Oh, if only we could see the video footage as well. It must have been a transcendent experience to have been there in person, hear her sing, see her performance. The complicitiy with Minkowski is full of energy.
I am amazed by her coloratura and her precision. For a live performance, she is absolutely impressive, from low to high notes. And sooo fast! Respect. And respect for Minkowsky too.
Wow it's gorgeous the whole way through! I cant even think that fast. I think I'll just stick with living vicariously through lucious voiced singers! :)
As much as I love Dame Janet's version, I have to say I like this version better. It just sparkles. Thank La von Otter and thanks for the post... hadn't heard her Ariodante til now. Knew she'd done it and better even than I could have thought
Every time I hear Anne sing this it's like hearing this for the first time. Until I heard this recording of Dopo notte, I thought no one could outdo Janet Baker....but I was soooo wrong!
@@cliffgaither I agree with you about the "soulful sound" of Janet Baker. No doubt u know the magic and amazing "Lucrezia", cantata by Haendel (link below) : th-cam.com/video/RXMsw9HLG4k/w-d-xo.html
@@cliffgaither One of the greatest Haendel's masterpieces, composed in Italy at only 23 y.o. The story begins just after the rape of Lucrezia (she is the wife of a roman general) by emperor Tarquin. She sings her grief, her anger, she implores the gods of heaven and hell to help her. But because of their silence, she sinks into despair and shame and plunges a dagger into her heart. Just before she dies, she screams that her ghost will come back to avenge her.
ABSOLUTELY FANTASTIC, this lady is amazing. Minkowski must have heard her before the recording and gone nuts. Her con brio singing is captivating, lets you dance to Händel. I would have never thought that she would miscalculated her breathing, though: her trill gets interreupted by shortness of breath @ 6:19: teeeee- (breathe) -rrrra. Note: I am not nitpicking, this makes me admire her even more.
A live recording before the Minkowski CD! Great find. The audience went wild there, do you know if it was opera in concert or full-on opera perf, and what's the orchestra? Also, good picture choice. One of Otter's more typical "You talkin' to me? YOU talkin' to me?" photos.
Have you heard Anne's parts in the Messiah (Handel) with Trevor Pinnock? It's the ultimate... Also her CD: Opera Arias - Mozart, Haydn, Gluck. Archiv 449 206-2 Pinnock again.
Much to admire in von Otter's rendition of this glorious aria but I longed for more vocal fireworks at the end of the repeated section. The trills I find disappointingly lack lustre athough agility throughout the register is well executed. What strikes me particularly is the timbre at the bottom of the instrument, which is richly seductive. However, I strongly prefer Joyce Didinato's reading of this piece (the version in which she's seated in a red and black dress). Ms D's performance is stunningly electric and at breakneck speed too, altogether exhilarating; as for trills, they're delivered with diamond bright clarity; in the da capo part even her decorations seem to contain decorations! Didinato's offering is suffused with excitement in every bar. The American singer's performance is indelibly memorable, in my opinion not just head and shoulders above each and every one of her rivals but an entire body length.
That's supposed to be an intelligent response? Well, had you not shared that gem with me I wouldn't have felt deprived. [I'll not respond to further contributions from you. Indeed any such attempt >will be immediately deleted, unread
Kudos to Joyce for her live ,seated performance...always an arresting actress.But I much prefer Sophie Anne's clearer vocal timbre.(.which allows for more subtlety) to Joyce's more throaty delivery. Either way I suspect with these 2 greats and DJB we are dancing on a pinhead.
You are talking about someone whose singing is recorded while Anne Sofie von Otter’s is LIVE at the National Opera in Paris when she performed Haendel’s Ariodante ages ago. Von Otter’s singing is unsurpassed in this particular opera.
Taken more at the pace of the Paul McCreesh/JDD version than Dame Janet’s version. Normally I prefer a more deliberate version but this is one aria which can be taken at whichever speed is desired. Now to compare the Ann Hallenberg version. Love AS Von Otter’s live performances.
Irrelevant consideration - 'Ariodante' is set in Scotland (Ginevra is actually Ginevra di Scozia), and Ariodante is exactly where he says he is in the aria. The occasion is therefore one for a pibroch. Von Otter's display is breathtaking, but it isn't a pibroch. Uncannily, Baker's offers the dignity and the freedom within strict limits required by the form. No evidence Mr Handel ever visited Scotland, but that doesn't mean he didn't know.
Irrelevant consideration indeed: "Mr. Händel" probably did know about pilbrochs, and he cared so much about them in this opera that he composed the music for a Scots libretto, rather than for an Italian or English one.
Handel was familiar with bagpipes during his younger days in Italy -every Christmas the bagpipers from the Abruzzi region near Rome descend into Rome and play the pipes to illustrate the nativity story -it is recorded that Handel remembered these when he wrote the pastoral sinfonia in "Messiah"Also isn't there a suite of Scottish style dancing during the games section in "Ariodante?"Ironically Handel wrote "Judas Maccabaeus" to celebrate the victory of the duke of Cumberland at Culloden which put down an almost successful Scottish rebellion under bonnie Prince Charlie.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
Her recording with Minkowski was such a monument of alive deep beauty.
Magnifique interprétation d'une grandissime aria du collosal Haendel.
I had the privilege of being there at the Concertgebouw. It was such an unforgettable evening!
You are a LUCKY LUCKY soul !!!
beautiful, rich mezzo. adorable
Oh, if only we could see the video footage as well. It must have been a transcendent experience to have been there in person, hear her sing, see her performance. The complicitiy with Minkowski is full of energy.
I am amazed by her coloratura and her precision. For a live performance, she is absolutely impressive, from low to high notes. And sooo fast!
Respect.
And respect for Minkowsky too.
The greatest Ariodante recording ever
What particularly amazes me about her singing here is her breath control and her purity of tone! Amazing performance.
Oh my god this is unbelievable. Superhuman. Fantastic Von Otter!!!
It is simply a stunning interpretation and one Mr Handel would have approved. I never tire of hearing it. A joy!
Impresionante, qué maravillosa cantante. Esta aria sólo la ha cantado igual de bien Janet Baker.
Wonderful, such clarity of voice. Thanks for posting.
The TRUE authentic operatic character brought COMPLETELY to LIFE!
Moved to tears!! UNBELIEVABLE!!!
Wow! What a ride!
Brilli tu come stella
nella notte costellata di note
You shine like a star
with a constellation of notes
Wow it's gorgeous the whole way through! I cant even think that fast. I think I'll just stick with living vicariously through lucious voiced singers! :)
As much as I love Dame Janet's version, I have to say I like this version better. It just sparkles. Thank La von Otter and thanks for the post... hadn't heard her Ariodante til now. Knew she'd done it and better even than I could have thought
The best ever!
La perfection absolue .
DIOSAAA
Simply the greatest singer in the world. She can sing anything definitively.
Justify your extraordinary claim
@@DavidHughes-op6zl no
Every time I hear Anne sing this it's like hearing this for the first time. Until I heard this recording of Dopo notte, I thought no one could outdo Janet Baker....but I was soooo wrong!
Aren't you ! I was wrong as well !
@@francette19380 _::_
_Like Ann Sophie von Otter, but few singers have Baker's soulful sound._
@@cliffgaither I agree with you about the "soulful sound" of Janet Baker. No doubt u know the magic and amazing "Lucrezia", cantata by Haendel (link below) :
th-cam.com/video/RXMsw9HLG4k/w-d-xo.html
@@francette19380 No ! I didn't know about that performance. Thank you !
@@cliffgaither One of the greatest Haendel's masterpieces, composed in Italy at only 23 y.o. The story begins just after the rape of Lucrezia (she is the wife of a roman general) by emperor Tarquin. She sings her grief, her anger, she implores the gods of heaven and hell to help her. But because of their silence, she sinks into despair and shame and plunges a dagger into her heart. Just before she dies, she screams that her ghost will come back to avenge her.
Simply sensational .
Fabulosa...das melhores interpretações que já ouvi.
Deepest respect...Bravissima!!!
My favorite rendition of dopo notte
Just AMAZING.
Magnificent!!!
Thrilling!
Sublime ! Exquisite !
beautiful !!!
charming n beautiful.
Yeah, the most unleashed version!
Вravo!
magnificient
Great.
ABSOLUTELY FANTASTIC, this lady is amazing. Minkowski must have heard her before the recording and gone nuts. Her con brio singing is captivating, lets you dance to Händel. I would have never thought that she would miscalculated her breathing, though: her trill gets interreupted by shortness of breath @ 6:19: teeeee- (breathe) -rrrra. Note: I am not nitpicking, this makes me admire her even more.
A live recording before the Minkowski CD! Great find. The audience went wild there, do you know if it was opera in concert or full-on opera perf, and what's the orchestra?
Also, good picture choice. One of Otter's more typical "You talkin' to me? YOU talkin' to me?" photos.
@blueorangefunk yes it is
Dear heaven….😮😮😮😮4:47 😍😍😍😍😍
Have you heard Anne's parts in the Messiah (Handel) with Trevor Pinnock? It's the ultimate... Also her CD: Opera Arias - Mozart, Haydn, Gluck. Archiv 449 206-2 Pinnock again.
Much to admire in von Otter's rendition of this glorious aria but I longed for more vocal fireworks at the end of the repeated section. The trills I find disappointingly lack lustre athough agility throughout the register is well executed. What strikes me particularly is the timbre at the bottom of the instrument, which is richly seductive. However, I strongly prefer Joyce Didinato's reading of this piece (the version in which she's seated in a red and black dress). Ms D's performance is stunningly electric and at breakneck speed too, altogether exhilarating; as for trills, they're delivered with diamond bright clarity; in the da capo part even her decorations seem to contain decorations! Didinato's offering is suffused with excitement in every bar. The American singer's performance is indelibly memorable, in my opinion not just head and shoulders above each and every one of her rivals but an entire body length.
yawn!
That's supposed to be an intelligent response? Well, had you not shared that gem with me I wouldn't have felt deprived.
[I'll not respond to further contributions from you. Indeed any such attempt >will be immediately deleted, unread
all the best in your attempt to come across as intelligent. may you never grow weary. cheers! 🥱
Kudos to Joyce for her live ,seated performance...always an arresting actress.But I much prefer Sophie Anne's clearer vocal timbre.(.which allows for more subtlety) to Joyce's more throaty delivery. Either way I suspect with these 2 greats and DJB we are dancing on a pinhead.
You are talking about someone whose singing is recorded while Anne Sofie von Otter’s is LIVE at the National Opera in Paris when she performed Haendel’s Ariodante ages ago. Von Otter’s singing is unsurpassed in this particular opera.
Taken more at the pace of the Paul McCreesh/JDD version than Dame Janet’s version. Normally I prefer a more deliberate version but this is one aria which can be taken at whichever speed is desired. Now to compare the Ann Hallenberg version. Love AS Von Otter’s live performances.
too fast
Which orchestra?
Irrelevant consideration - 'Ariodante' is set in Scotland (Ginevra is actually Ginevra di Scozia), and Ariodante is exactly where he says he is in the aria. The occasion is therefore one for a pibroch. Von Otter's display is breathtaking, but it isn't a pibroch. Uncannily, Baker's offers the dignity and the freedom within strict limits required by the form. No evidence Mr Handel ever visited Scotland, but that doesn't mean he didn't know.
Irrelevant consideration indeed: "Mr. Händel" probably did know about pilbrochs, and he cared so much about them in this opera that he composed the music for a Scots libretto, rather than for an Italian or English one.
Handel was familiar with bagpipes during his younger days in Italy -every Christmas the bagpipers from the Abruzzi region near Rome descend into Rome and play the pipes to illustrate the nativity story -it is recorded that Handel remembered these when he wrote the pastoral sinfonia in "Messiah"Also isn't there a suite of Scottish style dancing during the games section in "Ariodante?"Ironically Handel wrote "Judas Maccabaeus" to celebrate the victory of the duke of Cumberland at Culloden which put down an almost successful Scottish rebellion under bonnie Prince Charlie.
I prefer Ann Hallenberg's version.
As long as it is a swede!
ok.
My favorite rendition of dopo notte