Concordo piente con Voi.Improponibile sotto ogni aspetto. Quanto all'aria "Crude furie" la protagoista oltre ad avere timbricamente una voce inascoltabile neanche riesce a riscattare il suo canto..incapace di qualsivoglia agilità.Terrificante.
I wish. Just think she's the ideal opera singer -- rich voice, great interpreter of the role, and spot-on singing. DO check out her Dresden performance if you haven't already. Great singing (all around), great acting, great costumes, sets, and really wise direction, topped off by Rasmussen's electrifying performance. (Sorry if my enthusiasm has caused me to post excessively.)
I like what you say, and no offense taken. You just made me think. Glad you appreciate Paula as I do, and can't agree more how sad it is that she's given up music. I wonder if she realizes how truly unique she is. Her Dresden performance was magnificent in every way.
@PrimaRagazza Yes, you are being overly critical. I find little fault in the intonation, and as for the coloratura -- while not quite on par with her earlier version, compare it to Susan Graham's, why don't you. The only slight imperfections I can find is that she takes a breath in the middle of the one really difficult passage. This is live performance already. Stuff like that happens. How marvelous to hear her do this again: she's not lost a step. Please, Paula, do this again soon.
Beh un po' disastroso il tutto direi. Cantante afona e imprecisa (con intonazione ogni tanto al limite), coro da dopolavoro ferroviario, regia patetica, dizione incommentabile, direzione moscia nel recitativo e troppo affrettata nell'aria (che avrebbe bisogno di un fraseggio più ricco e un tempo un po' meno veloce). Cosa aveva bevuto Alan Curtis?
Somewhere on TH-cam there's a video where Susan Graham calls the voice a "mercurial" instrument. If it's mercurial even for someone like her, then I think we need to back off when the performance is less than perfect. I've noticed that the singers I know rarely comment on each others' performance, good or bad . . . and I expect it's a professional courtesy. Paula has said one of the reasons she quit was that she spent so much time protecting her voice that it impacted her life.
You know, I've been listening to a whole lot of professional stage performances, and my observation is that there's a whole lot of really bad singing going on out there in the trenches -- even the big names warble, miss high notes, and all manner of bad stuff happens. We all keep going back because we've heard that perfection that happens when the artist nails it. I imagine that professionals live with the knowledge that they can't be "on" every night. Comment of Susan Graham to follow.
Concordo piente con Voi.Improponibile sotto ogni aspetto. Quanto all'aria "Crude furie" la protagoista oltre ad avere timbricamente una voce inascoltabile neanche riesce a riscattare il suo canto..incapace di qualsivoglia agilità.Terrificante.
em 2007 a Rasmussen cantou tao bem...desconsidero essa versao
KE SKIFO DI REGIA!!!!!
Ma applaudono pure? Pazzesco...
I wish. Just think she's the ideal opera singer -- rich voice, great interpreter of the role, and spot-on singing. DO check out her Dresden performance if you haven't already. Great singing (all around), great acting, great costumes, sets, and really wise direction, topped off by Rasmussen's electrifying performance. (Sorry if my enthusiasm has caused me to post excessively.)
I like what you say, and no offense taken. You just made me think. Glad you appreciate Paula as I do, and can't agree more how sad it is that she's given up music. I wonder if she realizes how truly unique she is. Her Dresden performance was magnificent in every way.
Maggie, are you related to Paula Rasmussen?
@PrimaRagazza Yes, you are being overly critical. I find little fault in the intonation, and as for the coloratura -- while not quite on par with her earlier version, compare it to Susan Graham's, why don't you. The only slight imperfections I can find is that she takes a breath in the middle of the one really difficult passage. This is live performance already. Stuff like that happens. How marvelous to hear her do this again: she's not lost a step. Please, Paula, do this again soon.
Beh un po' disastroso il tutto direi. Cantante afona e imprecisa (con intonazione ogni tanto al limite), coro da dopolavoro ferroviario, regia patetica, dizione incommentabile, direzione moscia nel recitativo e troppo affrettata nell'aria (che avrebbe bisogno di un fraseggio più ricco e un tempo un po' meno veloce). Cosa aveva bevuto Alan Curtis?
Somewhere on TH-cam there's a video where Susan Graham calls the voice a "mercurial" instrument. If it's mercurial even for someone like her, then I think we need to back off when the performance is less than perfect. I've noticed that the singers I know rarely comment on each others' performance, good or bad . . . and I expect it's a professional courtesy. Paula has said one of the reasons she quit was that she spent so much time protecting her voice that it impacted her life.
Che orroreeeeeeeeeeeeeeeeeeeeeeeeee!!!
You know, I've been listening to a whole lot of professional stage performances, and my observation is that there's a whole lot of really bad singing going on out there in the trenches -- even the big names warble, miss high notes, and all manner of bad stuff happens. We all keep going back because we've heard that perfection that happens when the artist nails it. I imagine that professionals live with the knowledge that they can't be "on" every night. Comment of Susan Graham to follow.