙂 And the singing is beautiful.
What fun ! Thanks
Beautiful and very creative!
Shout out to the pencil ✏️ lol 😂
Thank you so much. What a wonderful Christmas gift you have given us!
Very entertaining! Good acting, notable German accent.
An extraordinary beautiful piece of work. Thank you.
❤❤❤ The sound.
Hello once again. Thank you for the most interesting videos and the work you put into them. I, myself, was raised with all acoustic operatics. Most of the voices are familiar to me. My father started me as a young child. I still have about 4,000 acoustic operatic discs. My main reason for this message is: I've ever heard this Prinz Albert song before. It's almost haunting in nature. Did any of the recording artists of 1895-1925 record this song? I'd appreciate any feedback. Now, I am going to try and see if I can locate a record listed in Eduardo Bauer's reference book. I'm thinking of Melba or Patti to check first. Thank you for sticking up for all of us very few that know of all these singers and the lost methods of singing they used! PS: I was NOT successful finding a record of this in all of Bauer's Historic Records :/
What a beautiful piano. It is a Broadwood!
So ethereal...😍😍😍😍👏👏👏👏👏
You are amazing! Could you kindly tell me the name of the first piece played by the ghost?
I love that song!
Prince Albert’s trifles have been recorded. Latest available on Eloquence.
Amazing!
Thank you. Have you pursued the manufacturing history via the Broadwood Archives in the Surrey County Record Office? Entries often record maintenance, moving, and other actions while an instrument was still in the care of the maker.
I have a letter from Broadwood with all the details they have of the history of this piano. The last image (of the replica piano) is taken from that letter!
@@PhantomsoftheOpera Excellent. And that saves a trip to Dorking!
Would love to hear you sing chanson indoue from sadko
wow!
Lol you need a whole new set up - a nice piano room.
Could hatred be portrayed in music?. Scorching incensed hatred.
i don't care what you do. Your voice still sounds like a countertenor
Your comment is not only ignorant, but also insulting. 1- It is not possible for a woman to be a countertenor, that is a term used to describe a male operatic singer who sings in falsetto. 2- I suggest you listen to Rosa Ponselle, she has a near identical timbre to Ziazan. Maybe that will help you understand how a true dramatic soprano sounds like. Not a fake ignolato and wobbly sound like Anna Netrebko or Nina Stemme. But instead a creamy deep voice capable of tenor-like low notes, thrilling and velvety high notes, and a stable and well produced middle. Ziazan has all these traits and is miles above any so-called “stars” singing at the Met, or anywhere else for that matter today.
@@Tenore1921 think that her comment could be insulting, but isn't ignorant at all. actually it's very much accurate. today countertenors sing in falsetto, and because it is physically not possible to sing clear vowels other than "i" and "u" in the pure isolated falsetto their voices are small, collapsed and not clear. they don't sing pure vowels. go and listen to Russel Oberlin, a fantastic counter tenor who sang using well developed head and chest tones, not like other counter tenors isolated falsetto. listen also to his interview, he demonstrates there differences between the natural voice and the falsetto. so yes. she does sound like today's countertenors who have their registers undeveloped. the female middle register is alike men's falsetto and it should be always coordinated with chest and head voice, not isolated.
This is not good old technique, this is voce ingolata, constricted small sound caused by the tongue closing off the space in the back of the mouth. Dressing in drag is sin, and these videos are creepy. On top of it all the singing and instruction are very bad.
1 Corinthians 15:1-8 KJV
Romans 10:2-13 KJV
"This is opera ARCHIVE" channel on TH-cam
You should get out more
You already talked about the myth of always singing with the larynx lowered together with maestro García, now I suggest that you talk about other controversial topics, such as: voice ringing on the mask, the use of the chest voice and, finally, the use of the “girare” technique formerly used by female operatic singers such as Luisa Tetrazzini to increase power and squillo in notes from C5 onwards.