Condivido quanto scritto da qualche amico. Personalmente sono stufo dell'onnipresente Netrebko, la quale sta inflazionando i teatri dove viene richiesta. Mi piaceva la prima Netrebko. Sentire però la Radvanovsky riconcilia la musica lirica. Presenza scenica, padronanza del palco, voce chiara e trasparente senza ingolature varie. Un piacere per l'udito.
Nach der allgegenwärtigen und schlechten Netrebko in Mailand vor wenigen Tagen, bin ich dankbar Rodvanovsky hier zu hören, und zwar gut zu hören und anzusehen. Sicher noch ausbaufähig. Bin sicher, dass sie das packt.
I’m a big fan, but you cannot sing this part without ‘voce di petto’. On the other hand she has done all the violent back and forth in Fach that are often cited as destroying Callas, as she is still going strong in her 50’s.
Ahora que el Met despidió a Netrebko por cuestiones políticas, (y que Guleghina tampoco canta mas en el Met debido a su declino vocal) Radvanovsky esta tomando todos sus roles...este es el resultado...
A 5702 Non me ne intendo come voi che avete più esperienza. Mi pare comunque sempre preoccupata di cantar forte e non mi sembra per niente che senta l'emotività della parte.
Thank you so much for sharing!!! Glorious! Do you also have the following duett when they decide to kill the king? Would be so exciting I presume. But once more thanks anyway!
Hearing this. I am very surprised she is taking on Medea which is even more chest voice heavy than this and another role in which Callas set the standard. (It's always crazy to remember that Callas sang the role of Lady Macbeth only once in 1952 but unfortunately for every soprano/mezzo after, she set the bar impossibly high. Only Verrett has ever really come close.)
Sondra is an amazing artist with an amazing voice. We’ve seen her in many of her roles at the Met. And she never disappoints. To any of you out there that think she’s not perfect in this role, No one is ever perfect in anything. Even singers of the past. Perfection does not exist. So instead of criticizing, just sit back and enjoy the performance or just don’t watch. The only persons that could be critical of their performances are themselves and their voice coaches. These artist work hard at what they do and to have some know it all criticizing every move these amazing artists make.
Do you ear any chest notes? Lady Macbethm requires deep and udible chest notes. The question is so simple....dont you have real chest notes? Dont sing Lady Macbeth. Madam Radwanowsky is a very fine soprano but in other roles.
I agree. Recently I was watching a video of another soprano and there was a camera angle showing the entire opera-house audience. You've got to have guts just to go out there on stage. As for Ms. Radvanovsky, I think she does a creditable performance of what must be a fiendishly difficult role. You're right, perfection does not exist. Let's appreciate the countless artists (including the ones who are not our favorites) and, as you said, enjoy the performance.
@@jmahlon there’s always some know it all queen coming on some high opera horse… bitch please… let us have our own opinions. .. don’t bother insulting me further coz I won’t reply.. I don’t entertain trolls.
i like the full opera too. how do I give my email to you instead of posting here publicly? so excited. i am a huge Sondra fan. just flew back from NYC for the Tosca.
I wish she’d sung it earlier. A major voice no question but this is very effortful and while she has a freedom up top many don’t in this role, the voice has lost some of its flexibility and there are passages that just scream for a well balanced lower voice with full chest tones and she just doesn’t have them. And while she’s not inexpressive, she’s never done much with the words and her diction is not great for someone who has been specializing in this rep for decades.
Peter Callahan. I agree that the lack of chest voice here is inexcusable. BUT, she actually does have a solid chest voice which she uses quite effectively in the Sleepwalking Scene (Una macchia). So, that makes the lack of chest voice here even MORE inexcusable! I just HOPE that she will utilize a balanced and full chest voice when she does her upcoming Medea!!! I'm very concerned that she's even doing that role. But if it lacks the use of chest tones it will really be horrible!
I saw this run of Macbeth in Chicago and she was marvelous. Everyone was marvelous in these performances, particularly the MacDuff who got the best applause!
Having heard Mara Zampieri as Lady Macbeth 30 years ago, the part is virtually unsingable for me. Either the lady sounds too beautiful or lacks the technical finesse. The coloraturas have to be attacks and it is not for nothing that Verdi allows the entire vocal spectrum of his character to be used here. Lady M. is the sovereign master of intrigue, of betrayal and dominates not only Macbeth but also the entire work. Radva sounds too pretty and unfortunately also little experienced in this repertoire.
@@draganvidic2039 heard her in-person at LA Opera(which is one of the shittiest opera houses ever with crap acoustics), and you could feel her voice slapping you in the face. She has a huge instrument, and it’s a voice that I feel sounds best live.
I saw this performance. She was a serviceable Lady Macbeth. Way better than Netrebko, but still not ideal. This is a bel canto role, and she's not a bel canto singer. Her coloratura is wanting and she can't sing the written trills. The chest was was also not quite there, though the high notes were glorious. The interpretation was new and hadn't settled yet.
@@vincec8218 In the middle and low ranges, it was definitely a solid spinto voice, but the high notes were really large and house-filling. I think her voice and technique is a better fit for Elizabeth in Don Carlo than for Lady Macbeth, however. The Lady is a bel canto role that requires more than a loud voice. It requires a mastery of coloratura and trills, a dark and large chest register, and true bel canto phrasing. Elizabeth is more in the vein of Aida, requiring no coloratura or trills.
@@stephenjennings3844 As Christa Ludwig said about singing Lieder, "There are singers who sing Lieder, and then there are Lieder singers." Just because you sing bel canto roles, it doesn't make you a bel canto singer. I heard her Norma, and it was more in the league of Milanov and Cigna than that of Callas or Sutherland. Her Devereaux was good, as it showcased her strengths without exposing her technical shortcomings, but the Bolena was merely passable. How do you sing a role ridden with trills when you can't trill? The coloratura was sketchy and the agility forced rather than natural and flowing. Her Lady Macbeth had its strengths, but for me, it was merely a passable assumption. The full technical arsenal just wasn't there, and the arsenal is merely the starting point.
@@ShahrdadI hear much more Callas than Tebaldi in Rad’s natural vocal material, which is to say that I don’t think that she is a spinto. More like a dramatic coloratura, but without dramatic coloratura training. That being said, her voice records very weirdly. It’s not just the quality of the voice that doesn’t translate well; it’s also the fioratura. It sounds much cleaner and less laboured live. It’s very odd. I tend to agree with RansomCoates here that the bigger liability with her lady is the lack of adequate chest. I feel the same way about her Medea. I think her Donizetti Queens and Norma are more successful. Not Callas level, but no one is at that level. I much prefer her basic vocal make up to Sutherland for those sorts of roles. And as you note, she’s miles ahead of Netrebko. In other words, I think this would actually be the ideal fach for her, if she had a firmer technical foundation in terms of fioratura. But I don’t think that it’s bad.
I heard her at the Met in 2011 in Tosca. I thought she was memorable and hoped she will go on developing. However, this performance is a red light. The bottom is weak, the top is explosive as she puts strain there. As though the voice lost some of the elasticity. What a pity. I really like her. Age should not be that a factor. She is not that old. Some hints of chest voice capabilities you hear in the cabaletta. I would advise her to take a break, rest and re- work the voice. Otherwise it will grow "fixed".
This is the first time i hear about Sondra and i must say this is define my favorite Lady Macbeth, the acting is just masterpiece and her voice is magical
I'm sure she will. It was her first Macbeth live. FIRST! Knowing Sondra I'm sure at some point she'll be a perfection. I heard third and fourth performances, and they were already uncomparable to this. I posted it just to remember her First, and because many people asked for it.
@@VICTORIYA-THEATER-FAN how can you be so lucky and heard the third and fourth performances. i am so jealous of you. smile. THANK YOU for all of your posting
Well if you want to wait for an authentic assoluta we'll have to retire this opera for decades haha. She's certainly serviceable in this role, much more than some others who are making a living off of parodying this role who I shan't name. And I do agree that you can hear the effort, even that first C6 sounded nervous/not secure, and some of the coloratura was laborious, but I think she can refine it with time rather than straight up not having the chops 🙏🏽
I love Sondra! Her voice reminds me of Maria Callas at times-something about the color of her middle register and the way her high notes ring. And what passion she brings to the characters!
see I'm truly fascinated by her voice. She has every feature of a dramatic coloratura voice: a really large voice to begin with, massive extreme high notes, an extension up to a full sustained high F, and a weak lower register... except for the ability to *actually do* coloratura, which she struggles with mightily. She's like Joan Sutherland without the flexibility. I'm baffled
Netrebko was never meant to sing roles like Lady Macbeth no matter how much she tries to darken her voice or purposely put on weight in an attempt to change it. She was never and never will be Maria Callas and had she stuck to the full lyric repetoire rather than thinking that just because she had a somewhat darker tone than most lyrics that it meant she could sing spinto and dramatic roles, she'd have something of a pleasant voice as opposed to the screeching condor we hear now.
I am a huge fan of Sondra. I ADMIRE her vocal uniqueness/technique, her acting and her beauty and true charisma on the stage. Having said that I will follow with my disappointment with this pairing of Lady Macbeth and Sondra. There's simply nothing new brought to this role in this "vessel". Nothing that normally stans out in her voice/acting in other roles has had any effect whatsoever in this role. There's no vocal dynamic explosion, there's no edge (required for this role), the acting is not convincing, there isnt the haunting and menacing hues of personality that should be present. If a singer can't bring all elements together they should bring either 1 of these at least: volume, characterization, colour. SONDRA brings none. FRIGGING RUSSIAN girl...whats her face? Yes,,,,Netrebko, which I hate...actually brings more to the table than Sondra.
Sondra ha una gran voce ma non per Lady Macbeth, assolutamente no! Inoltre secondo me ha fatto confusione tra questo ruolo e la scena della pazzia di Lucia di Lammermoor.
There are mistakes 7:15-7:25 which should not be allowed to go on stage, sorry
Condivido quanto scritto da qualche amico. Personalmente sono stufo dell'onnipresente Netrebko, la quale sta inflazionando i teatri dove viene richiesta. Mi piaceva la prima Netrebko. Sentire però la Radvanovsky riconcilia la musica lirica. Presenza scenica, padronanza del palco, voce chiara e trasparente senza ingolature varie. Un piacere per l'udito.
Nach der allgegenwärtigen und schlechten Netrebko in Mailand vor wenigen Tagen, bin ich dankbar Rodvanovsky hier zu hören, und zwar gut zu hören und anzusehen. Sicher noch ausbaufähig. Bin sicher, dass sie das packt.
I will never understand the Netrebko phenomenon
@@commandert5 She started out promising but soon became a mediocre singer with a great marketing concept.
The top is glorious, but I miss the lower notes in chest voice. This aria needs some “ugly” sounds. She seems “too careful” LOVE her though
Her voice IS ugly.
Thing is it’s very bad too.
Seems like there’s plenty of ugly throughout the range.
Omg! Is this new?! Holy so and so….YAY!!!!!!
Lady Macbeth on her knees seems kind of silly. This woman is fierce and steely. She rules the weakling which is Macbeth.
I’m a big fan, but you cannot sing this part without ‘voce di petto’. On the other hand she has done all the violent back and forth in Fach that are often cited as destroying Callas, as she is still going strong in her 50’s.
That's a very well put together comment.
Ahora que el Met despidió a Netrebko por cuestiones políticas, (y que Guleghina tampoco canta mas en el Met debido a su declino vocal) Radvanovsky esta tomando todos sus roles...este es el resultado...
Callas was not destroyed by the repertoire, she was a very ill woman. Had all sorts of disease. Her carreer was a miracle.
@electricxcircus4020 True.
@@maxpetronio8906 also the fucking horrible people in her personal life.
Toda una diva... Impresionante.. Magnifica...
Listen to Soulotis or Callas
A 5702
Non me ne intendo come voi che avete più esperienza.
Mi pare comunque sempre preoccupata di cantar forte e non mi sembra per niente che senta l'emotività della parte.
Thank you so much for sharing!!! Glorious! Do you also have the following duett when they decide to kill the king? Would be so exciting I presume. But once more thanks anyway!
THANK YOU. your posting always bright up my day.
Hearing this. I am very surprised she is taking on Medea which is even more chest voice heavy than this and another role in which Callas set the standard. (It's always crazy to remember that Callas sang the role of Lady Macbeth only once in 1952 but unfortunately for every soprano/mezzo after, she set the bar impossibly high. Only Verrett has ever really come close.)
chile, please. verrett is the standard.
@electricxcircus Because everybody overhype Callas
@@edwindavis8756 Thank you.
Verrett is the lady macbeth
Elena souliotis was a great lady macbeth
Chest notes, chest notes!!!!!!!!!!!!!!! I dont ear half aria......(that is on chest notes) and less screaming.
This is bad singing
@@draganvidic2039 I agree. She is so much better in other roles
Modern singers do not Know what chest voice is about.
Sondra is an amazing artist with an amazing voice. We’ve seen her in many of her roles at the Met. And she never disappoints. To any of you out there that think she’s not perfect in this role, No one is ever perfect in anything. Even singers of the past. Perfection does not exist. So instead of criticizing, just sit back and enjoy the performance or just don’t watch. The only persons that could be critical of their performances are themselves and their voice coaches. These artist work hard at what they do and to have some know it all criticizing every move these amazing artists make.
She’s got the wrong coaches 😂
Do you ear any chest notes? Lady Macbethm requires deep and udible chest notes. The question is so simple....dont you have real chest notes? Dont sing Lady Macbeth. Madam Radwanowsky is a very fine soprano but in other roles.
I agree. Recently I was watching a video of another soprano and there was a camera angle showing the entire opera-house audience. You've got to have guts just to go out there on stage. As for Ms. Radvanovsky, I think she does a creditable performance of what must be a fiendishly difficult role. You're right, perfection does not exist. Let's appreciate the countless artists (including the ones who are not our favorites) and, as you said, enjoy the performance.
Esactly
Agree about the lack of chest voice, but never about the “fine soprano” part. ???
nailed it
At 52 I don’t think she should be running away from pure belted chest anymore... we need it... but this is still lovely
Thanks for letting us know how little you understand vocal technique.
@@jmahlon there’s always some know it all queen coming on some high opera horse… bitch please… let us have our own opinions. .. don’t bother insulting me further coz I won’t reply.. I don’t entertain trolls.
Here she looks like Mrs Denvers in Rebecca : I like this idea ! very suggestive !
THANK YOU. I have been waiting for this!
(You mixed up the titles for 'Una macchia' and 'Vieni t'affretta.)
@@vincec8218 A beginner who has some talent - right now there are too many unpleasant straight notes
wonderful
This is simply AWESOME! Do you have the full opera? Thank you!🥰
@@VICTORIYA-THEATER-FAN May I have it too please? I'm a huge Sondra fan!
i like the full opera too. how do I give my email to you instead of posting here publicly? so excited. i am a huge Sondra fan. just flew back from NYC for the Tosca.
If the whole thing exists, I would beg on my knees to have a copy.
I've heard many singers in this scene ... I'm no expert ... but here, something is wrong.
Sorry,I dont know about new opera sigers and performances,but this woman need urgently Shirley Verretts intonation classes!
I wish she’d sung it earlier. A major voice no question but this is very effortful and while she has a freedom up top many don’t in this role, the voice has lost some of its flexibility and there are passages that just scream for a well balanced lower voice with full chest tones and she just doesn’t have them. And while she’s not inexpressive, she’s never done much with the words and her diction is not great for someone who has been specializing in this rep for decades.
She’s very bad
@@draganvidic2039 Your HEARING is very bad
Such a kind and diplomatic way of saying "this sounds like shit".
Peter Callahan. I agree that the lack of chest voice here is inexcusable. BUT, she actually does have a solid chest voice which she uses quite effectively in the Sleepwalking Scene (Una macchia). So, that makes the lack of chest voice here even MORE inexcusable!
I just HOPE that she will utilize a balanced and full chest voice when she does her upcoming Medea!!! I'm very concerned that she's even doing that role. But if it lacks the use of chest tones it will really be horrible!
BRAVA!!!
I saw this run of Macbeth in Chicago and she was marvelous. Everyone was marvelous in these performances, particularly the MacDuff who got the best applause!
Having heard Mara Zampieri as Lady Macbeth 30 years ago, the part is virtually unsingable for me. Either the lady sounds too beautiful or lacks the technical finesse. The coloraturas have to be attacks and it is not for nothing that Verdi allows the entire vocal spectrum of his character to be used here. Lady M. is the sovereign master of intrigue, of betrayal and dominates not only Macbeth but also the entire work. Radva sounds too pretty and unfortunately also little experienced in this repertoire.
She killed the upper part but the low notes were almost nonexistent
Lack of chestvoice and not fully developed voice that is.
Add to this a buzzy masky singing and top without depth…
@@draganvidic2039 I don't know if I agree about the resonance. I'm sure the top notes were powerful and resonant.
@@draganvidic2039 heard her in-person at LA Opera(which is one of the shittiest opera houses ever with crap acoustics), and you could feel her voice slapping you in the face.
She has a huge instrument, and it’s a voice that I feel sounds best live.
@@bonotoon5273 exactly. The voice pinned me to my chair at the lyric opera...and I was mid balcony at a rehearsal.
@@mugrad25
I didn’t say she’s not loud.
Her voice is unbalanced and it’s bad singing.
I saw this performance. She was a serviceable Lady Macbeth. Way better than Netrebko, but still not ideal. This is a bel canto role, and she's not a bel canto singer. Her coloratura is wanting and she can't sing the written trills. The chest was was also not quite there, though the high notes were glorious. The interpretation was new and hadn't settled yet.
@@vincec8218 In the middle and low ranges, it was definitely a solid spinto voice, but the high notes were really large and house-filling. I think her voice and technique is a better fit for Elizabeth in Don Carlo than for Lady Macbeth, however. The Lady is a bel canto role that requires more than a loud voice. It requires a mastery of coloratura and trills, a dark and large chest register, and true bel canto phrasing. Elizabeth is more in the vein of Aida, requiring no coloratura or trills.
@@vincec8218
Verdi demands much more tha she can proved on so many levels…
Of course she is a belcanto singer. Did you miss her Norma and the three Donizetti Queens?
@@stephenjennings3844 As Christa Ludwig said about singing Lieder, "There are singers who sing Lieder, and then there are Lieder singers." Just because you sing bel canto roles, it doesn't make you a bel canto singer. I heard her Norma, and it was more in the league of Milanov and Cigna than that of Callas or Sutherland. Her Devereaux was good, as it showcased her strengths without exposing her technical shortcomings, but the Bolena was merely passable. How do you sing a role ridden with trills when you can't trill? The coloratura was sketchy and the agility forced rather than natural and flowing. Her Lady Macbeth had its strengths, but for me, it was merely a passable assumption. The full technical arsenal just wasn't there, and the arsenal is merely the starting point.
@@ShahrdadI hear much more Callas than Tebaldi in Rad’s natural vocal material, which is to say that I don’t think that she is a spinto. More like a dramatic coloratura, but without dramatic coloratura training. That being said, her voice records very weirdly. It’s not just the quality of the voice that doesn’t translate well; it’s also the fioratura. It sounds much cleaner and less laboured live. It’s very odd.
I tend to agree with RansomCoates here that the bigger liability with her lady is the lack of adequate chest. I feel the same way about her Medea. I think her Donizetti Queens and Norma are more successful. Not Callas level, but no one is at that level. I much prefer her basic vocal make up to Sutherland for those sorts of roles. And as you note, she’s miles ahead of Netrebko. In other words, I think this would actually be the ideal fach for her, if she had a firmer technical foundation in terms of fioratura. But I don’t think that it’s bad.
Going to see her in Macbeth next month ❤
Radvanovsky's voice soars in this great aria - "I will light a fire in your cold heart". ♥
Based on this, she would loose her voice soon.
❤❤❤❤❤❤❤❤❤
I heard her at the Met in 2011 in Tosca. I thought she was memorable and hoped she will go on developing. However, this performance is a red light. The bottom is weak, the top is explosive as she puts strain there. As though the voice lost some of the elasticity. What a pity. I really like her. Age should not be that a factor. She is not that old. Some hints of chest voice capabilities you hear in the cabaletta. I would advise her to take a break, rest and re- work the voice. Otherwise it will grow "fixed".
This is the first time i hear about Sondra and i must say this is define my favorite Lady Macbeth, the acting is just masterpiece and her voice is magical
It really isn't. She's forcing her voice into a role that doesn't suit her
great perifor,amce Janice Casanova
I usually love the voice of Radvanovsky, but this isn´t her part. She has to work too hard in this one.
I'm sure she will. It was her first Macbeth live. FIRST! Knowing Sondra I'm sure at some point she'll be a perfection. I heard third and fourth performances, and they were already uncomparable to this. I posted it just to remember her First, and because many people asked for it.
@@VICTORIYA-THEATER-FAN how can you be so lucky and heard the third and fourth performances. i am so jealous of you. smile. THANK YOU for all of your posting
Well if you want to wait for an authentic assoluta we'll have to retire this opera for decades haha. She's certainly serviceable in this role, much more than some others who are making a living off of parodying this role who I shan't name.
And I do agree that you can hear the effort, even that first C6 sounded nervous/not secure, and some of the coloratura was laborious, but I think she can refine it with time rather than straight up not having the chops 🙏🏽
@@kaochloe1 add you email to youtube
I agree with you. I don't hear this role in her voice as well.
❤️
I love Sondra! Her voice reminds me of Maria Callas at times-something about the color of her middle register and the way her high notes ring. And what passion she brings to the characters!
I love $5 supermarket wine. It reminds me of Dom Perignon.
She simply DOESN'T tackle the fiercy tessitura and vocal line. Botched. Drammatco-coloratura? LOL!
You’re right
see I'm truly fascinated by her voice. She has every feature of a dramatic coloratura voice: a really large voice to begin with, massive extreme high notes, an extension up to a full sustained high F, and a weak lower register... except for the ability to *actually do* coloratura, which she struggles with mightily. She's like Joan Sutherland without the flexibility. I'm baffled
She should stick to Donizetti's queens.
Todos quieren cantar todo.
Good singing and good acting! Congrats Sondra!
Il suo viso è come una bambola, Lady Macbeth è perfetta per cantare ma devi truccarti molto :D
To forget Netrebko...
Who?
She ruined this role.
Netrebko was never meant to sing roles like Lady Macbeth no matter how much she tries to darken her voice or purposely put on weight in an attempt to change it. She was never and never will be Maria Callas and had she stuck to the full lyric repetoire rather than thinking that just because she had a somewhat darker tone than most lyrics that it meant she could sing spinto and dramatic roles, she'd have something of a pleasant voice as opposed to the screeching condor we hear now.
Amazing.Spine chilling.♫♪ ॐ¸¸.•*¨*•♫
Bad singing
Best modern rendition
No 😂
Voce fuori ruolo, note talvolta deboli. Tecnicamente certi passaggi non vanno e cala.
Comunque non è per lei.
Questa voce sempre é stonata
I am a huge fan of Sondra. I ADMIRE her vocal uniqueness/technique, her acting and her beauty and true charisma on the stage. Having said that I will follow with my disappointment with this pairing of Lady Macbeth and Sondra. There's simply nothing new brought to this role in this "vessel". Nothing that normally stans out in her voice/acting in other roles has had any effect whatsoever in this role. There's no vocal dynamic explosion, there's no edge (required for this role), the acting is not convincing, there isnt the haunting and menacing hues of personality that should be present. If a singer can't bring all elements together they should bring either 1 of these at least: volume, characterization, colour. SONDRA brings none. FRIGGING RUSSIAN girl...whats her face? Yes,,,,Netrebko, which I hate...actually brings more to the table than Sondra.
Sondra ha una gran voce ma non per Lady Macbeth, assolutamente no! Inoltre secondo me ha fatto confusione tra questo ruolo e la scena della pazzia di Lucia di Lammermoor.
This is a fantasy!!
Muy notable la dificultad h las deficiencias vocales, no tuvo que haberla cantado, esta vanidad puede arruinar su voz.
manca del tutto il carattere del personaggio...completamente fuori ruolo
Recitazione superiore al canto, bravura non cantata... e neanche piacevole da guardare
Canta tutto...ma non eccelle in niente...