VOCAL COACH REACTION & COMPARISON: Netrebko & Fleming singing "O Mio Babbino Caro" (Puccini)
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I love Renee Fleming, I enjoy listening to her voice ❣️
I loved how you analyze their styles, also with examples, each one of them has their own beauty and value, even though they do not follow the "traditional belcanto technique/style", but the modern one. My favourite version of this aria is Caballe's, however I like how they sing this aria.
Nice, please do more opera.
Yes! Please more classical vocal training. Thank you so much Freya!
You know Anna is doing something right when she brings you literally to tears 😢
i hear Flemming s acting and emotions in her performance . I think I like her better ! I agree she is older and more experienced . And of course more confident and relaxed in herself .
I love both of them!
For me Anna is much more energetic and exciting. The stage presence of Anna is fantastic.
Please do more of these! We love you! Thank you for all your lessons❤️
Renee Fleming. Not a "school" but a gorgeous, empathetic human with a VOICE!
AMEN!!!
Thank you!! I don’t know many good opera singers who are in a school or more than 1.
Renee is a DIVA
absolutely, before 25-30 years tutte due erano fantastiche, stupendous.
Nobody expects that they would sing such as Renata Tebaldi, nobody expects that one soprano would sing, not today and not tomorrow, such as Renata Tebaldi.
But as opera lirica maniacs we are fortunated hearing such beautiful interpretations.
And thank you so much for this lovely comparison.
Opera lirica greetings from Vienna
Anna Netrebko is divine! All in one, beauty+voice+acting skills! She’s hard to surpass! ❤❤❤
Great video!!! Love your analysis!! Please do more! I've learned much more just in these 12 minutes!!
I Like Fleming a Lot. She lets blossom the top.
Thank you for this. I really enjoyed your explanation of these two singing styles. I'm not a singer. I'm an opera fan. I've noticed the difference, but couldn't explain it. I'd love to see a documentary on this.
I love love you do explain the different techniques❤
Dos formas tan distintas de cantar esta aria, ambas me gustan mucho.. Fleming es muy cálida, Anna es muy enérgica y bella a la vez..👏👏
Thanks for this
Please do Lisette Oropesa, her technique is fabulous!
New sub. Love this so much
I liked everything you said.
Try finding a video of Monserratte Caballe singing this from the 80s and Rosanna Carteri from the 50s sing this aria. It's unlikely you'll find a video of Carteri in this particular aria. But the audio will be gorgeous for sure. Perhaps compare Chi bel sogno with Caballe and Carteri because there is a video of Carteri singing this, not just audio.
Hi. I came across your video. Love it. Doesn't Flemming sing the BelCanto technique.?
Bit goodness your voice is great
I'm afraid people are forgetting about acoustics. The difference in the jaw opening has not much to do with 'Russian' vs 'American' schools (though there are certainly differences in techniques). As far as I know, in American conservatoires singers are also taught to open up their jaws. Instead, it has to do with whether there's a microphone in front of you and whether you're singing forte or piano. Anna Netrebko simply forgot that she's singing into a microphone. See: th-cam.com/video/HLgj7sruaPk/w-d-xo.html The difference between Fleming and Netrebko (and Hvorostovsky), as far as jaw opening is concerned, are much smaller here (when they're singing piano), of course, their jaws open up again when she's walking away from the microphone and when they're doing fortissimo.
In the theatre, opera singers has the job of projecting above massive orchestras. Even if they sing 'pianissimo', in reality it had to be sang much more loudly for the audience in the theatre to actually hear anything. It's similar with playing violin as a soloist vs. playing in an orchestra. Theatres didn't become larger, concert halls did. The old Mariinsky theatre in the 19th century is as it is today (and it's pretty large).
With recordings, the game changes completely. One thing is that if you actually try to project like in a theatre, the microphone would simply bust (like what happened in this video). Another are the 'wobbles' people hear in recordings. In a theatre setting, you would not hear as much vibrato because the frequencies would get drowned out from interference by orchestral sound waves. So singers are actually taught to exaggerate them a bit, and it's also a way to protect your voice. In a recording studio, you need not project, and you shouldn't project. When singing in front of a microphone, your technique should be different from when you sing without one. I think even if they're not taught this in the conservatoire, every recording singer has figured this out by themselves or told by their sound engineer to 'quiet down'.
Brilliant e explanation
Yes, if you at a got talent show sings like you performed in the opera house you definitely will not pass first round, lol.
Hi, finally some channel about opera singers and some information about the technique, great! :) I almost exclusively listen to opera but I don't now much about music let alone singing so I crave for this kind of content so thank you for that! :) I also got a question about both singers from video and the comparison - isn't the difference coming from different voice of singers? I mean you could say that Renee Flemming is way more coloratura soprano that Anna Netrebko. And as far as I know coloratura sopranos are very technically agile voices build to do a lot of "flourishments" opposed to as you said lyric soprano with a much heavier voice. So is it at all possible to become as agile with your voice when you're a lyric soprano? Can you learn technique to the point when you could switch from lyric to coloratura? And is this kind of transfer safe for one's voice? It's interesting especially that Anna Netrebko with years has started to sing a lot of roles that are meant for coloratura sopranos and from what we can see in the comments not a lot of people are fans.
Can you react to old singers as well, like Virginia Zeani, she also sung this one and hers is my fave version. Thank you!! Lovelots ❤️❤️
She certainly would hate Zeani version : too Real, too in the body, too direct. This days, people think opera is for little perfect dolls without character.
Watch Angela Gheorghiu for the best phrasing, emotional tones and gorgeous voice.
Impressive
Thank you madam fo giving us opportunity to know more how many complexities are in two minute performances
Ag no Anna the best ever
Netrebko has a gorgeously rich, deeper, and full voice in a more traditional style of how it “was done,” whereas Fleming’s approach hits me more like the actual impetuousness and “there’s no way I can live under these absolutely impossible circumstances” wild feelings of the15 year old adolescent in love, through her approach. Fleming brings me in more. It’s so very personal based in part on what someone has grown up with and been exposed to, I believe. I grew up during the Brady Bunch era. I was not a big opera fan and found it difficult to relate to the voices. I may be a,” light weight,” lololol.
I don't like Netrebko's voice that much as it seems too forced and tense and I think Fleming's voice is much better especially for technique. Also, when you're singing, your jaw is meant to move how you would say the phrase, not like what Netrebko did.
Fleming's technique is so masterful she can do sitting l anything with her voice. Very musical effect on any note...
Mrs Anna is a 💎 💎 💎 💎
That 9:00 part gave me so many chills
Wow, it’s fascinating to see Anna’s jaw movements! I think my teacher would get after me for moving my jaw so much 😅
WROC JESTEM FANEM OBU PAN CHOC TERAZ CZESCIEJ SLUCHAM LISETTE OROPESA CUDO
First I’d love to say that I love your videos, they have been a huge help the last few years I’ve been rehabbing my voice.
Now to dive in on my personal takes…As a dramatic coloratura who has done this aria to death over the last 20 years and has been in studio with Renee, I’d say the biggest difficulty in comparing these two singers is one is a dramatic coloratura and one is really a mezzo. Although I believe Renee was singing more lyric roles at this point in her career.
We had the same teacher at one point and her way of teaching regarding the mouth was to think of the mouth as a megaphone. At the top, you only need 2 finger width max with only the tip of the thumb as you go lower towards middle C and your chest voice.
Unfortunately while this technique allowed me to get away from jaw tension, it created longer term bad habits of grabbing through passagio breaks, tongue tension and the glottal onsets that have led to a hyper mobile larynx and tension issues. At 45, I’m currently rehabbing and unlearning a lot of these habits that have ultimately caused longer term problems. Now I’d say personally that I’d teach a hybrid approach to what Renee and Anna do. Just my 2 cents.
Can you do a video analyzing Reneta Tebaldi's performance of Si Mi Chiamano Mimi, the one she was performing with Jussi Bjorling? Her phrasing and subtleties in that performance are insane.
I loved that performance
Renata , please, be careful about spelling.
Nice! Glad to have stopped by, thank you so much for sharing!
I would like to suggest some reactions. They're not pure opera songs (which I love too, specially with Cecilia Bartoli, I love her), but they're pretty good. Really exciting. From Tarja Turunen's solo career, please, react to "underneath", the studio version (it's one of the most beautiful rock synphonic ballads I've ever heard), and "Supremacy", live version recorded in Milan (it's really amazing). Thank you very much!
Hearing both Netrebko and Fleming at the Met I can say Netrebko’s voice is HUGE comparing to Fleming’s voice.
Check Angela Maede then, lol.
Слыхала обеих. Не нахожу, что у Анны громче.
Have you made some CDs? Can we buy them? Cannot find any in your store.
Hi I like so much your videos, you should listen Fleming tosca dinámica it’s superb too!
Can you react o mío babbino caro from Tarja Turunen? 😁
Diferentes formas de cantar..
Y malas cantantes
If you want to know how this aria should be sung listen to Caballe .
To me Renee Fleming gets more the character of the girl in funny Gianni Schicchi
Netrebko is good but leaves me cold. Fleming is outstanding! And pure class and so much more enjoyable to listen too. Draws you in totally. Thank you
Yes, cold or clinical is the feeling I got too. Using her body to convey any emotion instead of her voice. She still has a beautiful tone.
Para criticar hay que hacerlo mejor!:y se nota que tú no eres LA ÚLTOMA PALABRA .LAS CANTANTES SON ESPECTACULARES Y TU CRITICA ES UNA INSOLENCIA Y UNA IMPERTINENCIA. Son voces diferentes y bellas en las diferencias. Hay que ser mejor que ellas para criticar y tú no lo eres..Atte. Chile.
as you said - the most important thing to remember is, that at this level one singer is not better than the other. It's just our personal preference of how we like the "work" to be done :)
i love them both !
I loved how you analyze, but I find that impossible to compare a voice from a soprano that is 12 year more younger of the other one!
It a voice teacher enjoys Netrebko and Fleming - run for your life.
I could listen to both forever
How do you get your tongue tp make a groove?
can you react to abbey glover. Her song I don’t love you anymore is amazing. :)
Okay, but like the difference between Renée and Anna's ages in those videos is astronomical
Yes. I am pretty sure Flemming didn't do so much phrasing and detail at the age of Anna on the first video. And just to compare, Anna doesn a lot more phrasing wotrk now.
@@dianaavelova9470 Are you kidding me? I could find Anna's age in that video and compare the two, but I won't waste my time. Renee has always been and will always be light years ahead of Anna. And Anna's voice has finally reached total collapse. She was almost booed off stage earlier this year because of her voice. It was before the Ukrainian invasion.
Renee is somewhat older than Anna AND her voice is still in beautiful shape. Anna's voice has been a mess for years.
No comparison.
NIE OZNACZA TO ZE JESTEM FANEM OBU PAN
in my opinion the only versions to consider are Virginia Zeani s and Maria Callas
I think there are others but neither Fleming nor Netrebko use a properly engaged chest register. Zeani has a more conventional timbre and really shows how proper soprano singing should sound.
Can you react to Amira Willianghen(idk how to spell it) singing this song
I think you mean Amira Willighagen. th-cam.com/video/_G1-TJTxRos/w-d-xo.html
To me Renee Fleming tells the story of the song and pours dynamic emotion into her singing while keeping the integrity. It’s like a tapestry and her tones are sublime and so interesting. It’s not about hitting every note with clinical precision but letting her voice transform the song to not only be heard and enjoyed, but also to be felt and almost lived.
I prefer Elisabeth Schwarzkopf's O Mio Babbino Caro. She sounds young like a true Lauretta, though her version is some what sentimental like most versions, when in reality, this aria is supposed to be comedic.
I was trained to sing with smile
No comparison for me. Fleming has the interpretation, the narrative, and that soaring yet velvet timbre in the voice.
I don’t care what shape she makes with her mouth.
👍🏼😊
"Netrebko is about perfection", exactly, the acoustic outcome... Stunning. Does it make me want to "throw myself in Arno"? No. Fleming, with her expression and phrasing... DOES.
Kidding???
Netrebko sounds much older than she is!
The quality of the recordings of very different
Can you react to Sierra Boggess please?
Opera and operetta
Si vas a publicar tu vídeo en Latinoamérica porque no aprendes español? En Latinoamérica hablamos ESPAÑOL.
I like Renée much more in
this video
Die Einzige die O mio babbino caro
RICHTIG singt ist MARIA CALLAS in Ihrer großen Zeit.
Dass kann niemand so .
Grüße
Renee Fleming the best.
I’m surprised you used the Kennedy Center, I’d have gone with one of the others. Renee is superb in this aria - spectacular.
You neglected to address the difference in the way Russian ,American and Italian singers treat or speak the 5 vowels …That is the “why” there are “three “ways!!…I suggest you include next time someone like Tebaldi which will show you the “Real” way to sing vowels in Gianni Schicchi .
Since Netrebko is in a concert venue, whereas Fleming is outside (this is the Proms?) a closer comparison (not the same song, but in an opera house, using only her voice to project) could be th-cam.com/video/HoI_ox4_yIc/w-d-xo.htmlsi=t8OeD8QhhBNMs7gN
"very nice" . . . How dare she, . . . the difference is immense
The way you described your training is actually bel canto. Body still, chest high, not to much mouth opening.... they used to even tie their jaws back so not to have have the jaw push out forward...
*** ANYWAY, MEYTREBKO's DEFECTIVE SINGING is an open offence to Real OPERA LOVERS! (NO DOUBTS)
The youthful Anna was more in keeping with the role. Impulsive and pleading.
Netrebko is the classical Russian style of opera.
The way she use her mouth is the way they use
projection in comparison to bel canto.
i.e, the worst style in the way to real Italian type of BEL CANTO!
Personal preference is Renee Fleming
I used to love Netrebko but now she sounds too screechy and sounds as if she's trying too hard. I heard her live in LA in Romeo & Juliet and loved her but over the last few years, I have lost my admiration of her singing. BTW, I think you have a lovely voice.
Thanks for your informative, always, kind videos. I think Netrebko generally tries to """"manipulate"""" her vocal instrument by moving her jaw and her neck, as you correctly spotted. Flemming, on the other hand, does the job more on the inside, barely moving even her mouth, in piano or pianissimo especially. Different schools of techique? Definitely. Is there a way to say what's better? For me, that's a no. Every piece of art, every character, that is brought to life, every voice, regardlessof classification, and every diction has its own difficulties or "defects", as well as, its pros. The student has to know how to best """"master""'' his or her UNIQUE vocal instrument. In that perspective, you have helped me immensely. So thanks a lot.
Excuse me, but it is not comparable, at least recently. Maybe in "O mio babino caro" was possible. But Anna sings "Turandot", not suitable for her (I am a polite man). She is done, her husband also. They do not know it yet. We will suffer with them for a few more years. I felt sorry for other great singers, not for them.
Sorry but Fleming is top class, she sounds effortless, owner of her technique and creating what Lauretta should be on a performance. My fav version is Rita Streich because it keeps the natural essence of Puccini's masterpiece. On record is Montserrat Caballé does the best with all the pianissimi and dynamics imaginable. Netrebko is darking her voice artificially and always worried about her weak technique.
RACHEL WILLIS SORENSEN PRZEBILA OBIE PANIE JESZCZE PIEKNIEJSZYM GLOSEM
I think is not a differente approach only. I heard Netrebko live, she has a big volume but poor dynamics. Is because of her technich. She always open too much the low range sounding always too loud. She did perfect pianissimo but no crescendo, no diminuendo. She always sing full voice. Fleming has a very personal way to use voice that can be annoying sometimes but she does a lot o dynamics as belcanto asks and she acts also l, not only notes and volume. Why not compare with an italian singer? Like Dessi? Belcanto is more on the elasticity of the sound than the volume. It helps with dynamics and colours
Disculpando sus explicaciones. Ambas cantantes parece que estuvieran ladrando en algunos pasajes. Netbreko tiene una voz demasiado oscura para esta aria, sin matices, descolorida. Fleming con algo más de matiz y de color, pero sus agudos son rígidos. Ambas cantan, pero no interpretan el alma de Lauretta, una chiquilla mal criada que se afana en convencer a su babbino para que la deje hacer su voluntad. Lauretta tiene que convencer con dulzura, con elegancia, con una voz etérea, que suba y baje sin el tremendo esfuerzo que realizan estás dos cantantes para poder enganchar los agudos y graves mediante escalas ascendentes y descendentes. Obviamente ninguna conoce ni aplica la técnica del Bel canto, que se utiliza incluso en composiciones de Puccini, para dar vida al personaje.
I like both of them in this aria. But I don't think Anna's jaw movement is something special. It's just a basic requirement for learning classical singing. I like Fleming too, but I think her repertoire is somehow limited due this special style of singing. She is quite good at her German, Operetta and some french roles and lieder of course. But her Italian roles, such as Violetta, are never persuasive to me.
That is the Truth! ...not higher than some operettas parts not to be become an offence to Real Opera Singing...
Fleming has the advantage of looking beautiful while she sings!!
Fleming's voice is masky and a bit constrained and sometimes too bright. just look at the stress around the throat.
Putin’s nightingale strikes again
To me both have serious faults. When Netrebko first appeared I enjoyed her singing--it seemed more spontaneous and free of mannerisms, Betrothal in a Monastery and a concert in either England or Germany when she sang Meine lippen; she sang and carried on in a free and uninhibited manner. The singers from Russia today no longer train (I am assuming) he way they did before the wall came down. Check out reissues on CE's. The same can be said about GermanAustrian singers before the war and after. Fleming has a gorgeous voice but unless reigned in by the conductor (unlikely) she indulges herself and mannerisms that become irritating. Her VLL with Esenbach is a prime example and should be compared with the singing with Sawallisch: night and day. She doubtless knows that the latter is a great Strauss conductor and would possibly indulge her but she knows better. There are two recordings of this aria that I would pick over the two you have chosed: Victoria de los Angeles in the complete recording of the opera and Schwarzkopf, the second recording she made. The first was with von Karajan and is VERY slow but well sung even so.
Der Kommentar stört
No-one will ever touch Caballe on this aria.
I am Slavic, and I love Neteebko more, sorry. You're definitely right about the influence of our origin. Like I got really jealous when you praised her at 09:00, which I don't admire as much.
Ложка дёгтя испортит бочку мёда, но ведь не повлияет на Вашу любовь и предпочтения?
У АМЕРИКАНСКОГО ДРАМАТУРГА ТЕННЕССИ УИЛЬЯМСА ЕСТЬ ПЬЕСА "СЛАДКОГОЛОСАЯ ПТИЦА ЮНОСТИ". ВОСПОЛЬЗОВАВШИСЬ ЭТОЙ ГОТОВОЙ МЕТАФОРОЙ, МОЖНО НАЗВАТЬ УВИДЕННОЕ-УСЛЫШАННОЕ - "БЕЗГОЛОСАЯ ПТИЧКА СТАРОСТИ-ЮНОСТИ" (я беру в расчёт и плохое качество звука).
С ТАКИМ НЕОПЕРНЫМ ДЕФЕКТНЫМ ГОЛОСОМ и ОТСУТСТВИЕМ ВОКАЛЬНОЙ ТЕХНИКИ ВПОРУ ПЕТЬ НА ФАБРИЧНО-ЗАВОДСКИХ ВЕЧЕРАХ времён чествования там стахановцев или, КАК ВЫРАЗИЛСЯ, ОДИН ОПЕРНЫЙ КРИТИК В СВЯЗИ С ВОКАЛОМ НЕТРЕБКО, - "КРЕМЛЁВСКИЙ КОЛХОЗ". И я добавлю… КРЕМЛЁВСКАЯ ДОЯРКА (безотносительно к её политической или любой иной ориентации, кроме вокальной, оперной!)
IMO, Fleming makes Netrebko look like a kindergartner. Perhaps that’s harsh and so be it. If she could learn to express herself in such delicate ways as Fleming she would become truly enjoyable. Part of the excitement of watching Fleming is how she uses her beauty and her facial expressions and body movement to draw you into the performance. Her placement is so forward and her sound so bright and resonant that she doesn’t need exaggerated jaw movement. Her singing is efficiency at its peak. What I wouldn’t give to have even a five minute conversation with her about singing. On top of it all, she comes across as a really nice lady, too.
Вы абсолютно правы!
After this is opera channel, I can't enjoy modern women opera singers anymore. BTW, you can't understand most of the lyrics from the mouth of Netrebko, she is not singing with good diction. I also think that she is opening her mouth too much. My opera teacher was italian and she was teaching a very closed mouth position technique. I didn't like that a lot! I think it is ok to open the mouth, but not exaggerate as Netrebko did in my opinion. And Rene... I think her voice is very small, it sounds big because of the microphones, but actually her voice is very small. I don't know, we miss chest voice in opera. I didn't use it neither. Modern teachers say that it is harmful which is not true, but... We hope things change.
what do I know about technical singing but watch Lea Salonga in the famous ( often reviewed ) Les Mis bit - Lea is known for perfect dictation.... and is visually much the same, to me.
Fleming does NOT have a, “Small voice”!!
I think Anna Netrebko is phenomenal. Her voice is so unique. I don't know why I cry everytime I hear her voice 😭 I wish I could have seen her live when her voice was at its prime...
Putin’s nightingale makes me cry too 🤣🤣🤣
I think the difference is anatomical. Renee Fleming, as she mentions in her book, has a wide face. Perhaps she gets enough internal space without the the wide jaw opening.
I don't like both, sorry! I heard far better performances by Elisabeth Schwarzkopf and Victoria de los Angeles! :D
For me - Netrebko!
Hello...Why compare Netrebko with Flemming?
It's a nonsense!
Netrebko is a beautiful singer with undeniable vocal means. But, because there is a but, the style leaves something to be desired, the musicality sometimes to be looked at with a magnifying glass! She is not a prima donna, she played with her plastic, more than with her vocal means and the bel canto. I remember a Trovatore, where the conductor was at her orders, she did what she wanted when she wanted, it was a shame! The music of Verdi was rewritten by Mrs. Netrebko, it was shameful!
Why compare a pure media product like Netrebko with the elegance, the refinement, the class, the musical intelligence, and the respect of the composer, that R. Flemming conveys, who is an authentic "Prima Donna"?
Currently, Netbreko is struggling with vocal problems that are becoming insurmountable for her! Low medium became non-existent, unstable medium, and the bottom of voice which becomes pushy! It's easy to take a young Netrebko! The positive in this comparison is that you choose a more mature Fleming at the top of her art, Netrebko at the same age would not have supported the comparison! What you are doing is not fair!
To finish, I find you really incredible to dare to give examples by singing after having heard R. Fleming! The hypertrophy of the ego is thus without limit? A little humility please! Especially since your technical comments are, by being kind, approximate, and by being realistic your comments show an obvious ignorance of "Bel Canto"! Voice coach? You bet!
Jesus get a life you rude, arrogant windbag.
I agree 100% seemed hell of a lot biased to me.