I wouldn't call it his first operatic masterpiece by a long shot (Mitridate re di Ponto is well worth listening to) but it's the earliest Mozart the Met is likely to program so let's just roll with it. Polenzani is a game singer, misses some of the coloratura sure, but still gives a winning take on the aria. He's scheduled to sing this role (in this same production too ) at Lyric Opera of Chicago this fall and I'm very much looking forward to hearing it live.
I love Polenzani but felt maybe this role and particularly aria didn’t fit his talents perfectly... Why do you think the age/period of Mozart has a cutoff for the Met (rather than just recognition of the work)?
Who knows, San Francisco was set to perform a new production of Miditrate before the Pandemic with the incredible Pene Pati in the title role. Maybe we'll see that come back into popularity
@@kiwi_tenor If La Scala can set Lucio Silla then the met can certainly do pre-Idomeneo Mozart. Although, now that I've started to get more into French opera from the 1780's, especially tragédie lyrique, I've started to realize how incredible Idomeneo was for it's time in it's ability to merge that particular French genre with Italian seria.
Kevin Schuwer because he has a very beautiful voice, I like the very Italian sound.For every voice is not suitable for each music, I compared this aria to a lot of famous singers. In addition his language skills and acting are also important.
The met sadly does the version of this opera without the Bravura coluratura - with it, it is like the Tenor version of the Queen of the Night aria. I think it's to do with the fact that this production was originally staged around Levine's musical vision of the work - and Pavarotti was never great at extensive coluratura like this aria demands. Still a shame to see that the more accepted version of this aria and opera aren't performed on the biggest stage in the US
this beautiful aria is with this singer horrible. i listen to it very hardly. although he sing version of aria no. 2; with no coloratura (like pavarotti), he anyway makes that little bit of sixteen notes as bad as totally uneducated singer. just listen to richard croft, Wien 2013. he makes little rests between coloratura passage, but i think, this is not that much wrong. (it sounds fantastic) th-cam.com/video/byXPrAvPM30/w-d-xo.html
I wouldn't call it his first operatic masterpiece by a long shot (Mitridate re di Ponto is well worth listening to) but it's the earliest Mozart the Met is likely to program so let's just roll with it. Polenzani is a game singer, misses some of the coloratura sure, but still gives a winning take on the aria. He's scheduled to sing this role (in this same production too ) at Lyric Opera of Chicago this fall and I'm very much looking forward to hearing it live.
Followup: I did hear it and he was even better!!
I love Polenzani but felt maybe this role and particularly aria didn’t fit his talents perfectly... Why do you think the age/period of Mozart has a cutoff for the Met (rather than just recognition of the work)?
Who knows, San Francisco was set to perform a new production of Miditrate before the Pandemic with the incredible Pene Pati in the title role. Maybe we'll see that come back into popularity
@@kiwi_tenor If La Scala can set Lucio Silla then the met can certainly do pre-Idomeneo Mozart. Although, now that I've started to get more into French opera from the 1780's, especially tragédie lyrique, I've started to realize how incredible Idomeneo was for it's time in it's ability to merge that particular French genre with Italian seria.
How this man is a staple at the Met, I’ll never know 🤦♂️
Kevin Schuwer because he has a very beautiful voice, I like the very Italian sound.For every voice is not suitable for each music, I compared this aria to a lot of famous singers. In addition his language skills and acting are also important.
Bravo! So mesmerizing and heart wrenching!
I miss some coloratura?
Mozart wrote two versions of this aria: this is the shorter version.
The met sadly does the version of this opera without the Bravura coluratura - with it, it is like the Tenor version of the Queen of the Night aria. I think it's to do with the fact that this production was originally staged around Levine's musical vision of the work - and Pavarotti was never great at extensive coluratura like this aria demands. Still a shame to see that the more accepted version of this aria and opera aren't performed on the biggest stage in the US
voice is beautiful but where is scale...?
Es un buen cantante, pero Mozart siempre angaña con esas tesituras bajas por momentos.
Bella voz! Bravo!
This guys sucks!
Sings like a little boy.
this beautiful aria is with this singer horrible. i listen to it very hardly. although he sing version of aria no. 2; with no coloratura (like pavarotti), he anyway makes that little bit of sixteen notes as bad as totally uneducated singer. just listen to richard croft, Wien 2013. he makes little rests between coloratura passage, but i think, this is not that much wrong. (it sounds fantastic) th-cam.com/video/byXPrAvPM30/w-d-xo.html