In response to comments about the skipped E-flat: There could be various reasons why a singer would skip it; not being able to sing the note (comfortably) is just one of them. Who knows? Maybe the conductor doesn't like it. In the eighties, conductors like Muti and Giulini took the purist view. They led performances and made studio recordings of Verdi as written by Verdi. (The results were mixed, but Renata Scotto got to skip the E-flat, thank God.) I'm giving just one other possible reason. But Marina Rebeka definitely has the E-flat for Sempre Libera. Just browse TH-cam. Here she is in 2014: th-cam.com/video/JPdRyO2IiNg/w-d-xo.html and in 2016: th-cam.com/video/1xYCyePAzpI/w-d-xo.html and in 2018: th-cam.com/video/g-mO3RDYruc/w-d-xo.html Maybe she lost it in the intervening two years, but I doubt it.
Totally agree. And the note in her performance was not really healthy and natural. She doesn't have to go on an E-flat to show that she has great coloratura techniques.
Marina s problem: not stability in the high notes: She arrives with good, but she doesn't know how to stay on note. This clearly speaks of the lack of work. Marina Rebeka has a very beautiful voice in the low and middle register. It's a shame she doesn't like to work
@@cliffgaither I don’t think it is, the note is either within the soprano’s comfortable vocal range or not, of course that changes with age as well. I think that’s one of the main reasons Callas dropped it out of her repertoire after 1958: the notes high C and above were no longer comfortably attained anymore.
Omg, why is everyone so obsessed with this high note??? Opera singing is not Olympic Games ! And don’t forget that Verdi didn’t write this note, somebody added it later. Marina is really great singer with deep and fantastic voice, she is doing this aria very well.
Marina Rebeka has a "little voice" .....and is "not spectacular at all" !!!! 🙄 You must be JOKING. And she is not one to do compromises with a score. She always sings the part as written by the composer. And beautifully.
@@claudineshafa5546 No, why not the other way round, You like it or not, her voice is not spectacular at all. I have listened or watched live, singers far more spectacular than her. U like it or not.
Singer with amazing resources who unfortunately does not know how to sing : uncentered support, faulty intonation as a result, fragmented legato, short of breath because largely not on the breath. Great pity because great material. Bel Canto and even Verdi are stylistically wrong because of these technical problems, hence Miss Rebeka sings for effect. For today's public this seems to work, but in terms of great singing she is lost. Just listen to a so-called "repertoire" Violetta without high E flat like Bidu Sayao live from the Met in the late 30s : the contrast is disconcerting. As Leontyne Price said in an interview, one should know how to take one's place on stage, "but first, you must know how to sing!"
I'm not an expert on opera, but I know what I like and what I don't like, and I don't like this. I saw one other clip of different aria just before this and she sounds the same. Now, my favorite opera singer, while I have seen criticisms of her, and admittedly she isn't so good in coloratura, is Sonya Yoncheva, mainly because of the beautiful rich timbre. I see recently that Sonya just got Covid for the first time and has to skip a title role debut as “Anna Bolena” at the Théâtre des Champs-Elysées on April 11 (actually, that's today). Marina Rebeka is replacing her.
@@fredbloggs6080 Yes indeed, I was there last night. She doesn't know anything about how to sing Bel Canto répertoire. Even when Elena Souliotis' voice was falling apart her accounting of the role was far more convincing. Yoncheva would have been interesting but after singing heavy répertoire recently I suspect she is also wary of attempting Bolena now.
@@fredbloggs6080 Officially it's Covid, but it seems to have happened at a convenient time as Yoncheva's voice had been suffering from having accepted to sing too heavy roles.
@@stephancatalano7335 Can her voice recover? I've noticed over last few years she seems to cancel about 25% of her scheduled performances due to illness of one type or another.
In response to comments about the skipped E-flat: There could be various reasons why a singer would skip it; not being able to sing the note (comfortably) is just one of them. Who knows? Maybe the conductor doesn't like it. In the eighties, conductors like Muti and Giulini took the purist view. They led performances and made studio recordings of Verdi as written by Verdi. (The results were mixed, but Renata Scotto got to skip the E-flat, thank God.) I'm giving just one other possible reason. But Marina Rebeka definitely has the E-flat for Sempre Libera. Just browse TH-cam. Here she is in 2014: th-cam.com/video/JPdRyO2IiNg/w-d-xo.html and in 2016: th-cam.com/video/1xYCyePAzpI/w-d-xo.html and in 2018: th-cam.com/video/g-mO3RDYruc/w-d-xo.html Maybe she lost it in the intervening two years, but I doubt it.
Interesting point
Totally agree. And the note in her performance was not really healthy and natural. She doesn't have to go on an E-flat to show that she has great coloratura techniques.
Thanks a lot!! She is greeeeeeattt !! Wonderful!!
Sublime Marina Rebeka, da ogni punto di vista, è il massimo !!!
She is great!!
She is incredible like Violeta Bonfadelli and I hope listen the full opéra!!
Stefania Bonfadelli?
Great coloratura virtuostic skills and great performances don't always have to go with a high E-flat.
Ottima interpretazione.
Как же она Аиду поёт?Поэтому и закончилась
Marina s problem: not stability in the high notes: She arrives with good, but she doesn't know how to stay on note. This clearly speaks of the lack of work. Marina Rebeka has a very beautiful voice in the low and middle register. It's a shame she doesn't like to work
Thanks for sharing, was waiting for her high Eb at the end…oops
The final Eb is a traditional interpolation, it is absent from the original.
@@idraote I fully realized that but it is like Lucia mad scene without them, it’s not the same.
The Eb significantly intensifies the characterization and the climax of the conclusion.
@@pianowil :: It must be difficult for sopranos to decide which option to take ...
@@cliffgaither I don’t think it is, the note is either within the soprano’s comfortable vocal range or not, of course that changes with age as well. I think that’s one of the main reasons Callas dropped it out of her repertoire after 1958: the notes high C and above were no longer comfortably attained anymore.
🐵🙈🙉🙊🐒🙊🙉🙈🐵🙈🙉🙈🐵🙉🙊🐒🙊🙉🙈🐵🙉🙈🐵🙉🙊🐒🙊🙉🙈🐵🙉🙊🙉🙈🙉🙉🙊🙊🙈La Urlata🐵🙊🐒🙉🙊🐒🙉🙈🐵🐒🙊🙉🙈🐵🙈🙉🙊🐒🙉🙈🐵🙉🙊🐒🙊🙈🐵🙈🙊🙉🙈🐒🙊🙉🙈🐵🙈🙉🐵🙊🐒🙊🙉🙈🐵🙊🐒🙉🙈🐵🙉🙊🙈🐵
4:34 -- did she scoop?
yes
Fantastic performance!!! Brava! But…No E-flat… again…
Omg, why is everyone so obsessed with this high note??? Opera singing is not Olympic Games ! And don’t forget that Verdi didn’t write this note, somebody added it later. Marina is really great singer with deep and fantastic voice, she is doing this aria very well.
Not good...little voice without feeling and passion...not spectacular at all...
Marina Rebeka has a "little voice" .....and is "not spectacular at all" !!!! 🙄 You must be JOKING. And she is not one to do compromises with a score. She always sings the part as written by the composer. And beautifully.
@@claudineshafa5546 I believe I am free not to like her singing, thank u!
@@JorgeAl Yes, but in no way "little voice" and "not spectacular" define Marina Rebeka's singing. You like it or not.
@@claudineshafa5546 No, why not the other way round, You like it or not, her voice is not spectacular at all. I have listened or watched live, singers far more spectacular than her. U like it or not.
@@JorgeAl What I understand is that above all you like to hate on her🙄
Singer with amazing resources who unfortunately does not know how to sing : uncentered support, faulty intonation as a result, fragmented legato, short of breath because largely not on the breath. Great pity because great material. Bel Canto and even Verdi are stylistically wrong because of these technical problems, hence Miss Rebeka sings for effect. For today's public this seems to work, but in terms of great singing she is lost. Just listen to a so-called "repertoire" Violetta without high E flat like Bidu Sayao live from the Met in the late 30s : the contrast is disconcerting. As Leontyne Price said in an interview, one should know how to take one's place on stage, "but first, you must know how to sing!"
I'm not an expert on opera, but I know what I like and what I don't like, and I don't like this. I saw one other clip of different aria just before this and she sounds the same. Now, my favorite opera singer, while I have seen criticisms of her, and admittedly she isn't so good in coloratura, is Sonya Yoncheva, mainly because of the beautiful rich timbre. I see recently that Sonya just got Covid for the first time and has to skip a title role debut as “Anna Bolena” at the Théâtre des Champs-Elysées on April 11 (actually, that's today). Marina Rebeka is replacing her.
@@fredbloggs6080 Yes indeed, I was there last night. She doesn't know anything about how to sing Bel Canto répertoire. Even when Elena Souliotis' voice was falling apart her accounting of the role was far more convincing. Yoncheva would have been interesting but after singing heavy répertoire recently I suspect she is also wary of attempting Bolena now.
@@stephancatalano7335 So it's not Covid?
@@fredbloggs6080 Officially it's Covid, but it seems to have happened at a convenient time as Yoncheva's voice had been suffering from having accepted to sing too heavy roles.
@@stephancatalano7335 Can her voice recover? I've noticed over last few years she seems to cancel about 25% of her scheduled performances due to illness of one type or another.