She makes a really good job of this aria. Her voice is glorious and flexible at the top as well as commanding in the lower notes. She is totally committed to the expression and meaning.
Great big surprise! Fassbaender must have listened to the early Callas Cetra recording and throws herself into this aria with what seems like reckless abandon, but ultimately in control. This is a version not to pale beside the Callas classic!
By far better than the version of another famous Mezzo who wanted so badly to be a soprano. Bumbry´s soprano recital from Orfeo consists of desperate, hoarse screams in the top. It's pretty painful but Fassbaender´s rendition is pleasing.
Wunderbar dieser Farbenreichtum! Fassbaender sets the standards once again: Richness and colorful variety, beauty and strong sense for the drama, the high notes amazing! she is next to callas my all time favourite singer! Listen to her Winterreise by Schubert!!!
Love it. Quite risky. But her medium got torn by this crazy jump into the Callas world. EMI had thought to insert this into this recital, as if to sell her as the new OVNI of that 70's era. I don't know if she was really believing that she could sing soprano for a while, or if it was only a teen age's dream to sing that aria.
Her voice is great and she equals Callas in acting. I just watched her perform the nightmare scene in Elektra and she I even better (I think its Elektra).
She sounds like a very good mezzo doing a soprano aria.. when a mezzo can sound like a soprano.. then its something.. this lacks freedom on the top notes.. Its dramatic.. but I assure you she would not be able to make a career doing roles such as these, her fate would be the same as Violetta Urmana.. who after a soprano excursion is back singing mezzo roles without the freedom, and with a signicant wobble.
@@kgarmaker123 agree and so did she. Basically stuck with mezzo repertoire and was careful even there not to overextended. Also gave up young man roles in good time. Once she understood every line the Marschallin sang she knew it was time to say goodbye to Oktavian.
C'est surprenant car ce n'est pas mal du tout .En tous cas elle a la voix pour chanter cela et ses " chest notes " sont ok .On sent bien sûr qu'elle s'inspire de Callas .Mais elle n'en a tout de même pas tout à fait les immenses moyens ,c'est ce qui explique peut être sa prudence et les nombreuses respirations inopinées dans cette prestation ,qui reste fort belle .
I think she's a dramatic soprano rather than a mezzo, but....lyric soprano? ....no. any lyric soprano would make an ass of themselves trying to sing dramatic mezzo rep (though plenty do bill themselves as made up fach like "coloratura mezzo" because they're too lazy to hit high notes haha). her voice is big and full, massive chest voices, full undertones on the top notes.
Too much fach-obsessed (those were always meant to be just guiding lines, not dogmatic rules) and caring way too little about the actual outcome of the singing and musical production.
Gioconda is only for a dramatic soprano not a german singer who can sing some words in italian. Example: "or piombo esausia" she forgot the piommmmbo esausia
Your comment is ridicule ! A wonderful interpretation , howewer the soprano is not italian ...JustCallas also was 'nt not Italian the only important fact is the quality of singing , and , here ; honestly, you cannot hope better ,
You meant "or piombo esausta"? Apparently she knows Italian much better than you. And Gioconda and a singer's nationality have nothing to do with each other.
Brigitte is a magnificent, super intelligent singer who can sing beautifully in many languages. Are you suggesting the crazy notion that she should be forbidden from singing in Italian because her birth language is German? You do know that Callas was born in New York to Greek parents and learned Italian (fluently) for her job!?
It just doesn't get any better than this! What a beautiful, powerful, and expressive voice! Amazing!
Fantastic! Brava Brigitte!❤
never ever heard it more stunning and intense !
In den letzten Tagen habe ich mir mindestens 30 verschiedene Versionen dieser Arie angehoert. Diese ist zweifelsohne eine der Besten!!! Hut ab...
She makes a really good job of this aria. Her voice is glorious and flexible at the top as well as commanding in the lower notes. She is totally committed to the expression and meaning.
Amazing! I love the strong low register effect. So dramatic.
Einfach wunderschön 👍 eine sehr schöne Stimme.....
Very impressive. The voice is so strong and expressive right through the range.
Beautiful! Her voice is perfect for this
Fantastic! One of the best renditions of this aria that I have heard
Great big surprise! Fassbaender must have listened to the early Callas Cetra recording and throws herself into this aria with what seems like reckless abandon, but ultimately in control. This is a version not to pale beside the Callas classic!
The way she says Camin reminds me of Callas's 1959 recording. This is very well done, though there is only one Callas.
Wow! What an incredible performance! :-)
Much better than many sopranos.
Une des rares mezzo-sopranos germaniques brillantes. Tout est admirable chez elle.
Better than most sopranos
Exactly. Glorious interpretation
Assolutamente meravigliosa!
I saw her a long time ago in Salzburg Festival she was fantastic!
Tolle Frau, habe sie ein paar mal beim unterrichten gesehen.
Fantastic!
had no idea she'd ever sung this aria, but I shouldn't be surprised!
By far better than the version of another famous Mezzo who wanted so badly to be a soprano. Bumbry´s soprano recital from Orfeo consists of desperate, hoarse screams in the top. It's pretty painful but Fassbaender´s rendition is pleasing.
AMAZING !!!!!!!!!!!!!!!
Wunderbar !!
Superbe!
Wunderbar dieser Farbenreichtum! Fassbaender sets the standards once again: Richness and colorful variety, beauty and strong sense for the drama, the high notes amazing! she is next to callas my all time favourite singer! Listen to her Winterreise by Schubert!!!
Fassbaender and Callas, the only ones...
Was apprehensive about this, but very impressed. Well done
Love it. Quite risky. But her medium got torn by this crazy jump into the Callas world. EMI had thought to insert this into this recital, as if to sell her as the new OVNI of that 70's era. I don't know if she was really believing that she could sing soprano for a while, or if it was only a teen age's dream to sing that aria.
Her voice is great and she equals Callas in acting. I just watched her perform the nightmare scene in Elektra and she I even better (I think its Elektra).
She sounds like a very good mezzo doing a soprano aria.. when a mezzo can sound like a soprano.. then its something.. this lacks freedom on the top notes.. Its dramatic.. but I assure you she would not be able to make a career doing roles such as these, her fate would be the same as Violetta Urmana.. who after a soprano excursion is back singing mezzo roles without the freedom, and with a signicant wobble.
@@kgarmaker123 agree and so did she. Basically stuck with mezzo repertoire and was careful even there not to overextended. Also gave up young man roles in good time. Once she understood every line the Marschallin sang she knew it was time to say goodbye to Oktavian.
@@kgarmaker123 Urmana has no chest voice. Fassbaender does.
Remarkable
like a German Callas!
Non credo proprio.
Beautiful! Or piombo esausta frà le tenebre...
She's good....
C'est surprenant car ce n'est pas mal du tout .En tous cas elle a la voix pour chanter cela et ses " chest notes " sont ok .On sent bien sûr qu'elle s'inspire de Callas .Mais elle n'en a tout de même pas tout à fait les immenses moyens ,c'est ce qui explique peut être sa prudence et les nombreuses respirations inopinées dans cette prestation ,qui reste fort belle .
Voce importante
sa voix : ne laisse rien intact en soi
Sounds like a lyric soprano.
I think she's a dramatic soprano rather than a mezzo, but....lyric soprano? ....no. any lyric soprano would make an ass of themselves trying to sing dramatic mezzo rep (though plenty do bill themselves as made up fach like "coloratura mezzo" because they're too lazy to hit high notes haha). her voice is big and full, massive chest voices, full undertones on the top notes.
@@jasonblack4208 She sounds lighter than Tebaldi who is a spinto soprano.
Too much fach-obsessed (those were always meant to be just guiding lines, not dogmatic rules) and caring way too little about the actual outcome of the singing and musical production.
@@Homoclassicus imo, it's clear she isn't a lyric soprano BECAUSE of the quality of the production.
@@BaroneVitellioScarpia1 lol...I actually think Tebaldi voice changed into a mezzo soprano because of her short top and screamed high notes.
Gioconda is only for a dramatic soprano not a german singer who can sing some words in italian. Example: "or piombo esausia" she forgot the piommmmbo esausia
Don't you mean "esausta"? lol
Esausia???!!!! LMAO
Your comment is ridicule ! A wonderful interpretation , howewer the soprano is not italian ...JustCallas also was 'nt not Italian the only important fact is the quality of singing , and , here ; honestly, you cannot hope better ,
You meant "or piombo esausta"? Apparently she knows Italian much better than you. And Gioconda and a singer's nationality have nothing to do with each other.
Brigitte is a magnificent, super intelligent singer who can sing beautifully in many languages. Are you suggesting the crazy notion that she should be forbidden from singing in Italian because her birth language is German? You do know that Callas was born in New York to Greek parents and learned Italian (fluently) for her job!?