@@swell_gal I listened to both and as much as I love the always exciting Bartoli and perfectly clear Janečkova,this one has my biggest vote :) I love it so much!
WOW...I think this was the warmest and most honest essay I've ever heard of this aria. It's simply...simple! No exaggerations, just what's on the page, effectively and expressively sung. I'm thoroughly impressed with the fluidity of her sound. Awesome lesson in breathing. The sound just pours out effortlessly. Good stuff!!! Thanks for posting!!!
It would be wonderful when this incredible perfomance with Janowitz, Baltsa and the unforgetable Lucia Popp would be published on DVD or being available for download complete!
One of the sterling operatic artists of the 70s, 80s and 90s. A riveting voice and dramatic presence. Even in her 60s singing Klytemnestra in ELEKTRA in Florence, she was commanding and still in possession of that plangent mezzo with that resinous sound. there was virtually nothing she tackled that didn't work for her. Oddly enough, her Carmen at the Met and Octavian, didn't really connect. Thirty years later, the voice sounded bigger and in very good health. Brava.
Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor. Quello ch'io provo vi ridirò, è per me nuovo, capir nol so. Sento un affetto pien di desir, ch'ora è diletto, ch'ora è martir. Gelo e poi sento l'alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me, non so chi'l tiene, non so cos'è. Sospiro e gemo senza voler, palpito e tremo senza saper. Non trovo pace notte né dì, ma pur mi piace languir così. Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel cor.
I think that after singing this piece of music with such stage presence and operatic technique, thus recognized by the public, by musicians and by their fellow behind the scenes and, taking into account that the applause for an artist is everything, one welcome all ... even death. You enjoy it.
Heard so many soprano's sing this over the years and my favourite still is Rinat Shaham.. For me, she combined both the conviction of a youth and her voice of course is pure glory. Agnes Balsta is in the upper range of mezzo and for me, too much vibrato but her control is absolutely fabulous.
Followed your "advise" and listened to Rinat Shaham, I didnt know her . I am puzzled though that you think Baltsa had too much vibrato, so I expected none or hardly vibrato with Shaham, but it is exactly the same! So I don't see your point . Rinat is quite nice, thanks for bringing her to my attention. I enjoy all singers and glad they are all different. A big variety of flowers in the field!
@@truesoundchris You're right. And an excellent analysis. I searched for the video to check out all the hullaballoo and if anything Rinat had a more problematic vibrato. It's slightly slower yes but wider... meaning she's straying off the actual note.
@@koosriedijk3872 You may also try Bidu Sayão for "Voi che sapete" if you didn't yet; she's not a mezo, but a great diva, her voice is very well suited for Mozart operas (my opinion). Frederica von Stade was a successful Cherubino too. If I would have to choose my favorite Cherubino of all times it would be that one created by Lucia Popp.
Voi che sapete che cosa è amor, donne vedete s'io l'ho nel cor. Quello ch'io provo vi ridirò; è per me nuovo, capir nol so. Sento un affetto pien di desir, ch'ora è diletto, ch'ora è martir. Gelo, e poi sento l'alma avvampar, e in un momento torno a gelar. Ricerco un bene fuori di me. Non so ch'il tiene, non so cos'è. Sospiro e gemo senza voler, palpito e tremo senza saper. Non trovo pace notte, nè dì, ma pur mi piace languir così. Voi che sapete che cosa è amor, donne, vedete s'io l'ho nel co
Voi che sapete che cosa è amor, Donne, vedete s’io l’ho nel cor. Donne, vedete s’io l’ho nel cor. Quello ch’io provo vi ridirò; È per me nuovo, capir nol so. Sento un affetto pien di desir Ch’ora è diletto, ch’ora è martir. Gelo, e poi sento l’alma avvampar, E in un momento torno a gelar. Ricerco un bene fuori di me, Non so chi ’l tiene, non so cos’è. Sospiro e gemo senza voler, Palpito e tremo senza saper, Non trovo pace notte né dì: Ma pur mi piace languir così. Voi che sapete che cosa è amor, Donne, vedete s’io l’ho nel cor. Donne, vedete s’io l’ho nel cor. Donne, vedete s’io l’ho nel cor.
@@marinellabakken7491 I will add that of the living sopranos, the French coloratura Sabine Devieihe is exquisite - and the gorgeous exotic Egyptian diva Fatma Said also has some wonderful recordings. Lesley Garret's Lascia ch'io pianga is also exceptionally gorgeous.
I think Mozart must have hated mezzos putting that change in rhythm at “palpito e tremo” and making “cosi” a half note instead of a dotted quarter. So annoying to sing. She’s great!
I am 50 years old heterosexual male. I have a 50 kg boxing bag, which I hit passionately from time to time. I play computer games full of sex and violence. Yet, this powerful and emotional performance of one of the most beautiful musical pieces ever written, made me listen to it several times in a row and cry like an actress.
Definately a very, very good "Voi che sapete". I like Cecilia Bartoli better; but that is a matter of taste. Bartoli always make me smile - she uses all her face, arms and high heels. But Baltsa certainly is marvellous.
***** I don't think vibrato is the main issue in this aria. The trick is to simulate the changing voice of a boy - which is why it can't be performed by a castrate. Bartoli and von Stade both have a lower register of darker colour - so has Baltsa, but it sounds a bit to rough to be credible. The break is absolutely necessary if You take the second movement of KV 439b - that is sometimes played with two clarinets and a BASSOON. This actually explains quite a lot to me of the way Mozart treats the bassoon in general. This is woodwind not brass. If Baltsa honks through the audience will think that the slutty Carmen has walked into the wrong opera. Baltsa has to take it in the high register. A bit of vibrato of an unsecure voice doesn't matter - we are not talking Callas. One of the terrible things about this aria is that it actually takes a more mature woman to sing it. The problem with Bartoli is that NO matter the disguise - she is not that credible as a male - not with those eyes. Von Stade has enough charm to chisel through defences without blasting the the concrete foundations. Bartoli has the charm, but in spades - she regularly use barytones as ornaments on her little finger - they don't seem to mind it though. But yes: Baltsa makes the sensible choise here.
You make some fine comments. "It takes a mature woman" makes quite a bit of sense. Interestingly, I have always enjoyed this aria as performed by the late Margaret Price ( though live she was more apt to play the countess). Her 1970"s RCA recordings are wonderful in most respects. (Arias and concert arias) I have a recently uploaded performance on my channel of this aria by the "young" and quite amazingly gifted Julia Lehzneva... Give her a listen...
+tonshaad1230 Yes. She didn't adjust her repertoire to her age. She smashed her voice - at the end it was terrible. Just listen to the old lady Baltza: Clear and beautiful. You could take Joan Sutherland at age 60. Nothing wrong there. Luciano Pavarotti as old.
She was a wonderful singer. Beautiful voice. One of the world's great mezzos with a rock solid technique. Beautiful, beautiful.
Although Agnes is still alive though she's retaired as a singer
What beautiful singing. The one and only Baltza. Wonderful technique, breath control and phrasing. Beautiful tone. Brava Agnes.
Listening again...crystal clear voice with perfect resonance..
女の私が惚れ惚れしちゃうこれぞケルビーノ!! このフィガロの舞台はキャストも演出も最高〜でした。
This is one of the best versions of voi che sapete i have ever heard. Agnes baltsa is a legend. so harmonious... I LOVE AGNES BALTSA!!!!!!!!
Try also Cecilia Bartoli and
Patricia Janečková. You might like them.
@@swell_gal I listened to both and as much as I love the always exciting Bartoli and perfectly clear Janečkova,this one has my biggest vote :)
I love it so much!
I didn’t use to be fond of this aria, but the great Agnes Baltsa has changed that. I adore it now!❤
WOW...I think this was the warmest and most honest essay I've ever heard of this aria. It's simply...simple! No exaggerations, just what's on the page, effectively and expressively sung. I'm thoroughly impressed with the fluidity of her sound. Awesome lesson in breathing. The sound just pours out effortlessly. Good stuff!!! Thanks for posting!!!
And just what's in the page as well (pun intended).
最高の「ケルビーノ」でしたね！
私の中では、この日のバルッアさんが最高です。
バルツァのケルビーノは、ちゃんと男の子っぽくて好き。
Any one of these special ladies is worth the ticket. To see all three on the same stage is a bargain whatever the price. Brava Agnes!
何たる豪華メンバー！！
さすがK.ベームさんでしたね
I love her voice and admire her technique!
beautiful voice. Excellent portrayal.
Gorgeous voice!
It would be wonderful when this incredible perfomance with Janowitz, Baltsa and the unforgetable Lucia Popp would be published on DVD or being available for download complete!
One of the sterling operatic artists of the 70s, 80s and 90s. A riveting voice and dramatic presence. Even in her 60s singing Klytemnestra in ELEKTRA in Florence, she was commanding and still in possession of that plangent mezzo with that resinous sound. there was virtually nothing she tackled that didn't work for her. Oddly enough, her Carmen at the Met and Octavian, didn't really connect. Thirty years later, the voice sounded bigger and in very good health. Brava.
My liebling Mezzo! Sie ist einfach großartig!
İ feel very happy whenever İ hear her voice. Baltsa is fabulous...
Wonderfull! Pure voice!
Magnificent!! Will I ever be able to see this opera in a beautiful traditional setting like this one with a mezzo half as good as Agnes??
This is not authentic18th century setting.
Brava, bravissima.❤
I listen to this at least once a week, whew 👩❤️💋👩💖
Voi che sapete che cosa è amor,
donne, vedete s'io l'ho nel cor.
Quello ch'io provo vi ridirò,
è per me nuovo, capir nol so.
Sento un affetto pien di desir,
ch'ora è diletto, ch'ora è martir.
Gelo e poi sento l'alma avvampar,
e in un momento torno a gelar.
Ricerco un bene fuori di me,
non so chi'l tiene, non so cos'è.
Sospiro e gemo senza voler,
palpito e tremo senza saper.
Non trovo pace notte né dì,
ma pur mi piace languir così.
Voi che sapete che cosa è amor,
donne, vedete s'io l'ho nel cor.
Wonderful voice! Blessings.
Bellissima esecuzione di una romanza indimenticabile!
Meravigliosa!
A GREAT actress!
Thanks a lot for this pleasure!
To me, her voice says a lot.
この曲には昔の思い出が詰まっています。
I think that after singing this piece of music with such stage presence and operatic technique, thus recognized by the public, by musicians and by their fellow behind the scenes and, taking into account that the applause for an artist is everything, one welcome all ... even death.
You enjoy it.
Heard so many soprano's sing this over the years and my favourite still is Rinat Shaham.. For me, she combined both the conviction of a youth and her voice of course is pure glory. Agnes Balsta is in the upper range of mezzo and for me, too much vibrato but her control is absolutely fabulous.
Check out Angelika Kirchschlager as well :) You might be in for a treat!
Followed your "advise" and listened to Rinat Shaham, I didnt know her . I am puzzled though that you think Baltsa had too much vibrato, so I expected none or hardly vibrato with Shaham, but it is exactly the same! So I don't see your point . Rinat is quite nice, thanks for bringing her to my attention. I enjoy all singers and glad they are all different. A big variety of flowers in the field!
I think that the best version of "Voi Che sapete" is that singed by Cecilia Bartoli (sorry for my bad English)
@@truesoundchris You're right. And an excellent analysis. I searched for the video to check out all the hullaballoo and if anything Rinat had a more problematic vibrato. It's slightly slower yes but wider... meaning she's straying off the actual note.
@@koosriedijk3872
You may also try Bidu Sayão for "Voi che sapete" if you didn't yet; she's not a mezo, but a great diva, her voice is very well suited for Mozart operas (my opinion).
Frederica von Stade was a successful Cherubino too.
If I would have to choose my favorite Cherubino of all times it would be that one created by Lucia Popp.
Mozart e sua divina música imorredoura e atemporal
Beautiful Voice. Brava!!!!!
Many many thanks operaduets !! Isn't Baltsa simply wonderful? The Japanese had such a treat 30 years ago !!
beautiful !
BRAVO!BRAVO! BRAVO!
Voi che sapete
che cosa è amor,
donne vedete
s'io l'ho nel cor.
Quello ch'io provo
vi ridirò;
è per me nuovo,
capir nol so.
Sento un affetto
pien di desir,
ch'ora è diletto,
ch'ora è martir.
Gelo, e poi sento
l'alma avvampar,
e in un momento
torno a gelar.
Ricerco un bene
fuori di me.
Non so ch'il tiene,
non so cos'è.
Sospiro e gemo
senza voler,
palpito e tremo
senza saper.
Non trovo pace
notte, nè dì,
ma pur mi piace
languir così.
Voi che sapete
che cosa è amor,
donne, vedete
s'io l'ho nel co
Perfect performance
Une merveille...❤🇫🇷
What a cast: Janowitz, Popp, Baltsa...
Habrá mejores días incluso para nosotros
She is really good
vibrato perfecto
Fabulous.
バルツァはこんな役もするんですね カルメンのハバネラを見て 色っぽい役専門だと思っていました ケルビーノはメゾソプラノが演じる ホントは男の子の不思議な役です
Three legends in one same video ❤
Bellissima messa in scena
Agnes Baltsa has always been a perfect Cherubino.
Thank you! I feel she is best singer, her technic is good cause hearing i think!
She's more Carmen than Cherubino, but what a spectacular voice nonetheless!
Michael Miller
And a very good Carmen she was too!
🎉❤🎉❤🎉❤
Me magnifique❤
i love lots of vibrato! the more the better and more fun!
???????????????????????
preciosa voz
Che brava! Un Cherubino da antologia
brilliant.
SUBLIME!
Me gusta mucho!!!
Voi che sapete che cosa è amor,
Donne, vedete s’io l’ho nel cor.
Donne, vedete s’io l’ho nel cor.
Quello ch’io provo vi ridirò;
È per me nuovo, capir nol so.
Sento un affetto pien di desir
Ch’ora è diletto, ch’ora è martir.
Gelo, e poi sento l’alma avvampar,
E in un momento torno a gelar.
Ricerco un bene fuori di me,
Non so chi ’l tiene, non so cos’è.
Sospiro e gemo senza voler,
Palpito e tremo senza saper,
Non trovo pace notte né dì:
Ma pur mi piace languir così.
Voi che sapete che cosa è amor,
Donne, vedete s’io l’ho nel cor.
Donne, vedete s’io l’ho nel cor.
Donne, vedete s’io l’ho nel cor.
❤Baltsa❤
Why do i find Lucia Popp's version the best from far !!!guys did you hear Lucia's version ?!
Lucia's Depuis le jour is exquisite, her Ach, ich fühl’s ... almost everything she recorded was better than all the others.
@@SoulfulTruth
Yes, yes, absolutely! I 🌻
@@marinellabakken7491 I will add that of the living sopranos, the French coloratura Sabine Devieihe is exquisite - and the gorgeous exotic Egyptian diva Fatma Said also has some wonderful recordings.
Lesley Garret's Lascia ch'io pianga is also exceptionally gorgeous.
Era da tempo che non sentivo un vibrato fatto come si deve (dannati americani!).
MOZART: LE NOZZE DI FIGARO - Janowitz- Popp- Baltsa- Prey- Weikl; Bohm- cond. -Ｓeptember 30th 1980 Tokyo/Vienna Staatsoper Tour concertmaster Gerhart Hetzel
More Octavian than Cherubino but there is room for such an approach especially when carried with such conviction. Memorable.
Beautiful sinnging; no acting at all.
You mean no grimacing, don't you?
hermosaaaaaaa
Thrill my heart
Not only can I feel the real longing come but see it too in the second half. Great rendition. A Real understanding of the character.
Großartig...entdeckt von Herbert von Karajan..
Very good, but no mezzo (can barely hear her at 2:15).
Absolutly Top 5 mezzo: Baltsa, Obraztsova, Verrett, Cossotto, Garanca
Big Mezzosoprano
恋とはどんなものかしら
女歌と思ってたけど、男歌なのね。
6月13日に音楽のテストあります
Vibrato vibrante
....non brava !!...BRAVISSIMA !!!
Oh, I am so proud to be greek!
Have you seen her do Habanera?
Just amazing.
How could I have forgotten Agnes Baltsa? Shame on me.
I like
The best Cherubino!
vibrato
I think Mozart must have hated mezzos putting that change in rhythm at “palpito e tremo” and making “cosi” a half note instead of a dotted quarter. So annoying to sing. She’s great!
1:37
like
...maybe there´s cold at the stage...
😊
she is one of best mezzo
I am 50 years old heterosexual male. I have a 50 kg boxing bag, which I hit passionately from time to time. I play computer games full of sex and violence. Yet, this powerful and emotional performance of one of the most beautiful musical pieces ever written, made me listen to it several times in a row and cry like an actress.
Hey, real men are able to cry! Thanks for your heart-warming message.
Aaaaaaaaaah !!! nooooon !!! panzer voice !!
恋とは、、😭
@Seamonkey Rocks, Ms Jenkins is a dreadful singer. She has the music transposed to suit her voice. She is pretty enough ish, but that's all.
Aie aie
ボリューミーな歌声。
Je doit apprendre les paroles
! Je suis en 4eme !!!
Sure beats Bartholdi
ホントは、「小姓」だから男性。でもこの場合、例外的にメゾソプラノの女性が務める。まさに「宝塚」だ。
Definately a very, very good "Voi che sapete". I like Cecilia Bartoli better; but that is a matter of taste. Bartoli always make me smile - she uses all her face, arms and high heels. But Baltsa certainly is marvellous.
She has been one of my favorite mezzo's.... But this aria calls for a bit less vibratto
***** I don't think vibrato is the main issue in this aria. The trick is to simulate the changing voice of a boy - which is why it can't be performed by a castrate.
Bartoli and von Stade both have a lower register of darker colour - so has Baltsa, but it sounds a bit to rough to be credible.
The break is absolutely necessary if You take the second movement of KV 439b - that is sometimes played with two clarinets and a BASSOON.
This actually explains quite a lot to me of the way Mozart treats the bassoon in general. This is woodwind not brass.
If Baltsa honks through the audience will think that the slutty Carmen has walked into the wrong opera. Baltsa has to take it in the high register. A bit of vibrato of an unsecure voice doesn't matter - we are not talking Callas.
One of the terrible things about this aria is that it actually takes a more mature woman to sing it. The problem with Bartoli is that NO matter the disguise - she is not that credible as a male - not with those eyes. Von Stade has enough charm to chisel through defences without blasting the the concrete foundations. Bartoli has the charm, but in spades - she regularly use barytones as ornaments on her little finger - they don't seem to mind it though.
But yes: Baltsa makes the sensible choise here.
You make some fine comments. "It takes a mature woman" makes quite a bit of sense. Interestingly, I have always enjoyed this aria as performed by the late Margaret Price ( though live she was more apt to play the countess). Her 1970"s RCA recordings are wonderful in most respects. (Arias and concert arias)
I have a recently uploaded performance on my channel of this aria by the "young" and quite amazingly gifted Julia Lehzneva... Give her a listen...
+Thomas Borgsmidt By "we are not talking Callas", what do you mean? Are you trying to disrespect the great Greek operatic artist of the 20th century?
+tonshaad1230 Yes. She didn't adjust her repertoire to her age. She smashed her voice - at the end it was terrible. Just listen to the old lady Baltza: Clear and beautiful. You could take Joan Sutherland at age 60. Nothing wrong there. Luciano Pavarotti as old.
I would like to see this character played by a young countertenor. Perhabs in a bit lower tessitura
RubenAngelesOficial Cherubino played by a boy? That would be weird.
@@ferretyluv Why? the character of Querubino is a young boy. Furthermore there are countertenors . I think would be very interesting just to try it
great but I give it 9/10 beacose it sounds like he's been overdoing the vibrato
This is for mezzo, not some screechy soprano.
Ma vestita da carabinieri?