¡Bravissimas!... El mejor dúo de esta Ópera, ambas poseen en su garganta el dramatismo y la pureza vocal, sus voces quedan tan perfectas juntas... simplemente grandes.
3:00 Yeah!!! That's the real confrontation. The energy is so intense..This is marvelous, but seems like Edita Gruberova is a bit weak for the role, not the voice but the character, Maria Stuarda. Yet I love her singing and interpretation in the studiorecord and her crystal clear voice. Both are my favorite singers. Frau Baltsa has such a powerful aura, unique timbre and clear accurate notes.. Each time I listen to this, I get stuck on her force, the force of nature. They were truly fantastic in Bellini's 'I Capuleti e i Montecchi', too. I wonder if there's a full video of this performance. 5:59
Baltsa is fabulous, but this is not Gruberova's role. She has a weak middle and lacks the all-important chest register, which is a prerequisite for proper declamation of 'Figlia impura di Bolena'. In addition, she misses the essential nobility and devotion of the character. Check out the other online clips of Baltsa with Mara Zampieri and also with Lucia Aliberti; they are superior to this.
Andy Candy I agree with you about Zampieri: in that clip her singing is harsh, thick and unresonant. The reason I rate it higher than this one is mainly for Baltsa, whose acting and singing both I feel are more vivid and secure in the 1986 Vienna performance. Zampieri does rather well dramatically, though, and as the curtain falls she performs the angriest, most defiant sign of the Cross I've ever seen. But I do agree about her inadequate vocalism.
@@janm.c.munich3513 I have given specific examples of why I feel Gruberova is inadequate in the role of Stuarda. Unless you can get more specific than a vague 'fabulous' and a snarky insult to my critical abilities, then it is your comment that is nonsense, not mine.
@@jasonhurd4379your so-called examples remain purely subjective and not very relevant. Gruberova’s middle is strong and the chest register, though never quite voluminous, is well placed and accented in the Italian manner. Gruberova was notoriously known to provide dramatic commitment and truth to all her portrayals and her acting remains until today one of the most definitive of being full of a certain emotion. Richard Bonynge conducted Gruberova’s debuts in both Elisabetta and Bolena some years later to this performance while Sutherland was in the audience applauding what she later called an exceptional belcanto soprano. Do you actually consider yourself as someone who knows better than these two? Here’s is some food for thought to you “critical abilities” that very much made me laugh. Especially when you actually compared Edita to Zampieri calling the later better. Cheers,
Baltsa is brilliant here, she brings such intensity!!!
Holy mother of all that's sacred. Incredible.
Боже!!! Какие голоса изумительные и сколько артистизма!!!
I return to this clip from time to time. AWESOME!!!!
Those two fantastic artists liked to sing together and we can hear it !
The best! Baltsa and Gruberova!!
Much better than the studio recording !
¡Bravissimas!...
El mejor dúo de esta Ópera, ambas poseen en su garganta el dramatismo y la pureza vocal, sus voces quedan tan perfectas juntas... simplemente grandes.
Maravilhoso papel da dupla Baltsa e Gruberova! Parabéns!
Omg this is amazing.. 😄👏
LA AMOOOOOOOOO!!!!!
3:00 Yeah!!! That's the real confrontation. The energy is so intense..This is marvelous, but seems like Edita Gruberova is a bit weak for the role, not the voice but the character, Maria Stuarda. Yet I love her singing and interpretation in the studiorecord and her crystal clear voice. Both are my favorite singers. Frau Baltsa has such a powerful aura, unique timbre and clear accurate notes.. Each time I listen to this, I get stuck on her force, the force of nature. They were truly fantastic in Bellini's 'I Capuleti e i Montecchi', too. I wonder if there's a full video of this performance. 5:59
Este dúo con estas dos inmensas es de agarrarse la cabeza!
Thats right, with no doubt ... What a pitty that this production is not published as DVD
Tout à fait d'accord, incompréhensible qu'on ne puisse trouver en Dvd original cette œuvre d'art
Thriling! Superb
6:06 Baltsa as Queen E always frightens me in this scene.
Electricity!
Agnes bravissima
The best ones in this scene, for me there is really NO DOUBT!!!!
Agnesa di Balza...solo e Agnesa,che canto con forzza nell pianissimo-piu bella dall Frenni.
the best
Where's the full opera?
where could i get the whole opera?
I would like to know the same. If by chance you got this, can you share with me? Thanks! :)
Great Baltsa !!!
👏👏👏👏👏👏👏
2021/09....
👍👍👍
Where did this performance take place?
Vienna of Course :)
The both also performed in Zurich in Giancarlo Del Monaco’s production.
4:01 ?
Strepitosa Baltsa
Baltsa is fabulous, but this is not Gruberova's role. She has a weak middle and lacks the all-important chest register, which is a prerequisite for proper declamation of 'Figlia impura di Bolena'. In addition, she misses the essential nobility and devotion of the character. Check out the other online clips of Baltsa with Mara Zampieri and also with Lucia Aliberti; they are superior to this.
Andy Candy I agree with you about Zampieri: in that clip her singing is harsh, thick and unresonant. The reason I rate it higher than this one is mainly for Baltsa, whose acting and singing both I feel are more vivid and secure in the 1986 Vienna performance. Zampieri does rather well dramatically, though, and as the curtain falls she performs the angriest, most defiant sign of the Cross I've ever seen. But I do agree about her inadequate vocalism.
@Andy Candy fully agree...... Zampieri sounds awful, impossible to listen to
Gruberova is fabulous together with Baltsa,. Useless armchair critics writing nonsense as per usual.
@@janm.c.munich3513 I have given specific examples of why I feel Gruberova is inadequate in the role of Stuarda. Unless you can get more specific than a vague 'fabulous' and a snarky insult to my critical abilities, then it is your comment that is nonsense, not mine.
@@jasonhurd4379your so-called examples remain purely subjective and not very relevant. Gruberova’s middle is strong and the chest register, though never quite voluminous, is well placed and accented in the Italian manner. Gruberova was notoriously known to provide dramatic commitment and truth to all her portrayals and her acting remains until today one of the most definitive of being full of a certain emotion. Richard Bonynge conducted Gruberova’s debuts in both Elisabetta and Bolena some years later to this performance while Sutherland was in the audience applauding what she later called an exceptional belcanto soprano. Do you actually consider yourself as someone who knows better than these two? Here’s is some food for thought to you “critical abilities” that very much made me laugh. Especially when you actually compared Edita to Zampieri calling the later better. Cheers,
LA AMOOOOOOOOO!!!!!
Siamo in due!