where the others sing an opera, Diana is the living reincarnation of the Queen of the Night. She is terrifying! Everything is perfect, his rhythm, his power, his anger, his acting. Where others sing, Diana IS the Queen of the Night!
The incredible thing is not only her vocal performance which is amazing. The incredible is all her performance, the singing, the expressing, the acting, her posture, her way of moving her body etc this is a masterpiece! It's art in it's most beautiful form.
She really does weaponize those staccati! 😎🙌. Look at how her intensity radiates throughout her body-I bet she was absolutely exhausted after every performance. This is my absolute favorite rendition of this piece.
Simultaneously assuming a powerful and terrifying posture is fitting for the character and also allowing her to hit those difficult notes and techniques. Can literally see it in her chest and shoulders. She looks well trained.
I love Diana Damrau's performance of DHR, especially in this production. Her Queen of the Night is both arachnid and vampiric, a true Queen of the Damned. (And any chance of listening to Mozart is a good day for me too.)
The performance by Diana Damrau of the Queen of the Night at the royal opera house is in my opinion the bench mark. I am sure Mozart him self had he been around to to witness this performance would agree.
This version of the Magic Flute, produced for the Covent Garden, set some sort of "golden standard". Everything is spectacular! The stage design is simply gorgeous, the costume design is out of this world. Damrau's costume and make-up made all the difference. Her acting is ASTOUNDING. Nobody, no other singer in this galaxy, comes even closer. However...I must confess that Edda Moser's rendition to this aria is better. I mean...she sounds REALLY FURIOUS, taken by an unstoppable rage. Diana on stage, Moser on record, forever. ❤
The funniest use of this song, and other blood-soaked arias, was in the film Eddie, The Sleepwalking Cannibal. The painter Lars discovers a) that his friend Eddie eats people in his sleep and b) that this REALLY gets Lars' creativity flowing. So the issue becomes to tell (and lose the creativity) or not to tell (and more people die). Interspersed with this, the radio keeps playing beautiful arias and the radio announcer cheerfulky explains their murderous contexts.
The most appropriately scary Queen of the Night ever... And the way she does her second run while kneeling and leaning forward on that bench is just downright inhumane!
I’m happy and sad because I am caught up on all of your videos. Ooh could we have more content on your time in Amsterdam and auditions! Ooh and like, “Day-in-the-Life”? It’s SO fascinating, the life of an opera singer!! And living abroad! (I haven’t been outside the U.S., that’s why I LOVE the content you had when going through your daily routine!) Okay, I’ll shut up now! Have a wonderful week!
This was a really cool video! My mom was kinda a casual opera fan so I got exposed to Magic Flute when I was a little kid, I used to try and sing this aria in the shower. I saw it IRL too as well, though I was pretty young so I don't remember much ^^ Subscribed because I think opera is awesome. I'd love to see you cover Un bel di vedremo, I think it's my favourite aria out of the ones I've heard!
Why not "try again" ... and I'd suggest long drives across the country (when you have to go anyways, not specifically to practice). I am not good and only manage a decently strong FOG HORN continuous sound for a minute or two; practicing (very infrequently) has improved it from "raspy" to "clear" ... and I dont have a clue which note it actually is. The point is that you probably have to strengthen your muscles to actually sing ... and just doing the notes should be the first step. [Just my non-professional 2 cents from my own observations and as long as no one is in the car ... nobody will ever hear it (unless it is a Tesla).] The only thing I ever tried to actually learn is the "Major-General's Song" ... which is hilarious from the lyrics, but hard due to the speed of singing. I am not the fast-talking type, so managing the first verse was enough of an effort for me.
Kinda fun just seeing someone geek out about a aria. Honestly, Die Zauberflöte is one opera i struggle bringing myself to enjoy, when i just started taking lessons, my teacher thouht i'd be a great Sarastro, and had me working on his arias. Turns out, I'm a baritone, that rep ended up being both hard for me to sing, as well as the role didn't suit me in terms of character.. That left a bad taste for the entire opera. However: I was able to enjoy this vid a lot, just fun seeing someone who's really into it
I also had a hard time getting into Flute! I think everyone thinks it's fun because of the material and story but I think it's actually really difficult to do *well*. Casting is hard, getting the balance between fun-loving Papagena/ Papageno and the much more serious Pamina/Tamino combo... If you can give it a chance at a good theater, I'd say go for it!
@@operaanna For me it's the opposite, I got into it right away. It's like proto or crypto heroic fantasy, before the genre even existed. Like watching a Dungeons and Dragons game in music. Okay I'm a terrible geek I know.
I feel like the legato phrase may be the Queen showing the tiniest bit of empathy and compassion towards family, but it's more likely to be just another form of manipulation.
I went to a performance of Die Zauberflote in Dresden this past late August. The performance was excellent, but not in the same league as Diana Damrau. don't have the name of the soprano singing Queen of the Night immediately at hand.
Beside her technical abilities like tone color and fraseggio Diana got also a superlative stage presence indeed an actor quality for it is impossible to keep your eyes off her even if she's no singing, same for Pavarotti king of stage presence.
I don't know if I ever commented on this video. But I am a fairly new washer. I do know that I watched this at some point because the little red bar at the bottom of the video says so LOL. Diana is my queen. I'm not sure I can listen to anyone else do the song ever again. Except for maybe the reasonable English translation on the Amadeus soundtrack.
@@operaanna checking and. ... .... ... Could just be the medium, given that its decades-old technology having done the recording. And some people don't know how to volume or mix sounds for opera singers for s***. But although she's hitting all the notes she sounds like she's making up for her intensity and expression with pure volume
I managed to pause this at EXACTLY the right moment at 10:32 - your face in the bottom left corner is HILARIOUS :D But yes, I am not much into opera, but I saw this and was absolutely blown away!
14:30 Slightly wrong translation "hört der Mutter Schwur" = "hear the mother's vow" ... not "a mother's vow" (which would "einer Mutter Schwur"). One of the great parts about Damrau is that she gets the "rolling rrrrrs" well ... and this is easier to sing with "der" (because the Queen of the Night sings about herself and not "any random mother").
As far as I know the aria is written at the last minute before opening for his sister-in-law. I have heard that the intention was for her to crack a high F. The other thing is that at the same time a competing theater had opened with a similar story line. So Schikaneder needed a gimmick to knock out the competition - and did he get it!!! Mozart could not resist a challenge. Not that he did not have a challenge in Schikaneder (being on a budget) apparently insisting on a major role - presumeably to cut cost. There the problem was Schikaneder COULD NOT SING! But it must have been a strain on the domestic life in the Mozart household. Technically Damrau has pensioned herself of the part. It is a part you retire FROM not ON. She probably missed a high F in a performance - as Erika Köth said (who also pensioned herself off the part): If you miss ONCE - you can't sing it again, as your throat cramps up. Damrau has a technique of baring her teeth and projecting the upper lip to place the note precisely. The only other I have seen doing that is Lauritz Melchior in " In Fernem Land...": th-cam.com/video/zpcMsMhcqTk/w-d-xo.html As to Voi che sapete: Here with Cecilia Bartoli. She very correctly breaks down in deep register to simulate the changing voice of an adelescent boy. She has never performed in a stage production in the role - her big tits would make it more than a streach on imaginative powers of the audience. I will not cheat You of just how lovely Damraus voice is to this day: th-cam.com/video/OjXXUx8Y4ho/w-d-xo.html
I have it on good authority that Mozart wrote this aria just to torture Aloysia Weber, an opera singer who turned down his proposal. He ended up marrying her sister instead an probably relished each and every note she had to sing at the Theater an der Wien, where the play was a roaring success.
The opera lasts about three hours. So it sometimes in a three-CD set. My favorite recording with Fritz Wunderlich, Karl Bohm, Dietrich Fisher-Dieskau, and more comes with three CDs. But live performances usually end when Tamino marries Pamina in the temple. I even went to live performance where no one sang the Chorus of the Priests. That's disrespectful to Mozart and his librettist. It also misleads opera the audience by deleting part of the plot.
I listened to Moser and thought she was fantastic. There was no being behind the downbeat as was the case in 2 places during the Damrau version. Moreover, Moser has more squillo, a richer middle and used impressive chest voice where appropriate. I also prefer the quality of her voice. Having said that, both are superb vocal technicians and have a stunning mastery of this aria.
@@operaanna That would be great. You could do a side by side compare and contrast commentary. It would be outstanding. I really love what you are doing for Opera. I would like you to do a similar side by side comparison of the vocal production/mechanics of Franco Corelli, Luciano Pavarotti and Mario Del Monaco using a similar approach if you are willing to. Where I am coming from is that for many years, I have been very interested in the anatomy and physiology of the singing voice from the perspective of the ~14 intrinsic laryngeal muscles and their innervation as compared with the extrinsic muscles (including the platysma, strap muscles of the neck, e.g., sternocleidomastoid muscle) in way of highlighting the fact that extrinsic muscle use results in a weakening of the intrinsic musculature. If you watch videos of Corelli, you see that he never used any extrinsic musculature (as a result, his production appeared effortless). Few people realize that even with just the horizontal widening of the mouth, as in smiling or singing a very high note, the platysma and sternocleidomastoid muscles become activated, creating tension in the neck. Apropos this topic, I noted that Damrau had more horizontal mouth widening on the high F's than Moser did which I think is noteworthy in terms of the difference in technique.
One of your best videos! I watched Eat pray love Julia Roberts getting all raunchy while eating spaghetti over this aria... Whoa Whoa Whao, now I know why it is so inappropriate.
literally SUCH a weird choice to put over that scene, I DON'T GET IT. I feel like they wanted the orchestral intro and then couldn't be bothered to look up the words
You're right, I didn't mention it here! I alluded to the Freemasonry aspect but didn't want to go into it here. There will be more on this opera, so I will mention it when I do another aria. I'd also like to do a video looking at multiple singers in this aria and not just Damrau, and I think then I'd have more time to look at it.
It's obvious Damrau owns this song and she is the goat on that tune, others who tries will always be compared with her, and always loose. But also take in mind this video production is the highest standard with state of the art audio electronic equipment and very expensive . Singers will not at all sound like this from the audience perspective in the opera house. Actually this video production is no different from a musical production, microphones hidden on stage and costumes, mixing multiple audio channels together, video editing, and so on. Very different result from what actually can be heard in the opera house. Unfortunate Diana has nothing else where she impress and and in the end becomes the usual one trick pony opera singer.
On another note, could you please possibly do a video on Pamina's Ach, ich fuhl's from this production as well. Dorothea Roeschmann is so wonderful in it. O:) /watch?v=53RwokMkgqk
Listen to Edda Moser, SHE is the Queen of the Night for eternity. Damrau is a nightingale beside her. She's a great singer but she's a Pamina, and she's was great in that role. Moser, Deutekom, Popp, Gruberova had something Damrau will never have : the voice of the role.
@@operaanna I am german ... and I dont understand what she sings (most of the time). I would need the lyrics to understand it. 40 years ago mom "dragged" us into quite a bit of opera ... and not really understanding the lyrics took a lot away from the experience.
Excellent summary of the plot. Even your German pronunciation isn't bad for an English speaker. But ... and this isn't something small. Do learn how to type the German "Umlauten". These are not just things you can not include with the idea that English speakers won't know and German speakers can ... extrapolate what the differences mean. First of all, it seems rather herabschauen to the German speakers. Second, including them DOES make a difference. Holle is not a German word. Hohl (empty) is. Hölle is the correct word and is absolutely necesaary to understand as being not Holle. Hölle means "Hell". And yes, one's German does have to be pristine to sing German opera or Lieder. And it's exactly these Umlaute as well was "...ich vs ...isch", the German "R" types amongst amny other things, with which English speakers have so much problems. My own, in the 47 years since I moved to the German speaking part of Switzerland, is good enough, that Germans often mistake me for ... being Swiss or Dutch. But even after 47 years in the German speaking part of Switzerland, I don't pass for being German. Of course I learned Swiss Schrift-Deutsch, not German "Bühnen-Deutsch". which is quite different. Even Swiss actors and singers must learn German Bühnen-Deutsch.
I KNOW i 100% agree, but for some reason my editing software wouldn't accept my entering of the umlaut... very strange. I mentioned it in the description box as well. I find it horrifying not to be able to include them but I couldn't change it :(
Go watch the full video if you want to see it all the way through. I'm not allowing my video to be blocked just cause you don't like how my reaction videos are set up.
where the others sing an opera, Diana is the living reincarnation of the Queen of the Night. She is terrifying! Everything is perfect, his rhythm, his power, his anger, his acting. Where others sing, Diana IS the Queen of the Night!
The incredible thing is not only her vocal performance which is amazing. The incredible is all her performance, the singing, the expressing, the acting, her posture, her way of moving her body etc this is a masterpiece! It's art in it's most beautiful form.
Those poor aliens will be scared to death when they hear this aria! Guys - never go to earth, this woman will destroy us all!
Fully agree!
@@operaanna
Weapons in space, worth noting, a stay away pitch, a preventative measure.
@@oldfarthacks i didn't think of it like that! 😄🤭
Maybe your fragile ego. Tough guy❤💋
She really does weaponize those staccati! 😎🙌. Look at how her intensity radiates throughout her body-I bet she was absolutely exhausted after every performance. This is my absolute favorite rendition of this piece.
Simultaneously assuming a powerful and terrifying posture is fitting for the character and also allowing her to hit those difficult notes and techniques. Can literally see it in her chest and shoulders. She looks well trained.
Diana’s vocal range is a work of art, such a powerful voice. It mixes strong vocal range with acting. You feel her performance. Bravo to her.
The Queen Of The Night Aria was also featured in Barbie Fairytopia: Mermaidia which is performed by Raphael Wagner (Bibble's Opera Singing Voice)
I love Diana Damrau's performance of DHR, especially in this production. Her Queen of the Night is both arachnid and vampiric, a true Queen of the Damned. (And any chance of listening to Mozart is a good day for me too.)
Diana is a FANTASTIC soprano. And was a super super fit for this role.
Love the powerhouse of diana 's voice . The presicison is incredible.
The performance by Diana Damrau of the Queen of the Night at the royal opera house is in my opinion the bench mark. I am sure Mozart him self had he been around to to witness this performance would agree.
Wonderful! I am speechless..
Your choice for the Queen of the Night was out of this world, yehhhhh!!!
Thanks from Down Under😊
The Aria explained vids are my favorite and this one does not disappoint!
That woman is flat-out SCARY! 😱
Well, Sometimes "Flat - out", sometimes 'Sharp- dressed'. But... Not Nuts ON. She has Everything Else!
After Diana Damrau, your judgment of all your favorites will go down. Diana pushed the bar so high, no one, no one, can catch her!
At last you're back! And with a Mozart aria again!
Ur approach to these shows our very informative, I always learn something new
I meant "are"
Respekt Madame
This version of the Magic Flute, produced for the Covent Garden, set some sort of "golden standard". Everything is spectacular! The stage design is simply gorgeous, the costume design is out of this world. Damrau's costume and make-up made all the difference. Her acting is ASTOUNDING. Nobody, no other singer in this galaxy, comes even closer. However...I must confess that Edda Moser's rendition to this aria is better. I mean...she sounds REALLY FURIOUS, taken by an unstoppable rage. Diana on stage, Moser on record, forever. ❤
She has witches eyes! Amazing performance just from an acting stand point, shes terrifying!
The funniest use of this song, and other blood-soaked arias, was in the film Eddie, The Sleepwalking Cannibal. The painter Lars discovers a) that his friend Eddie eats people in his sleep and b) that this REALLY gets Lars' creativity flowing. So the issue becomes to tell (and lose the creativity) or not to tell (and more people die). Interspersed with this, the radio keeps playing beautiful arias and the radio announcer cheerfulky explains their murderous contexts.
"may you be disowned forever! May you be destroyed forever!" That spaghetti gotta be good
Mozart was a Freemason and if you are a Freemason you can se and notice a deeper subtitle meaning. Great reaction. Diana is The Queen of the night.
Diana owns it
Diana Damrau is really intimidating in this role. Really sinister. But in private a really nice and down to earth woman. 🥰
Loved the explanation
Thank you!
9:10 not the pavarotti beep
The most appropriately scary Queen of the Night ever... And the way she does her second run while kneeling and leaning forward on that bench is just downright inhumane!
I’m happy and sad because I am caught up on all of your videos. Ooh could we have more content on your time in Amsterdam and auditions! Ooh and like, “Day-in-the-Life”? It’s SO fascinating, the life of an opera singer!! And living abroad! (I haven’t been outside the U.S., that’s why I LOVE the content you had when going through your daily routine!) Okay, I’ll shut up now! Have a wonderful week!
It's like you're a mind-reader, because guess what's coming up this week!
Proud to give the 100th "Like". Great video.
Thank you!!
This was 18th century heavy metal.
This was a really cool video! My mom was kinda a casual opera fan so I got exposed to Magic Flute when I was a little kid, I used to try and sing this aria in the shower. I saw it IRL too as well, though I was pretty young so I don't remember much ^^ Subscribed because I think opera is awesome. I'd love to see you cover Un bel di vedremo, I think it's my favourite aria out of the ones I've heard!
Great one! I'll put it on the list
Why not "try again" ... and I'd suggest long drives across the country (when you have to go anyways, not specifically to practice). I am not good and only manage a decently strong FOG HORN continuous sound for a minute or two; practicing (very infrequently) has improved it from "raspy" to "clear" ... and I dont have a clue which note it actually is. The point is that you probably have to strengthen your muscles to actually sing ... and just doing the notes should be the first step. [Just my non-professional 2 cents from my own observations and as long as no one is in the car ... nobody will ever hear it (unless it is a Tesla).]
The only thing I ever tried to actually learn is the "Major-General's Song" ... which is hilarious from the lyrics, but hard due to the speed of singing. I am not the fast-talking type, so managing the first verse was enough of an effort for me.
Another unbelievable performance is by Cristina Deutekum. She's amazing
STUNNING! I included her in the singers of this aria that I posted on my Insta!
@@operaanna thanks for your reply 🙏 and yes she is stunning. I'm glad that you like her performance
just suscribed, I always wanted to know how long it would take to memorize a foreign language song for stage.
Kinda fun just seeing someone geek out about a aria. Honestly, Die Zauberflöte is one opera i struggle bringing myself to enjoy, when i just started taking lessons, my teacher thouht i'd be a great Sarastro, and had me working on his arias. Turns out, I'm a baritone, that rep ended up being both hard for me to sing, as well as the role didn't suit me in terms of character.. That left a bad taste for the entire opera. However: I was able to enjoy this vid a lot, just fun seeing someone who's really into it
I also had a hard time getting into Flute! I think everyone thinks it's fun because of the material and story but I think it's actually really difficult to do *well*. Casting is hard, getting the balance between fun-loving Papagena/ Papageno and the much more serious Pamina/Tamino combo...
If you can give it a chance at a good theater, I'd say go for it!
@@operaanna For me it's the opposite, I got into it right away. It's like proto or crypto heroic fantasy, before the genre even existed. Like watching a Dungeons and Dragons game in music. Okay I'm a terrible geek I know.
I feel like the legato phrase may be the Queen showing the tiniest bit of empathy and compassion towards family, but it's more likely to be just another form of manipulation.
haha i want to give her the benefit of the doubt, but I feel like...nah
I went to a performance of Die Zauberflote in Dresden this past late August. The performance was excellent, but not in the same league as Diana Damrau. don't have the name of the soprano singing Queen of the Night immediately at hand.
Beside her technical abilities like tone color and fraseggio Diana got also a superlative stage presence indeed an actor quality for it is impossible to keep your eyes off her even if she's no singing, same for Pavarotti king of stage presence.
I don't know if I ever commented on this video. But I am a fairly new washer. I do know that I watched this at some point because the little red bar at the bottom of the video says so LOL. Diana is my queen. I'm not sure I can listen to anyone else do the song ever again. Except for maybe the reasonable English translation on the Amadeus soundtrack.
It's amazing right? Check out Edda Moser though...
@@operaanna checking and. ...
....
...
Could just be the medium, given that its decades-old technology having done the recording. And some people don't know how to volume or mix sounds for opera singers for s***. But although she's hitting all the notes she sounds like she's making up for her intensity and expression with pure volume
I managed to pause this at EXACTLY the right moment at 10:32 - your face in the bottom left corner is HILARIOUS :D But yes, I am not much into opera, but I saw this and was absolutely blown away!
HAHAHA glad you enjoyed it!
14:30 Slightly wrong translation "hört der Mutter Schwur" = "hear the mother's vow" ... not "a mother's vow" (which would "einer Mutter Schwur"). One of the great parts about Damrau is that she gets the "rolling rrrrrs" well ... and this is easier to sing with "der" (because the Queen of the Night sings about herself and not "any random mother").
As far as I know the aria is written at the last minute before opening for his sister-in-law. I have heard that the intention was for her to crack a high F. The other thing is that at the same time a competing theater had opened with a similar story line. So Schikaneder needed a gimmick to knock out the competition - and did he get it!!! Mozart could not resist a challenge. Not that he did not have a challenge in Schikaneder (being on a budget) apparently insisting on a major role - presumeably to cut cost. There the problem was Schikaneder COULD NOT SING!
But it must have been a strain on the domestic life in the Mozart household.
Technically Damrau has pensioned herself of the part. It is a part you retire FROM not ON. She probably missed a high F in a performance - as Erika Köth said (who also pensioned herself off the part): If you miss ONCE - you can't sing it again, as your throat cramps up.
Damrau has a technique of baring her teeth and projecting the upper lip to place the note precisely. The only other I have seen doing that is Lauritz Melchior in " In Fernem Land...":
th-cam.com/video/zpcMsMhcqTk/w-d-xo.html
As to Voi che sapete: Here with Cecilia Bartoli.
She very correctly breaks down in deep register to simulate the changing voice of an adelescent boy. She has never performed in a stage production in the role - her big tits would make it more than a streach on imaginative powers of the audience.
I will not cheat You of just how lovely Damraus voice is to this day:
th-cam.com/video/OjXXUx8Y4ho/w-d-xo.html
The part was created for his sister in law, he wanted to showcase her range. Reports of his death indicate that he was thinking of the opera.
I have it on good authority that Mozart wrote this aria just to torture Aloysia Weber, an opera singer who turned down his proposal. He ended up marrying her sister instead an probably relished each and every note she had to sing at the Theater an der Wien, where the play was a roaring success.
Really??? Omg I've never heard that one before! I love it, Mozart was so petty 😂
The opera lasts about three hours. So it sometimes in a three-CD set. My favorite recording with Fritz Wunderlich, Karl Bohm, Dietrich Fisher-Dieskau, and more comes with three CDs. But live performances usually end when Tamino marries Pamina in the temple. I even went to live performance where no one sang the Chorus of the Priests. That's disrespectful to Mozart and his librettist. It also misleads opera the audience by deleting part of the plot.
I listened to Moser and thought she was fantastic. There was no being behind the downbeat as was the case in 2 places during the Damrau version. Moreover, Moser has more squillo, a richer middle and used impressive chest voice where appropriate. I also prefer the quality of her voice. Having said that, both are superb vocal technicians and have a stunning mastery of this aria.
I mean, fully and completely agree! I should've done multiple singers... we're gonna do it again with Edda Moser as a reaction video 😆
@@operaanna That would be great. You could do a side by side compare and contrast commentary. It would be outstanding. I really love what you are doing for Opera. I would like you to do a similar side by side comparison of the vocal production/mechanics of Franco Corelli, Luciano Pavarotti and Mario Del Monaco using a similar approach if you are willing to.
Where I am coming from is that for many years, I have been very interested in the anatomy and physiology of the singing voice from the perspective of the ~14 intrinsic laryngeal muscles and their innervation as compared with the extrinsic muscles (including the platysma, strap muscles of the neck, e.g., sternocleidomastoid muscle) in way of highlighting the fact that extrinsic muscle use results in a weakening of the intrinsic musculature. If you watch videos of Corelli, you see that he never used any extrinsic musculature (as a result, his production appeared effortless).
Few people realize that even with just the horizontal widening of the mouth, as in smiling or singing a very high note, the platysma and sternocleidomastoid muscles become activated, creating tension in the neck. Apropos this topic, I noted that Damrau had more horizontal mouth widening on the high F's than Moser did which I think is noteworthy in terms of the difference in technique.
One of your best videos! I watched Eat pray love Julia Roberts getting all raunchy while eating spaghetti over this aria... Whoa Whoa Whao, now I know why it is so inappropriate.
literally SUCH a weird choice to put over that scene, I DON'T GET IT. I feel like they wanted the orchestral intro and then couldn't be bothered to look up the words
You are ignoring all the German Mysticism and describing it as the tale of a mother who wants her daughter to kill her father, a common story.
You're right, I didn't mention it here! I alluded to the Freemasonry aspect but didn't want to go into it here. There will be more on this opera, so I will mention it when I do another aria. I'd also like to do a video looking at multiple singers in this aria and not just Damrau, and I think then I'd have more time to look at it.
I’m here because of gossip girl 😂 I know nothing about opera
Ok but they were super informative!!
It's obvious Damrau owns this song and she is the goat on that tune, others who tries will always be compared with her, and always loose.
But also take in mind this video production is the highest standard with state of the art audio electronic equipment and very expensive .
Singers will not at all sound like this from the audience perspective in the opera house. Actually this video production is no different from a musical production, microphones hidden on stage and costumes, mixing multiple audio channels together, video editing, and so on. Very different result from what actually can be heard in the opera house.
Unfortunate Diana has nothing else where she impress and and in the end becomes the usual one trick pony opera singer.
On another note, could you please possibly do a video on Pamina's Ach, ich fuhl's from this production as well. Dorothea Roeschmann is so wonderful in it. O:) /watch?v=53RwokMkgqk
Could you react on Cecilia Bartoli in "Agitata dai due venti" from Vivaldi's La Griselda
Anna, what's your last name? Do you have any of your own singing?
I do! If you check out my other channel, under my full name Anna Trombetta! You can also find my website with my full name as well.
Listen to Edda Moser, SHE is the Queen of the Night for eternity. Damrau is a nightingale beside her. She's a great singer but she's a Pamina, and she's was great in that role. Moser, Deutekom, Popp, Gruberova had something Damrau will never have : the voice of the role.
Couldn't agree more. Watch from 7:32
Totally!
lol get some Michael!!
Spoiler alert Zorastro doesn't die! LOL
Did I say that?? 😰🤔
What can I say? show
I'm not sure what you mean by this
Luckily for us ... aliens would need to understand what "Hölle" (hell) means ... if they ever translate the lyrics.
haha true! we're just all assuming they're fluent in German 😅
@@operaanna I am german ... and I dont understand what she sings (most of the time). I would need the lyrics to understand it.
40 years ago mom "dragged" us into quite a bit of opera ... and not really understanding the lyrics took a lot away from the experience.
Personally, I prefer Kristina Duetekom singing this aria.
Excellent summary of the plot. Even your German pronunciation isn't bad for an English speaker. But ... and this isn't something small. Do learn how to type the German "Umlauten". These are not just things you can not include with the idea that English speakers won't know and German speakers can ... extrapolate what the differences mean. First of all, it seems rather herabschauen to the German speakers. Second, including them DOES make a difference. Holle is not a German word. Hohl (empty) is. Hölle is the correct word and is absolutely necesaary to understand as being not Holle. Hölle means "Hell".
And yes, one's German does have to be pristine to sing German opera or Lieder. And it's exactly these Umlaute as well was "...ich vs ...isch", the German "R" types amongst amny other things, with which English speakers have so much problems. My own, in the 47 years since I moved to the German speaking part of Switzerland, is good enough, that Germans often mistake me for ... being Swiss or Dutch. But even after 47 years in the German speaking part of Switzerland, I don't pass for being German. Of course I learned Swiss Schrift-Deutsch, not German "Bühnen-Deutsch". which is quite different. Even Swiss actors and singers must learn German Bühnen-Deutsch.
I KNOW i 100% agree, but for some reason my editing software wouldn't accept my entering of the umlaut... very strange. I mentioned it in the description box as well. I find it horrifying not to be able to include them but I couldn't change it :(
Stop interrupting and let the video play damn it gee
Go watch the full video if you want to see it all the way through. I'm not allowing my video to be blocked just cause you don't like how my reaction videos are set up.
Edda Moser sings it better.
I agree!
Nervige Quasseltante
ok, bye👋
Diana Damrau speaks german! You not!
I never said I did?
No.
Yes.
by the way the TWO DOTS go over the A not over the M on your little pinboard ..
Hahahah I KNOW i was waiting for someone to notice
Do you know LUCIA POP ?
Of course!