I’m a huge fan of Benjamin Bernheim. Of course, he sounds fantastic on recordings, but the test is how he sounds in the theater. So I attended his debut last year in Rigoletto. He sounded even better onstage. An incredible tenor.
Depends on where do you sit... I was in Paris listening to this and Hoffman, he sounded much better in Hoffman, when I bought a slightly better seat for Hoffman....
Benjamin Bernheim is great tenor🤩🤩🤩 He’s got everything: 너무 멋져요 정말👏👏👏 musicality, singing, acting & good looking Can’t wait to c u @Met Les contes Hoffman🎶🎵
Je viens de découvrir Benjamin Berhheim sur Arte par ce morceau, et je suis tombée en amour par la voix de Benjamin. Il ira très loin, sa voix restera dans la postérité.
Back here to finish this one. YOU are the one who introduced me to Benjamin Bernheim!!!!! I saw a Met performance of R&J many years ago with Corelli and Blegen. I feel old. Thanks very much for this!
@@OperaMatinee Yes, but he could have all kinds of merit, but if I never heard it...what good is it to me? YOU, dear man, gave me the impetus to try listening to opera again! And, there he was! 😘😘😘
Corelli sort of bellowed through Romeo, didn't he? But then he bellowed through everything. Thrilling, but hardly artistic. I'm really old too! Bernheim's Romeo was delightful. My first R&J, I was in the chorus as a high school student. Heather Thompson was Juliet, and that's all I remember. I had such a crush!
Wow, again I am VERY GRATEFUL to you for introducing me to Bernheim. How wonderful to hear him come into the tomb after enduring Sierra screaming for 20 minutes. It will not last long for her, I fear. Cruelly, audiences love blood. And, she gives it to them. Unfortunately, vocal folds do NOT like blood.
Nadine Sierra’s is one of this generation’s finest young sopranos and seems to light up the stage whenever she is singing. Sierra’s coloratura is effortless and her voice has a lovely fluidity. Opera Magazine Readers’ 2023 Award was presented to American soprano Nadine Sierra, in the only award of the evening voted for by the public.
Well, that makes sense. The public know nothing about singing. She has a wonderful instrument. But, I would say that she doesn't light up the stage but rather, blows it up. Sings like a pig.
Some people in the comments don’t seem to know that in French opera the most important is not the power of the voice (even if Bernheim’s voice really fills the house). His diction is perfect and he phrases it like nobody. Alain Vanzo or George Thill were not the most powerful but their performances of French opera were certainly part of the most beautiful. One can talk about Corelli ´s interpretation of Romeo (his voice is of course beautiful) but it is an Italian interpretation in the sense that he « italianize » all the arias and even the simplest recitativo (plus his diction is very bad).
It's an Italian interpretation because he Italianizes all the arias? That sounds intelligent and probing. You Opera Queens need to listen and not talk.
In some respects, Nadine Sierra “journey” is the triumph of a deep monogamous love over wandering carnality. Vocally, Nadine delivered a blend of impeccable technique with emotion and feeling. Her trills were a delight, her top notes smooth and easy, and her legato milky. She easily soared over the orchestra, even at the busiest moments, and there was a vocal confidence there palpable in her delivery.
In a year or two Sierra is going to regret not getting "the lead out". Push ,push; only the top sound (because it has to be or she couldn't get up there) is what her voice should be as far as weight; rather, her entire voice should match the very top more. Obviously, the entire voice will have a slightly heavier weight. But, it is a matter of "making" a darker, heavier sound in the middle that will get her. The voice should be a set of perfectly matched pearls on a flat plate; in other words, psychologically, each note should be the same. They are NOT the same, but the singer has to go toward that idea. To say it more quickly--"get the lead out of that middle!" Such a shame. Glorious voice.
Franco Corelli is the only Remeo I can bear. Neither Bjoerling nor Alfredo Kraus or Bernheim or any other Tenor. Maybe listening live in theater helps. Bernheim has a nice voice without any doubt. At same time I offer my excuses because of these narrow-minded view of Romeo. Sorry peccato
You have the right to say so, needless to say. However, I happen to prefer Kraus or Benrheim in this role because of their French sound. Corelli and Freni were almost faultless except in this area. Ditto Pavarotti.
@@josephcollins6033 I beleive. We all get a term of finishing/ending. Also does our voice and Corelli had to finish too but did not find the end. Such happenings are not uncommon. Thank you and 🖖 greetings
@theartstraveler3162 No, he doesn't crack on the note itself. He goes "scratchy" coming off it. What happened there is instructive: I've now spoken to three or four who were there in the house, and who each said point-blank "His high C was fine!" But the two or three I've consulted who saw the HD or who heard it over the air will say "Something went wrong with that high C". It is clear the "scratchiness" at the close of the note simply didn't register in the house. The impact of the note in the house was entirely positive. That raises an interesting question: If a note makes its proper effect in the house, and the compromised release is not audible there, does that count as a perfectly good note, since for those seconds it was sustained, it was sustained well? Should what is heard in the house supercede whatever the "microscope" of the mike reveals?
Was this a rehearsal??? The tenor is « marking » during the whole opera!!! It cannot be his full voice. If it is, the voice is seriously under-developed and weak! Opera singers have to SING OUT!!!
I was at this performance and Bernheim was NOT marking and in fact fills the house beautifully. Yes, he did crack a couple of times, but he is human and his overall performance was elegant, musical, and beautiful. He is a wonderful artist and the Romeo of our time.
@@RobCauser I went May30 performance. he didn't crack at all and sing beautifully until the end of the opera. my a big disappointment was Miss Sierra wasn't on the stage because of some reasons.
that is because of his bizarre way of singing the 'r' contrary to the great French tenors of yesteryear, he is suffocating his vocal cords/production because of that.@@RobCauser
Nadine ruins the impact of her "Poison Aria" with her sloppy and indulgent musicianship: the momentum of the piece is ruined because she is holding notes for too long, extending rests, and not following the basic rules of rubato. Her voice is strong but the lack of color variation makes her singing sound monotonous and dull by the end of the opera.
Most of that problem was the conductor's lack of forward propulsion. Yannick is not good in classic operas; he can't keep the tension of the story moving forward. He ruined La Forza also.
You Opera Queens should listen and not talk. I will give you that her middle and bottom are much too heavy (I won't go into the scientific stuff here, but you may see my comment above for a little bit of that); she will regret that soon.
![[MV] A leap of faith...ความเชื่อใจครั้งสุดท้าย (From "Petrichor the series")](http://i.ytimg.com/vi/U1piZH2CNXA/mqdefault.jpg)
I’m a huge fan of Benjamin Bernheim. Of course, he sounds fantastic on recordings, but the test is how he sounds in the theater. So I attended his debut last year in Rigoletto. He sounded even better onstage. An incredible tenor.
Depends on where do you sit... I was in Paris listening to this and Hoffman, he sounded much better in Hoffman, when I bought a slightly better seat for Hoffman....
@@wotan10950 just come home after Les contes Hoffman from MET
WOW🤩 WOW 🤩 super super!!!!!!!
Of course I saw him in Romeo & juliett @MET too👏👏👏
Ich habe es im Kino sehen können. So unglaublich schön!!!!! Einfach grandios.
Just saw it Live from the Met here in Tokyo - overwhelming!
She really does some wonderful things! Thank you!!
Thank you again and again for this!😘
Benjamin Bernheim is great tenor🤩🤩🤩
He’s got everything: 너무 멋져요 정말👏👏👏
musicality, singing, acting & good looking
Can’t wait to c u @Met Les contes Hoffman🎶🎵
I stopped listening to the Met years ago, such frightening singing most of the time. I enjoyed this. Thanks, again.
Je viens de découvrir Benjamin Berhheim sur Arte par ce morceau, et je suis tombée en amour par la voix de Benjamin.
Il ira très loin, sa voix restera dans la postérité.
Back here to finish this one. YOU are the one who introduced me to Benjamin Bernheim!!!!! I saw a Met performance of R&J many years ago with Corelli and Blegen. I feel old. Thanks very much for this!
Thank you very much for the kindest of comments! However, the whole merit is Bernheim's alone :))
@@OperaMatinee Yes, but he could have all kinds of merit, but if I never heard it...what good is it to me? YOU, dear man, gave me the impetus to try listening to opera again! And, there he was! 😘😘😘
Corelli sort of bellowed through Romeo, didn't he? But then he bellowed through everything. Thrilling, but hardly artistic. I'm really old too! Bernheim's Romeo was delightful. My first R&J, I was in the chorus as a high school student. Heather Thompson was Juliet, and that's all I remember. I had such a crush!
Thanks very much for this!!
Wow, again I am VERY GRATEFUL to you for introducing me to Bernheim. How wonderful to hear him come into the tomb after enduring Sierra screaming for 20 minutes. It will not last long for her, I fear. Cruelly, audiences love blood. And, she gives it to them. Unfortunately, vocal folds do NOT like blood.
Nadine Sierra’s is one of this generation’s finest young sopranos and seems to light up the stage whenever she is singing. Sierra’s coloratura is effortless and her voice has a lovely fluidity. Opera Magazine Readers’ 2023 Award was presented to American soprano Nadine Sierra, in the only award of the evening voted for by the public.
Well, that makes sense. The public know nothing about singing. She has a wonderful instrument. But, I would say that she doesn't light up the stage but rather, blows it up. Sings like a pig.
Che opera meravigliosa.
Wonderful tenor!
B. B. BEAUTIFUL
Nadine Sierra è veramente adrenalinica e B.Berneim dolce ed emozionante: sono davvero Romeo e Giulietta!❤😢
B. B. - It's Good it is very Good- Great - Oper Singer.. I Know - its Born- NEW Big star-Shines! - in the opera Sky...
Some people in the comments don’t seem to know that in French opera the most important is not the power of the voice (even if Bernheim’s voice really fills the house). His diction is perfect and he phrases it like nobody. Alain Vanzo or George Thill were not the most powerful but their performances of French opera were certainly part of the most beautiful. One can talk about Corelli ´s interpretation of Romeo (his voice is of course beautiful) but it is an Italian interpretation in the sense that he « italianize » all the arias and even the simplest recitativo (plus his diction is very bad).
Alain Vanzo is one of my favourite tenors. His poise is matchless. A true master of stylish singing.
It's an Italian interpretation because he Italianizes all the arias? That sounds intelligent and probing. You Opera Queens need to listen and not talk.
Well, Honey, I DO know French opera. You are a scream.
I wasn't terribly impressed with his French, myself, but that's not uncommon.
2:00:35 Poison aria
one of the best ever
In some respects, Nadine Sierra “journey” is the triumph of a deep monogamous love over wandering carnality. Vocally, Nadine delivered a blend of impeccable technique with emotion and feeling. Her trills were a delight, her top notes smooth and easy, and her legato milky. She easily soared over the orchestra, even at the busiest moments, and there was a vocal confidence there palpable in her delivery.
WTF?
Her trills were a "delight"? And, that "technique" is not impeccable. You Opera Queens should listen and not talk. But, it's cute when you try.
In a year or two Sierra is going to regret not getting "the lead out". Push ,push; only the top sound (because it has to be or she couldn't get up there) is what her voice should be as far as weight; rather, her entire voice should match the very top more. Obviously, the entire voice will have a slightly heavier weight. But, it is a matter of "making" a darker, heavier sound in the middle that will get her. The voice should be a set of perfectly matched pearls on a flat plate; in other words, psychologically, each note should be the same. They are NOT the same, but the singer has to go toward that idea. To say it more quickly--"get the lead out of that middle!" Such a shame. Glorious voice.
She probably knows more about her voice than you. I hope you're not a voice teacher.
New York. I assume this is the dreadful Met?
Franco Corelli is the only Remeo I can bear. Neither Bjoerling nor Alfredo Kraus or Bernheim or any other Tenor. Maybe listening live in theater helps. Bernheim has a nice voice without any doubt. At same time I offer my excuses because of these narrow-minded view of Romeo. Sorry peccato
You have the right to say so, needless to say. However, I happen to prefer Kraus or Benrheim in this role because of their French sound. Corelli and Freni were almost faultless except in this area. Ditto Pavarotti.
@@jjlungdoc7472 Thank you for your opinion. I'll stay on mine. cordially 🖖
I heard him sing Romeo in '74, and it was horrible.
@@josephcollins6033 I beleive. We all get a term of finishing/ending. Also does our voice and Corelli had to finish too but did not find the end. Such happenings are not uncommon. Thank you and 🖖 greetings
It's our fate. The tasts are diffetent, all over the world...and it is a pleasure for us all together. Cordialement !
1:38:00
But he cracks there right?
scary crack, his cords were closing up@@theartstraveler
@theartstraveler3162 No, he doesn't crack on the note itself. He goes "scratchy" coming off it. What happened there is instructive: I've now spoken to three or four who were there in the house, and who each said point-blank "His high C was fine!" But the two or three I've consulted who saw the HD or who heard it over the air will say "Something went wrong with that high C". It is clear the "scratchiness" at the close of the note simply didn't register in the house. The impact of the note in the house was entirely positive.
That raises an interesting question: If a note makes its proper effect in the house, and the compromised release is not audible there, does that count as a perfectly good note, since for those seconds it was sustained, it was sustained well? Should what is heard in the house supercede whatever the "microscope" of the mike reveals?
it was a crack! and you heard it coming in the bars before@@geoffreyriggs2397
The voice of the tenor is real small.
It's a bright-toned voice, but you can't tell the size of a voice from a recording. You need to hear it in the theatre.
@@tristanhnl Really!
Yep it rings like crazy in the theatre
@@damianarnold9640 Don't be silly!
Bernheim’s voice is not small. He is no Corelli--but who is? It carries like a dream.
Was this a rehearsal??? The tenor is « marking » during the whole opera!!! It cannot be his full voice. If it is, the voice is seriously under-developed and weak! Opera singers have to SING OUT!!!
I was at this performance and Bernheim was NOT marking and in fact fills the house beautifully. Yes, he did crack a couple of times, but he is human and his overall performance was elegant, musical, and beautiful. He is a wonderful artist and the Romeo of our time.
@@RobCauser I went May30 performance.
he didn't crack at all and sing beautifully until the end of the opera.
my a big disappointment was Miss Sierra wasn't on the stage because of some reasons.
that is because of his bizarre way of singing the 'r' contrary to the great French tenors of yesteryear, he is suffocating his vocal cords/production because of that.@@RobCauser
I was at this performance as well. Bernheim is a TOP tenor. Voice is beautiful and very dynamic. You cannot judge from the record
He definitely cracks on the high B major in the finale
Nadine ruins the impact of her "Poison Aria" with her sloppy and indulgent musicianship: the momentum of the piece is ruined because she is holding notes for too long, extending rests, and not following the basic rules of rubato. Her voice is strong but the lack of color variation makes her singing sound monotonous and dull by the end of the opera.
Most of that problem was the conductor's lack of forward propulsion. Yannick is not good in classic operas; he can't keep the tension of the story moving forward. He ruined La Forza also.
@@starlove7474Thank you. Yannick is not a good conductor.
@@starlove7474 Bahahahahahahahahahaaa!
@@KajiVocals Bahahahahahahahahaa!
You Opera Queens should listen and not talk. I will give you that her middle and bottom are much too heavy (I won't go into the scientific stuff here, but you may see my comment above for a little bit of that); she will regret that soon.