I believe some of the critics are too harsh-- this is a beautiful sound. This recording is from five years ago. I'd love to hear the same piece now. I'm not saying that there aren't things I would "wonder" about. I think the Eastern European/Germanic influence encourages a bit more of a full-bore sound than would be necessary. I'd love to hear certain passages done with her mouth more closed. And I'd like to see her trust the lighter side of her voice a bit more--- giving even more impact to the "punch." It's the age old issue: A young bass or mezzo has a rich dark voice and subsequently gets attention for the rich, dark sound-- but makes the mistake of "gilding the lilly"-- indulging the "dark side." If people respond to your "big" voice-- it's tempting to sing big. If you're strong, they always want you to do the heavy lifting. My singing teacher was the great basso Giorgio Tozzi. Giorgio said "I had a rich, dark voice. And the more I sang lighter and brighter, the more people said it was rich and dark." He studied with the first Turandot-- Rosa Raisa. He told me he learned a lot from the very lyrical American baritone John Charles Thomas. The aria in this concert must have been somewhat new to her repertoire since had the score "available." But what a lovely singer and person-- and amazingly big, rich, voice. And we should always remember that each singer has to sing their own version of an aria (or role) with their own instrument. If you think of some great Casta Diva's like Callas, Caballe, Sutherland, Sulliotis, and even Bartoli-- each is different. Each is the beautiful piece played on different and unique instruments. "Your" Casta Diva can only be "your" Casta Diva-- certainly influenced or inspired or school by another's, but you can only sing your own.
kgarmaker123 Even when Callas was in her prime, she really didn't care about the top B flat that much to stay on it longer than when she had to. Urmana's main issue with this aria is breath control and coloratura (and obviously, becoming the character).
I think she could sing this role, but it would need a lot of work, with all the runs, scales, top notes.. ( she got off that B flat faster than Callas, outof her prime..). Much of Norma, has to be sung slightly off the full breath.... or you run out of gas.
The line isn't sinuous for her to ever sing Norma well, and she often struggles in and out of passagio (which is crucial in this role), She has a lovely rich sound, but she doesn't sing with the elegant refinement needed, and her coloratura isn't first class.
Шикарный голос и прекрасное исполнение.
Dieviška...Akims ir Ausims...Reginys...ir Garsas...ir Visuma..! Tobulybė.......
Bravissimo!💕🎶🕊️
Умница!!!!
🌹🌹🌹🌹🌹🌹🌹🌹🌹
I believe some of the critics are too harsh-- this is a beautiful sound. This recording is from five years ago. I'd love to hear the same piece now. I'm not saying that there aren't things I would "wonder" about. I think the Eastern European/Germanic influence encourages a bit more of a full-bore sound than would be necessary. I'd love to hear certain passages done with her mouth more closed. And I'd like to see her trust the lighter side of her voice a bit more--- giving even more impact to the "punch." It's the age old issue: A young bass or mezzo has a rich dark voice and subsequently gets attention for the rich, dark sound-- but makes the mistake of "gilding the lilly"-- indulging the "dark side." If people respond to your "big" voice-- it's tempting to sing big. If you're strong, they always want you to do the heavy lifting. My singing teacher was the great basso Giorgio Tozzi. Giorgio said "I had a rich, dark voice. And the more I sang lighter and brighter, the more people said it was rich and dark." He studied with the first Turandot-- Rosa Raisa. He told me he learned a lot from the very lyrical American baritone John Charles Thomas. The aria in this concert must have been somewhat new to her repertoire since had the score "available." But what a lovely singer and person-- and amazingly big, rich, voice. And we should always remember that each singer has to sing their own version of an aria (or role) with their own instrument. If you think of some great Casta Diva's like Callas, Caballe, Sutherland, Sulliotis, and even Bartoli-- each is different. Each is the beautiful piece played on different and unique instruments. "Your" Casta Diva can only be "your" Casta Diva-- certainly influenced or inspired or school by another's, but you can only sing your own.
Полностью с Вами согласна.
Years ago she sang the entire role in concert. I have a bad sounding pirate of it somewhere...
Al Javier She is a bad sounding pirate
No es Caballe pero igual linda version
nice
When was this?
kgarmaker123 Even when Callas was in her prime, she really didn't care about the top B flat that much to stay on it longer than when she had to. Urmana's main issue with this aria is breath control and coloratura (and obviously, becoming the character).
tonshaad1230 Old granny doing her best...
the voice is ruined by her ambitious take on Wagner and Verdi
Desmond P T Yes!
I think she could sing this role, but it would need a lot of work, with all the runs, scales, top notes.. ( she got off that B flat faster than Callas, outof her prime..). Much of Norma, has to be sung slightly off the full breath.... or you run out of gas.
kgarmaker123 Callas was a soprano with amazing high notes for ten years. This is a mezzo/falcon without high notes. At least above high C...
The line isn't sinuous for her to ever sing Norma well, and she often struggles in and out of passagio (which is crucial in this role), She has a lovely rich sound, but she doesn't sing with the elegant refinement needed, and her coloratura isn't first class.