La Barbieri posséda dans ses rôles, bien au delà de Callas , une PUISSANCE D'INCARNATION rarement égalée, jamais surpassée. Une mezzosoprano dramatique légendaire au timbre somptueux , aux accents si bouleversants , à la diction toujours impeccable . Une merveille et une référence absolue qui défiera les siècles par sa beauté lyrique.
Adore this "hair under the armpits" mezzo - gutsy & full-bodied voice. Always my fav Azucena. NOT to diminish the great accomplishments of Simionato & Cossotto!
@@WotanKlingsor Hmm, I don’t think she did. Barbieri’s voice is naturally darker than both Cossotto’s and Simionato’s, and Cossotto’s low notes are certainly much weaker than Barbieri’s.
I always loved Fedora Barbieri. A great Azucena, Amneris, Ulrica, etc. She sang with Callas a lot and they recorded around five operas together. Barbieri's voice lost it's top early on in the late 1950's, and she kind of became a contralto. She had a booming chest voice which made her ideal in roles like Dame Quickly in "Falstaff", which she continued to sing well into the late 1970's. She made her Met debut in 1950 and sang there off and on until around 1978.
Gravi da contralto e con un'estensione vocale da raggiungere facile il registro acuto. Voce di timbro brunito e voluminosa. con Buona gestione dei fiati e conseguente buona gestione del legato.
No - you don't understand. That expression refers to the so-called "provincial" Italian sopranos of the 40s & 50s; those who had la voce & power. They were not necessarily "beautiful" singers, but had the intensity to make your hair stand on end. The expression is a complimemt!!!!
@@ferdermat i think it's more of a non conventional beauty. not silvery or light, but heavy and unashamed, with different beautiful aspects. the technique is there but it's so completely different from the tone and color of a lyric soprano or soubrette.
She didn;t do a good job with intensity either, there is a difference between conveying and overacting what you are singing and sadly Fedora did a lot of bad conveying. You want to hear a good Italianate rendition - look up Ebe Stignani, Bruna Castagna, and Irene Minghini-Cattaneo.
Her low G sounds like a low G of a mezzosoprano. If you listen to the low G of Elena Obraztsova it already sounds more like a contralto. But the low G of Ewa Podles is the best one - I think she is the world's best contralto ever and also the best singer in this role.
@@xxsaruman82xx87 I don't find Barbieri's chest voice as strong as Obraztsova's and Podleś's, but I personally like her very much, just that she didn' t have good low and high notes...
@@WotanKlingsor Podles doesn't even have a proper chest voice. Artificial darkening doesn't make the voice bigger or more powerful, quite opposite. Barbieri and Obraztsova had a well developed chest voice, Podles doesn't. Judging from recordings without having a proper knowledge of voice production can be very misleading.
El arte no tiene idiomas y la ópera se escucha con el corazón no con los oídos así que no te preocupes por no entender los comentarios que aveces no son acertados
Im sticking my neck out. I would never ever give a dislike to Barbieri whom I consider one of the great Italian contraltos of her era. But what's this 'mezzo soprano' bit? Surely this piece is one of the most thoroughly contralto Verdi ever wrote. Arwedson, or whatever she is called in the Italian version, is a black-voiced witch. Pia Tassinari's version gets, for me, much closer to the nitty gritty. I'll go back to listening to Barbieri (above almost all other, except of course Dominguez!!!) in more suitable roles.
I have just noted that the photograph of Fedora Barbieri is tagged with the title Contralto. Certainly she had a rich and resonant lower register but I am sure that sure that she herself would never have called herself a contralto. If indeed that title exists in Italy. Mezzo certainly and in later in her career lacking the confidence/ability of delivering the high notes required by that vocal catergory. But we must look to others for a true contralto voice.
В этой сцене Вотто настолько же выше Гавадзени (порою просто нелепого), насколько Митропулос выше Вотто. Симионато, исполняя Ульрику, думает только о собственном комфорте и убыстряет темп, таща за собой вяло сопротивляющийся оркестр. Барбьери хороша, хотя её Ульрика проигрывает её же Азучене. (Правда, признаюсь, что давно не переслушивал запись "Бала-маскарада"с Серафином, где Барбьери моложе на 13 лет). Митропулос и великая Марион Андерсон недосягаемы, даже для Тосканини и его не самой удачной Ульрики.
Honestly, this is not nearly as technically or emotively impressive as Bruna Castagna, Ebe Stignani, Shirley Verrett, Marian Anderson, Jeanne Gordon, Irene Minghini-Cattaneo, etc.
Se lei sente un timbro morbido e rotondo sugli acuti... Mi contraddica pure. Io ho fatto un rilievo preciso. La caratura del personaggio è questione diversa
hello dadacomero, what is the use to comment a mater you don't like and don't understand . as you see she is one of the most fantastic opera singer, singing beautifully the very dramatic aria of ulrica.
Maestra Barbieri! Una delle migliori! 💓💖
La Barbieri posséda dans ses rôles, bien au delà de Callas , une PUISSANCE D'INCARNATION rarement égalée, jamais surpassée.
Une mezzosoprano dramatique légendaire au timbre somptueux , aux accents si bouleversants , à la diction toujours impeccable .
Une merveille et une référence absolue qui défiera les siècles par sa beauté lyrique.
Il più grande mezzosoprano drammatico di tutti i tempi
e' semplicemente divina .
HAPPY BIRTHDAY MADAMA BARBIERI, BORN ON THIS DAY, 4 JUNE, 1920. ALWAYS MY FAVORITE AMNERIS!
Also unsurpassed were her Ulrica and Azucena
Adore this "hair under the armpits" mezzo - gutsy & full-bodied voice. Always my fav Azucena. NOT to diminish the great accomplishments of Simionato & Cossotto!
Barbieri is a contralto. Simionato is most likely a falcon soprano, but she was great in the mezzo rep. Cossotto is a woofy and constricted soprano.
@@xxsaruman82xx87
You forgot to tell us Spyres is a baritone
@@draganvidic2039 hahahahahaha!
@@xxsaruman82xx87 Barbieri had the weakest low notes of the three you mentioned...
@@WotanKlingsor Hmm, I don’t think she did. Barbieri’s voice is naturally darker than both Cossotto’s and Simionato’s, and Cossotto’s low notes are certainly much weaker than Barbieri’s.
L'autentico contralto italiano!
MEZZO-SOPRANO!
@@KajiVocals I think she was a "mezzo-contralto". Her voice definitely had contralto characteristics especially the second half of her career
@@davidmuller9938 That’s not a genuine classification. And what characteristics?
@@davidmuller9938 She is a typical Mezzo-Soprano, And she did not have any relations with Contralto!!
Always admired Barbieri, rich full voice
🤤¡demasiado genial! la riqueza y profundidad de la voz y la perfección de la ejecución
Un mezzo dal colore vocale ineguagliabile.
I always loved Fedora Barbieri. A great Azucena, Amneris, Ulrica, etc. She sang with Callas a lot and they recorded around five operas together. Barbieri's voice lost it's top early on in the late 1950's, and she kind of became a contralto. She had a booming chest voice which made her ideal in roles like Dame Quickly in "Falstaff", which she continued to sing well into the late 1970's. She made her Met debut in 1950 and sang there off and on until around 1978.
A true contralto
I heard her singing Mrs. Quickly in the mid-80' and she still was impressive!
Impresionante Aria. Gran interpretación de Fedora Barbieri
Just wonderful!
Divina!
Thank you Tenorisimo for posting this. Love this aria, love Barbieri and had never heard her sing it.
Beautiful singing ! Thanks for posting :)
Просто Божественно!
per fare tremare di paura e di piacere
Magnifica
Superlativa
io direi : il vero contralto non mezzosoprano!
Gravi da contralto e con un'estensione vocale da raggiungere facile il registro acuto. Voce di timbro brunito e voluminosa. con Buona gestione dei fiati e conseguente buona gestione del legato.
Ca.1930 sangs IRENE MINGHINI-CATTANEO the same song. You must listen it. It is the original song and it is amasing.
♥️🌹🌹🌹
No - you don't understand. That expression refers to the so-called "provincial" Italian sopranos of the 40s & 50s; those who had la voce & power. They were not necessarily "beautiful" singers, but had the intensity to make your hair stand on end. The expression is a complimemt!!!!
what do you mean this is no beautiful singing?
@@ferdermat i think it's more of a non conventional beauty. not silvery or light, but heavy and unashamed, with different beautiful aspects. the technique is there but it's so completely different from the tone and color of a lyric soprano or soubrette.
She didn;t do a good job with intensity either, there is a difference between conveying and overacting what you are singing and sadly Fedora did a lot of bad conveying. You want to hear a good Italianate rendition - look up Ebe Stignani, Bruna Castagna, and Irene Minghini-Cattaneo.
Her low G sounds like a low G of a mezzosoprano. If you listen to the low G of Elena Obraztsova it already sounds more like a contralto. But the low G of Ewa Podles is the best one - I think she is the world's best contralto ever and also the best singer in this role.
Podles isn’t even close to Barbieri and Obraztsova.
@@xxsaruman82xx87 Barbieri isn't very close to Obraztsova and Podleś in this aria...
@@WotanKlingsor Obraztsova and Barbieri are much better than Podles.
@@xxsaruman82xx87 I don't find Barbieri's chest voice as strong as Obraztsova's and Podleś's, but I personally like her very much, just that she didn' t have good low and high notes...
@@WotanKlingsor Podles doesn't even have a proper chest voice. Artificial darkening doesn't make the voice bigger or more powerful, quite opposite. Barbieri and Obraztsova had a well developed chest voice, Podles doesn't. Judging from recordings without having a proper knowledge of voice production can be very misleading.
La tensione di Votto.
Alguien que hable español :(
El arte no tiene idiomas y la ópera se escucha con el corazón no con los oídos así que no te preocupes por no entender los comentarios que aveces no son acertados
Im sticking my neck out. I would never ever give a dislike to Barbieri whom I consider one of the great Italian contraltos of her era. But what's this 'mezzo soprano' bit? Surely this piece is one of the most thoroughly contralto Verdi ever wrote. Arwedson, or whatever she is called in the Italian version, is a black-voiced witch. Pia Tassinari's version gets, for me, much closer to the nitty gritty. I'll go back to listening to Barbieri (above almost all other, except of course Dominguez!!!) in more suitable roles.
Not sure that Verdi ever wrote specifically for a contralto voice. Vocal categories were much more loosely defined then.
I have just noted that the photograph of Fedora Barbieri is tagged with the title Contralto.
Certainly she had a rich and resonant lower register but I am sure that sure that she herself would never have called herself a contralto. If indeed that title exists in Italy.
Mezzo certainly and in later in her career lacking the confidence/ability of delivering the high notes required by that vocal catergory. But we must look to others for a true contralto voice.
Exactly. And Barbieri IS a contralto
On a contralto thing: check out Zenaina Pally singing this here on TH-cam. I was very much impressed.
Tassinari was a soprano who turned to mezzo roles. Barbieri was much darker than her (who was, by the way, an amazing singer).
В этой сцене Вотто настолько же выше Гавадзени (порою просто нелепого), насколько Митропулос выше Вотто. Симионато, исполняя Ульрику, думает только о собственном комфорте и убыстряет темп, таща за собой вяло сопротивляющийся оркестр. Барбьери хороша, хотя её Ульрика проигрывает её же Азучене. (Правда, признаюсь, что давно не переслушивал запись "Бала-маскарада"с Серафином, где Барбьери моложе на 13 лет).
Митропулос и великая Марион Андерсон недосягаемы, даже для Тосканини и его не самой удачной Ульрики.
А наша Образцова лучше поёт эту арию
Слабенько. Вот так надо: th-cam.com/video/zD6skGztrTA/w-d-xo.html
Honestly, this is not nearly as technically or emotively impressive as Bruna Castagna, Ebe Stignani, Shirley Verrett, Marian Anderson, Jeanne Gordon, Irene Minghini-Cattaneo, etc.
Il registro acuto sempre incerto e duro
ci fosse oggi una voce come questa, anche "dura e incerta" come dici tu
Si encuentras alguien que cante mejor esta aria dimelo
Mah..... faccio finta di non aver letto. Per criticare la Barbieri nel 2020 serve coraggio.
Se lei sente un timbro morbido e rotondo sugli acuti... Mi contraddica pure. Io ho fatto un rilievo preciso. La caratura del personaggio è questione diversa
È un mezzosoprano drammatico, se non addirittura un contralto. È normale che il suo registro grave sia molto meglio.
hair under what?...
disgusting
hello dadacomero, what is the use to comment a mater you don't like and don't understand . as you see she is one of the most fantastic opera singer, singing beautifully the very dramatic aria of ulrica.