Mozart was kinky AF. This whole opera was designed for masochistic Soprano and the Sadists who love them. Let's put 2 of the hardest arias in the repertoire and a lugubrious cavatina in the first act of a three act opera. Oh and for good measure, between the last two, let's keep her on stage, add a few minutes of dialogue, and 2 minutes of a instrumental music with awkward staging. Honestly, in the productions I've seen, I'm just impressed by the soprano who can get through all that standing, much less performing it well! Thanks for sharing. She's delightful.
@@LohengrinO shall we talk about "Popoli di Tessaglia"? Mozart must have hated the soprano meant to sing it, though they were lovers, lol 😆 yet, one of the most beautiful arias ever
@@manuelap.5948 Funny to think of the composers as writing this challenging music to torture the singers. Hamlet or Othello are very difficult acting roles, but Shakespeare was giving talented actors a gift. Does the Olympic Committee hate acrobats, since they are forced to perform such superhuman feats? All these examples are the same: the creators (or the sports coaches) are coming up with ways to show off the abilities of the performers.
This aria is an absolute killer... agility up to 11 and barely any time to breathe whilst still maintaining the beauty that is required against an extremely thin orchestration...there’s a reason why most sopranos are gasping like a fish out of water after it. It is madness. Nielsen does excellently here. A great achievement. Also that final chorus is Mozart at his highest level of genius
Lohengrin O well he’s seen as a character who can’t express himself well. He has no singing, everyone else does. I truly believe that Chorus is there to give some insight
Nightmarish for her!...but I have spent these past few days so obsessed with hearing this particular aria, that I often have it in my head as I lay awake before bed. I don't think Mozart could ever bring me to a nightmare, in fact I think he helps keep them away. :)
I can only presume that Nielsen had the career she wanted, but when I heard her sing the Empress in an LA Opera production of Frau she was superb. I don't believe that she ever sang at the Met ; perhaps other venues in the US were more aware of this singer. I know that I wasn't prepared for what she offered. Her early death was shocking.
what year did u hear her as Keiserin? I have only one recording of hers and Im looking for her earliest recorded Keiserin, she was the perfect choice for that role.. u happen to know when was her earliest recording?
To the best of my recollection she did not have a contract with a major label but Naxos did release a Fidelio and a Salome--could have been live performances. The Frau I saw was over ten years ago. I stopped recording data and my memory isn't what it used to be. Did you check Wikipedia?
She sang in New York during her coloratura days, but at the New York City Opera, not the Met. She was just delightful as Nannetta in Falstaff and I think Adele in Fledermaus.... Maybe also Susanna in Figaro?
oh my. That's certainly a nightmarish aria! So much skill, technique, support required. I will always admire every singer who actually can sing it well, with proper coloratura. Gruberova, Cotrubas, Deutekom. I don't know why but 1980 recording of Karl Bohm's Entführung with Gruberova for me is the best. Gruberova, especially in this aria, has that 'something' in her voice and presence that unexplainably attracts me.
Beautiful rendition, as expected. I was a lucky guy in every performance of hers. She was a great and intelligent musician. It was a pleasure to listen to her gleaming, well focused voice. No other soprano reached her level of singing Chrysothemis and Empress from Strauss. She was a mountain in this parts. She deserves much more attention. I recommend highly to listen her wonderful recording of Salome, an amazing danish production on Chandos records. Maybe it´s the ideal, because she fits the girlish but dramatic necessary sound in a perfect way. Wonderful recording.
I´m so sorry, but i really don't know the year of her debut as Empress in "Frau ohne Schatten" for sure. I heard her in this part 1996 and i believe, it was her debut. It was the famous production released with the same cast on records under conducting Sinopoli, but with Deborah Voigt as Empress and in the first cast. Inga Nielsen was amazing as Empress. In this years i heard her often as Chrysothemis, Salome, Elsa. Always a stellar rendition. I adore her very much.
One of my personal favorite singers, I never saw her do a less than absolutely stellar job, and I was fortunate to see her A LOT (even got a kick out of her Norma, which was less than ideal but nevertheless had it's moments). A beautiful clear tone that shone through the orchestra and a legitimate actress in a league with "straight" actors. Her Salome was absolutely devastating, her Kaiserin totally beguiling and appropriately strange, and her Elsa was just about perfect. And the Erwartung...I could on. Even when the tone began to fray, she still had the technical aspects of the music down pat.
do u happen to know which year she sang her first Keiserin and if that recording exists? also what years was her Ultimate Golden prime in too strict terms (for example for me Sutherland's ultimate prime ends in 1969 - in that frame of mind)
I mean she sort of had three different careers, so it's hard to place her prime in any specific way. She sang a lot of light lyric stuff (Zerlina, Sophie, Adele) and then transitioned into the big lyric stuff like the role above and a ton of other Mozart (I saw her sing Elettra for example) and then full on spinto/dramatic Wagner Strauss. I'd guess for optimal freshness and flexibility her 80s recordings? She didn't really make a lot of commercial work though and most of the stuff that does exist tends to be of her heavier stuff, where she is still spectacular. There is collection of her work released around her death (Naxos) which was selected mostly by her. There's a wide range of things, going all the way back to her child star years on the radio, up until about 2007. There's Mozart, Handel, Strauss etc.. and a very good Lucia Mad Scene. So that might be a good retrospective. There's also an aria collection from the 1980's where she sing basic coloratura stuff, all of it very well. I don't know when her first Keiserin was, I saw her in Vienna and La Scala, the latter around 1999 and could have been her first. That recording is available on TH-cam.
Peter Callahan I wish I can find her earliest Keiserin which is a role I worship... I ll also look out for her Elettra (as long as she interpolates the Sutherland C6 without which I suffer 🤓)
the thing is as I write above that a certain singer may have the C6s and the D6s but still may not be able to sing it... take Arleen Auger for example, she had to slow it down (she cut the speed down almost in half) to be able to sing this and one of the major difficulties in the altaration between D6 and C6 in this is the speed Mozart requires :D And Dessay becomes kinds screamish in the top notes but again Dessay is a classic high coloratura, Inga has much thicker lyrical body of voice that is why it is so astonishing what she does here... Renee Fleming has sung this in studio and she was a disaster (she had sung the complete Kostanze in her very early years - 80s)
Lohengrin O Thank you for clarifying the reason you dislike Auger in this aria. I was confused by your earlier comment, at first, but what you say makes sense.
Jason Hurd Fleming was a disaster? She was the best ever! Thick column of sound, luminescent timbre, perfect vibrato and trills, beautiful German diction, excellent coloratura, great expression. Tempo much quicker than here. Her high notes are great! It's one of my all time favourite recordings of hers
I just saw another video where she performed Klytämnestra in Elektra. Not only is she one of the few singers who actually sings the pitches written by Strauss (lol) but her low notes are more voluptuous than most other mezzos' out there! Incredible!
Nielsen does beautifully in this bear of an aria. I love how she keeps the warm quality right up into the stratosphere and never gets shrill; also, how the poignant 'affect' of the piece is always to the fore. And Solti is on his best behavior, without the slashing sforzando accents that mar so many of his Mozart opera recordings. Bravi, Inga and Sir Georg! Incidentally, while I agree this is the most nightmarish aria amongst the seven mature operas of WAM, there are many terrors to be found in his early stage works. Listen, for instance, to this piece of vocal science fiction, sung by my beloved Arleen Auger on the first uncut recording of Lucio Silla in 1975: th-cam.com/video/Zb-cI9HVBME/w-d-xo.html
Jose Hill I can well believe it! He wrote it specifically for Anna de Amicis, the soprano who created the role of Giunia at the premiere of Lucio Silla. Her specialty was apparently broken chord, fanfare-type fioritura, because three of Giunia's five solo arias showcase this all-but-impossible-to-sing type of division. If this kind of singing was the norm in 18th-century Italy, the vocal art has sunk to abysmal depths in the modern era.
This is one of my most favourite arias (shame that there are so few interpretations of it in TH-cam) and it w/o a doubt is one of Mozart's most torturous creations. But in my opinion "Popoli di Tessaglia! - Io non chiedo, eterni Dei" is the single most nightmarish piece with its 2 G6s.
Jose Hill Yeah, that one is difficult due to the insane agility it requires. Based on the premise of the video I was talking about difficulty in terms of range. G6 is so far above the usual soprano's tessitura that very few dare to sing it (and some use flageolet to squeak it out). I guess we can all agree that Mozart loved to torture his sopranos.
Lohengrin O I guess at the end of the day they are all exceptionally difficult and require different expertise. Hitting 10 C6s and D6s requires ease and consistency. As se il crudel requires agility. Popoli di tessaglia requires you to have an exceptional range.
There is a reason Callas and Sutherland who both had the easiest C6s and D6s never recorded this aria... there is a reason dame Joan Sutherland never sang the complete Kostanze... there is a reason Callas' complete Kostanze was not recorded... there is a reason both Callas and Sutherland made several recordings of Martern Aller Arten but none either studio or live of Ach ich liebte... there is a reason Ach ich liebte is the only aria missing from Elisabeth Schwarzkopf''s mid-40s complete Kostanze :D This aria is the very reason Dame Joan Sutherland never sang a role she was born to sing and which imo she would be phenomenal in early 60s if she had sung it
too bad for u Jose Mill that Malfitano says that Callas' most astonishing vocal feat is her Martern Aller Arten which she sings better than anyone else (and too bad Malfitano is Malfitano and you are Jose Hill :D :D :D)
ahahahah with what? deleting idiotic comments? u know me all these years, what is the cause of your confusion? it took me too long to delete them this time? :D
This is the same voice that sang Salome, Erwartung, Mathis der Maler and Rise and Fall of the City of Mahagonny. Her superb musicianship and art is here. She sings this most difficult aria as if it were easy to sing. Bravissima! Inga Nielsen (2 June 1946 - 10 February 2008).
I heard another soprano singing this aria today (she was awful), so I had to return and here Inga Nielsen. I fell much better now. Here she is in the final scene of Salome: th-cam.com/video/8u88MGUosjM/w-d-xo.html
yes exactly... she sang the complete Serail in the year 1952 in between Lady Macbeth, Norma, Lucia, Traviata, Gioconda, Tosca, Euridice, Armida, Leonora, Aida etc :D but strangely it wasnt recorded... one has to think, too difficult for early Callas? because dame Elisabeth Schwarzkopf's complete Serail exists but the aria was not recorded!!, and dame Joan Sutherland never sang either the aria or the complete role :D... this aria is THE killer of coloratura soprano arias but since no Assoluta sang it in the 20th century one might think it is impossible for an Assoluta Voice (although not that much for voices like Inga's and Edita's every highly tuned)... ofc Inga and Edita later in their careers sang Assoluta roles but the Body of their voices was never real Assoluta
I speak German fluently. There were about five words that I could make out. Unfortunately technique to reach the notes severly compromise the diction. You can't have it all, I guess. Beautiful performance otherwise!
Gregor Bork holllllllllllllllldd uppppp......first 👏🏽 of 👏🏽 all 👏🏽 sir...don’t come over here with that bull shit. Second of all, I’d love for you to explain to me how I’m being a snob by trying to educate myself by learning the name of this aria don’t be upset or try and attack someone online because they’re not as well affiliated with something as you are and especially not if they are trying to learn more about it.
![[RARE] Ingeborg Hallstein sings a barely human aria with ease](http://i.ytimg.com/vi/slUJ-SeTN34/mqdefault.jpg)
Mozart was kinky AF. This whole opera was designed for masochistic Soprano and the Sadists who love them. Let's put 2 of the hardest arias in the repertoire and a lugubrious cavatina in the first act of a three act opera. Oh and for good measure, between the last two, let's keep her on stage, add a few minutes of dialogue, and 2 minutes of a instrumental music with awkward staging. Honestly, in the productions I've seen, I'm just impressed by the soprano who can get through all that standing, much less performing it well! Thanks for sharing. She's delightful.
Ach ich liebte and Sempre libera are the two arias where the composer (Mozart / Verdi) becomes violent with the soprano
My throat hurts listening to this aria, the tessitura is so high. The setting for this performance is strange, though.
@@LohengrinO shall we talk about "Popoli di Tessaglia"? Mozart must have hated the soprano meant to sing it, though they were lovers, lol 😆 yet, one of the most beautiful arias ever
@@manuelap.5948 tthat aria is not at all difficult if u have the G6s, even if u dont have them u can just skip them... one of Mozart's easiest arias
@@manuelap.5948 Funny to think of the composers as writing this challenging music to torture the singers. Hamlet or Othello are very difficult acting roles, but Shakespeare was giving talented actors a gift. Does the Olympic Committee hate acrobats, since they are forced to perform such superhuman feats? All these examples are the same: the creators (or the sports coaches) are coming up with ways to show off the abilities of the performers.
She made it sound so easy and natural, as if she was improvising it as she sang. She deserves to be better known.
Too late. She died in 2008.
This aria is an absolute killer... agility up to 11 and barely any time to breathe whilst still maintaining the beauty that is required against an extremely thin orchestration...there’s a reason why most sopranos are gasping like a fish out of water after it. It is madness.
Nielsen does excellently here. A great achievement.
Also that final chorus is Mozart at his highest level of genius
indeed I think the chorus describes in some parts the feelings of Pasa Selim
Lohengrin O well he’s seen as a character who can’t express himself well. He has no singing, everyone else does. I truly believe that Chorus is there to give some insight
Manoli S.
Nightmarish for her!...but I have spent these past few days so obsessed with hearing this particular aria, that I often have it in my head as I lay awake before bed. I don't think Mozart could ever bring me to a nightmare, in fact I think he helps keep them away. :)
i'm not familiar with this artist and absolutely LOVE her, omg!!!!! flawless technique and scrumptious tone!!!
I can only presume that Nielsen had the career she wanted, but when I heard her sing the Empress in an LA Opera production of Frau she was superb. I don't believe that she ever sang at the Met ; perhaps other venues in the US were more aware of this singer. I know that I wasn't prepared for what she offered. Her early death was shocking.
what year did u hear her as Keiserin? I have only one recording of hers and Im looking for her earliest recorded Keiserin, she was the perfect choice for that role.. u happen to know when was her earliest recording?
To the best of my recollection she did not have a contract with a major label but Naxos did release a Fidelio and a Salome--could have been live performances. The Frau I saw was over ten years ago. I stopped recording data and my memory isn't what it used to be. Did you check Wikipedia?
she did not have a contract? dear God her voice was pure Gold... this world sucks
She sang in New York during her coloratura days, but at the New York City Opera, not the Met. She was just delightful as Nannetta in Falstaff and I think Adele in Fledermaus.... Maybe also Susanna in Figaro?
Wonderful addition to anyone's Mozart playlist. I'm still partial to Hallstein though.
oh my. That's certainly a nightmarish aria! So much skill, technique, support required. I will always admire every singer who actually can sing it well, with proper coloratura. Gruberova, Cotrubas, Deutekom. I don't know why but 1980 recording of Karl Bohm's Entführung with Gruberova for me is the best. Gruberova, especially in this aria, has that 'something' in her voice and presence that unexplainably attracts me.
yes I think too Gruberova is the best in this one
Edita's pianissimo High D's in this aria forever floor me.
Absolutely. Also mind the deadly slow tempo - but still there is precision
it isnt slower than Auger's and I think Gruberova has sung it in the fast classic tempo no?
Lohengrin O Yes, on the complete recordings conducted by Solti and Wallberg.
Beautiful rendition, as expected. I was a lucky guy in every performance of hers. She was a great and intelligent musician. It was a pleasure to listen to her gleaming, well focused voice. No other soprano reached her level of singing Chrysothemis and Empress from Strauss. She was a mountain in this parts. She deserves much more attention. I recommend highly to listen her wonderful recording of Salome, an amazing danish production on Chandos records. Maybe it´s the ideal, because she fits the girlish but dramatic necessary sound in a perfect way. Wonderful recording.
do u happen to know which year she sang her first Keiserin? and yes I think the word Gleaming is most appropriate here
I´m so sorry, but i really don't know the year of her debut as Empress in "Frau ohne Schatten" for sure. I heard her in this part 1996 and i believe, it was her debut. It was the famous production released with the same cast on records under conducting Sinopoli, but with Deborah Voigt as Empress and in the first cast. Inga Nielsen was amazing as Empress. In this years i heard her often as Chrysothemis, Salome, Elsa. Always a stellar rendition. I adore her very much.
One of my personal favorite singers, I never saw her do a less than absolutely stellar job, and I was fortunate to see her A LOT (even got a kick out of her Norma, which was less than ideal but nevertheless had it's moments). A beautiful clear tone that shone through the orchestra and a legitimate actress in a league with "straight" actors. Her Salome was absolutely devastating, her Kaiserin totally beguiling and appropriately strange, and her Elsa was just about perfect. And the Erwartung...I could on. Even when the tone began to fray, she still had the technical aspects of the music down pat.
do u happen to know which year she sang her first Keiserin and if that recording exists? also what years was her Ultimate Golden prime in too strict terms (for example for me Sutherland's ultimate prime ends in 1969 - in that frame of mind)
I mean she sort of had three different careers, so it's hard to place her prime in any specific way. She sang a lot of light lyric stuff (Zerlina, Sophie, Adele) and then transitioned into the big lyric stuff like the role above and a ton of other Mozart (I saw her sing Elettra for example) and then full on spinto/dramatic Wagner Strauss. I'd guess for optimal freshness and flexibility her 80s recordings? She didn't really make a lot of commercial work though and most of the stuff that does exist tends to be of her heavier stuff, where she is still spectacular. There is collection of her work released around her death (Naxos) which was selected mostly by her. There's a wide range of things, going all the way back to her child star years on the radio, up until about 2007. There's Mozart, Handel, Strauss etc.. and a very good Lucia Mad Scene. So that might be a good retrospective. There's also an aria collection from the 1980's where she sing basic coloratura stuff, all of it very well.
I don't know when her first Keiserin was, I saw her in Vienna and La Scala, the latter around 1999 and could have been her first. That recording is available on TH-cam.
Peter Callahan I wish I can find her earliest Keiserin which is a role I worship... I ll also look out for her Elettra (as long as she interpolates the Sutherland C6 without which I suffer 🤓)
Inga Nielsen sang everything from Constanze to Salome - a lot is remarkably good.
this is very good!!! and I wish she had sung the Keiserin in her prime.. she was very good but in decline
I am a mezzo , I die at A5, so I cannot imagine how hard must be for her to sing this. Brilliant!!!
the thing is as I write above that a certain singer may have the C6s and the D6s but still may not be able to sing it... take Arleen Auger for example, she had to slow it down (she cut the speed down almost in half) to be able to sing this and one of the major difficulties in the altaration between D6 and C6 in this is the speed Mozart requires :D And Dessay becomes kinds screamish in the top notes but again Dessay is a classic high coloratura, Inga has much thicker lyrical body of voice that is why it is so astonishing what she does here... Renee Fleming has sung this in studio and she was a disaster (she had sung the complete Kostanze in her very early years - 80s)
Lohengrin O Thank you for clarifying the reason you dislike Auger in this aria. I was confused by your earlier comment, at first, but what you say makes sense.
Jason Hurd Fleming was a disaster? She was the best ever! Thick column of sound, luminescent timbre, perfect vibrato and trills, beautiful German diction, excellent coloratura, great expression. Tempo much quicker than here. Her high notes are great!
It's one of my all time favourite recordings of hers
Great moments of opera I'm sorry, are you addressing me? I have never, ever said Fleming was a disaster. Please re-read the comments carefully.
Jason Hurd oh apologies, that was intended for Lohengrin
I just saw another video where she performed Klytämnestra in Elektra. Not only is she one of the few singers who actually sings the pitches written by Strauss (lol) but her low notes are more voluptuous than most other mezzos' out there! Incredible!
Ye she was a Miracle... and of the extremely few who sang Kostanze this well
You must mean Chrysothemis, not Klytämnestra.
Nielsen does beautifully in this bear of an aria. I love how she keeps the warm quality right up into the stratosphere and never gets shrill; also, how the poignant 'affect' of the piece is always to the fore. And Solti is on his best behavior, without the slashing sforzando accents that mar so many of his Mozart opera recordings. Bravi, Inga and Sir Georg! Incidentally, while I agree this is the most nightmarish aria amongst the seven mature operas of WAM, there are many terrors to be found in his early stage works. Listen, for instance, to this piece of vocal science fiction, sung by my beloved Arleen Auger on the first uncut recording of Lucio Silla in 1975:
th-cam.com/video/Zb-cI9HVBME/w-d-xo.html
Ah se il crudel and mainly sung by Gruberova which holds the best reading of the aria is a walk in the park compared to Ach ich liebte
Jose Hill I can well believe it! He wrote it specifically for Anna de Amicis, the soprano who created the role of Giunia at the premiere of Lucio Silla. Her specialty was apparently broken chord, fanfare-type fioritura, because three of Giunia's five solo arias showcase this all-but-impossible-to-sing type of division. If this kind of singing was the norm in 18th-century Italy, the vocal art has sunk to abysmal depths in the modern era.
She was a wonderful singer and a very nice person.
This is one of my most favourite arias (shame that there are so few interpretations of it in TH-cam) and it w/o a doubt is one of Mozart's most torturous creations. But in my opinion "Popoli di Tessaglia! - Io non chiedo, eterni Dei" is the single most nightmarish piece with its 2 G6s.
nope, G6 either u have or u dont... but this one, u may have the D6 and C6 but simply cannot sing it... (and easy C6s, D6s...)
Jose Hill Yeah, that one is difficult due to the insane agility it requires. Based on the premise of the video I was talking about difficulty in terms of range. G6 is so far above the usual soprano's tessitura that very few dare to sing it (and some use flageolet to squeak it out).
I guess we can all agree that Mozart loved to torture his sopranos.
Jose Hill I just posted Arleen Auger's rendition on this thread. You have great taste!
Lohengrin O I guess at the end of the day they are all exceptionally difficult and require different expertise. Hitting 10 C6s and D6s requires ease and consistency. As se il crudel requires agility. Popoli di tessaglia requires you to have an exceptional range.
There is a reason Callas and Sutherland who both had the easiest C6s and D6s never recorded this aria... there is a reason dame Joan Sutherland never sang the complete Kostanze... there is a reason Callas' complete Kostanze was not recorded... there is a reason both Callas and Sutherland made several recordings of Martern Aller Arten but none either studio or live of Ach ich liebte... there is a reason Ach ich liebte is the only aria missing from Elisabeth Schwarzkopf''s mid-40s complete Kostanze :D This aria is the very reason Dame Joan Sutherland never sang a role she was born to sing and which imo she would be phenomenal in early 60s if she had sung it
-Hold nu kæft, det er fantastisk!
Nightmarish is the word.... Martern is nothing compared to this. Shame we never heard Callas sing this.
too bad for u Jose Mill that Malfitano says that Callas' most astonishing vocal feat is her Martern Aller Arten which she sings better than anyone else (and too bad Malfitano is Malfitano and you are Jose Hill :D :D :D)
Lohengrin O I'm confused but OK ha.
ahahahah with what? deleting idiotic comments? u know me all these years, what is the cause of your confusion? it took me too long to delete them this time? :D
Lohengrin O ha oh I see what you mean now!
I only just saw these comments ha. Didn't even see them until I looked in my notifications. The anti-Callas brigade are real!
This is the same voice that sang Salome, Erwartung, Mathis der Maler and Rise and Fall of the City of Mahagonny. Her superb musicianship and art is here. She sings this most difficult aria as if it were easy to sing. Bravissima! Inga Nielsen (2 June 1946 - 10 February 2008).
extremely talented singer... kinda like Julia Varady
Quanta delicadeza. Perfeito em tudo.
Everybody talks about Martern Aller Arten, but this one is the doozie for Kostanze.
Thats why noone sings this aria... ever...
Mozart at his most demanding best...also love the aria from Zaide.
Ruhe Sanft.
Gorgeous. Though I've heard this a few times, I dont know what opera its from.
Inform the Philistines among us of the name of the opera.
Entführung aus dem Serail (Philistine in my book is the one who does not enjoy great Music and not the one who does not know)
I stand - or rather sit before my laptop - corrected. And enlightened.
Abduction from the Seraglio
5:04
what year was this performed?
I heard another soprano singing this aria today (she was awful), so I had to return and here Inga Nielsen. I fell much better now. Here she is in the final scene of Salome: th-cam.com/video/8u88MGUosjM/w-d-xo.html
I understand you 100%
What's the name of this aria?
So I asume Callas sang this aria as well at La scala….if only it had been broadcast…
yes exactly... she sang the complete Serail in the year 1952 in between Lady Macbeth, Norma, Lucia, Traviata, Gioconda, Tosca, Euridice, Armida, Leonora, Aida etc :D but strangely it wasnt recorded... one has to think, too difficult for early Callas? because dame Elisabeth Schwarzkopf's complete Serail exists but the aria was not recorded!!, and dame Joan Sutherland never sang either the aria or the complete role :D... this aria is THE killer of coloratura soprano arias but since no Assoluta sang it in the 20th century one might think it is impossible for an Assoluta Voice (although not that much for voices like Inga's and Edita's every highly tuned)... ofc Inga and Edita later in their careers sang Assoluta roles but the Body of their voices was never real Assoluta
Which opera is it,I cannot understand a word? Second part ist aus der Entführung
I speak German fluently. There were about five words that I could make out. Unfortunately technique to reach the notes severly compromise the diction. You can't have it all, I guess. Beautiful performance otherwise!
@@478cookies Wenn Sie deutsch genauso sprechen,sind Sie das gewöhnt!
@@fleurdelis9939 Leider ja... In solchen Fällen bevorzuge ich Opern in Sprachen, die ich nicht verstehe damit ich ungestört die Musik genießen kann. 😅
Yes. Fiendishly difficult. First aria. So exposed.
What aria is this?
"Ach ich liebte, war so Glücklich", Constanza's air from "die entfuhrung aus dem serail" by Mozart.
What is the name of this aria
Anaconda, by Niki Minaj :p
Gregor Bork holllllllllllllllldd uppppp......first 👏🏽 of 👏🏽 all 👏🏽 sir...don’t come over here with that bull shit. Second of all, I’d love for you to explain to me how I’m being a snob by trying to educate myself by learning the name of this aria don’t be upset or try and attack someone online because they’re not as well affiliated with something as you are and especially not if they are trying to learn more about it.
Im the snob Elijah :p Because I didnt reply :p
ohhhh well i feel dumb now but still there was no need for all that
:)*