Her voice is such a beautiful gift that she chose to share with the world. What kind of a person could hate her simply for not doing it the way they think she should. They called Callas "La Divina" but she was also a huge DIVA. I'm no expert on opera technique, but I know Renee has a gorgeous voice.
I've always liked the sound and timbre of her voice, even though she gets an awful lot of cruel comments on TH-cam.... personally I really don't understand why?..... each to their own I suppose but do people have to be so vicious in the critism of other artists?....I have my own dislikes but hold my tongue as I don't wish to offend.....it's subjective at the end of the day..... thanks for the posting....
it has to do with two facts I think: 1. she was phenomenally talented and glamorous at the same time (the most Glamorous Opera singer we have seen since Callas - hanging out with Hollywood stars etc and even looking like one! - Netrebko was even more Gorgeous especially in her youth but never that Glamorous, she always had smth totally provincial in her) and 2. She did not follow some extremely important bel canto singing rules, especially the intentional Scoop in her singing which she allowed to plague her singing for vocal Health and Beauty of Sound reasons and that along with her lack of genuine coloratura technique was enough to cast her into the Black List of opera fanatics... lets not forget the Hatred Callas was experiencing while alive and still today we see from her anti fans. Talents that enormous create psychotic Hatred against them. I personally do not like her Scoop in bel canto but I find her Voice exceptionally talented overall
I agree with you, especially on the comments that Callas seemed to provoke a lot of hostility and even hatred in some factions, Bourne out by he fact that the scarcity of filmed performances are conspicuous by their absence!!....there could have been priceless and precious documents for the people who were not lucky enough to see her in her prime.....and even when she wasn't......I wouldn't have cared!!....at least we have her many recordings.....just wish they had recorded her Fedora with the gorgeous Corelli....madness!!...
I feel really bad for Renee singing bel canto. these type of performances and my playlist has Opera Arias sadness. I have a couple of friends that asked me about what do you think about the singer that's interesting in this this Opera Etc. I show them the way a Aria or cabaleta should be sung. and I usually let them listen to Maria Callas La Superba or leontyne price. and then they understand Etc. I don't have all the answers I'm not a total Opera aficionado. but I understand the operatic voice very well thank you for listening I apologize for any typos I use the microphone when I comment. agape Arnold bourbon Amaral
The negative posts *tend* come from the same viscous opera queens again and again. If they don't care fir something/someone, then they truly believe they are "the oracle" and all that they say is true. Lol Most of drool, and probly genuflect when Callas name is mentioned (and, of course, ALL must be measured against the Callas Stick) I have been a Great Fan of Callas since the mid 1970s --- however, as much as I Adore her interps- one MUST face the reality that top started to Wobble in the 1950s, and moved into a Vibrato wide enough to drive a truck through. That is fact. Does it bother me? Nope - taken in context of a great performance, not a prob. But she wasn't flawless. If anyone else missteps in any way- these queens move to crucify...lolol
Only Caballe does this role justice when it comes to overall bel canto technique. Callas was a wonderful Imogene when it came to the drama, but Caballe really set the standard for this opera. Caballe’s long flowing lines evoke a tenderness and vulnerability that’s essential for Bellini. Fleming does a great job too though!
I hate to be the one to say it, but come-on people ... for once, just sit back, let the music flow over you & enjoy it for the shear beauty -- stop being so hypercritical!!
Lohengrin O, I can appreciate that this is gorgeous singing.I also know that it doesn't really sound the way Bellini should sound. As you have pointed,out she lacks true Bel Canto training or style, yet she did a wonderful Armida. Wouldn't Armida be even more of a challenge in the Bel Canto repertoire? Is she simply inconsistent, that is sometimes she rose to the challenge and other times not so much? Or, is there something else going on that I fail to understand. I'd be grateful if you could clarify this for me. Thank you as always for your wonderful posts.
Rossini is always the easiest of the 3 Gods to sing... don't think of Armida the way Callas sang it (that's impossible to sing alike)… the way Renee sang it it was very difficult but not impossible and in Rossini because of the lots of fioritura the Stylistic problems are not that obvious... in Bellini though, omg, everything is exposed... but do you really mind she is not in complete 100% of style? and 99% of Bellini singers do not have the voice (yet sing in style)… I love Renee in Bel Canto (when u compare with Callas or Sutherland, NO!) but alone Yes!
@@LohengrinO Well no, the singing here is so gorgeous that the issue of not being 100% in style becomes almost academic. That said, I went back to Callas' Pirata,(sorry, I know I can't compare Callas to anyone, it is unfair, however it is the only Pirata I have) and to my untrained ear the difference becomes one of melody. That is there is a beauty to Bellinian melody which Callas makes shine in a way that is lacking in Renee's version. Thank you for clarifying this for me. I'm thinking of looking for someone else's version of this same aria just because. Thanks again for helping me learn.
well I think Renee herself would love to be compared to Callas.. but it is unjust to reject a singer because of the comparison to a super being that was born with superhuman vocal and musical abilities and on the top of that decided to sing her roles in a way totally destructive for her voice
@@LohengrinO No rejection here. I agree with you completely. So if I understand you correctly, Callas sacrificed her instrument in order to produce impossible sounds. That is, sounds of a quality and beauty that only she could make. I can't help but wonder if she did that compulsively, by her very nature or if she ever thought about the harm to her instrument and the need to preserve it. I kind of feel that she had no choice but to do what she did the way she did it. That it was an intrinsic part of her nature no matter the cost. You often mention how Price was so concerned about only using the "dividends" and not the "capital" portion of her voice and to what end? I can see some logic to that back in the age of no recordings if you wanted to have a long career and continue to sing for a long time. In this age of accurate recordings it seems less intelligent. By this I mean to take Price's case, we will never know what she might have done if she hadn't worried so much about using the "capital". Thanks again for all you do.
...come per la Genger?....la Fleming giunta alla sua maturità...ha preso lo spartito e co la grande esperienza in ogni repertorio e idiomi diversi...si cuce addosso un vestito Canoro dove si immedesima con tutto quello che la scena le ha insegnato...e qui libera; se non con il confronto con se stessa ;Rivoluziona ll ruolo che altre artiste Somme hanno messo in carniere... le Variazioni sono egregie e rispondono in pieno al verbo tragico che in Bellini è un compromesso fra quello che c'era prima e che verrà dopo...grande intuizione anche di chi ...il direttore che le mette sotto un poema Sonoro...ci sono i momenti languidi che sembrano perle bevute dal veleno della malinconia...e si concede il lusso di preziosismi di ogni genere ....che hanno valenza" empatica" col personaggio che desidera far brillare Imogene di tutto quello che Rossini voleva...se ne facciano una ragione ;" i commentatori della domenica sera"...per ascoltare tutto ciò" verrei dove canta Nuotando con gli orecchi...e lei entrerà nella leggenda....noi nell'oblio delle nostre incongruenti patetiche osservazioni?....come la Cabajlle degli ultimi anni ....lei andava per la sua strada...che Dio le doni pace e a questa Signora del Belcanto ancora forza e coraggio per deliziare il suo pubblico che mi pare ...siano Molti.La musica le sarà grata.Sempre.
A me non pare. La Fleming e' assai impersonale, Imogene come la Marshallin e Violetta...americana tuttofare e molto barocca, senza uno stile preciso. Variazioni eccessive e a vanvera. Lasciamo stare la Gencer, maestra della misura come lo era stata prima la Callas. Si fermavano in tempo, guidate dall'istinto musicale, nella seconda assolutamente infallibile, e da maestri sicuramente piu' illuminati e meno faziosi.
I actually prefer Caballe and Callas' versions of this cabaletta... Fleming is exquisite, but La Divina and La Superba add a special spirit to this most special opera...
At 7'20, 9'48, 10'20, 10'46, 10'54, 11'50, 12,20 to 12'36, ... It's always the same problem with Fleming in bel canto : the voice and technique are wonderful, but her taste is so bad. Her great singing is marred by mannerisms, glottal attacks, "expressive" tics, overwrought phrases and an irritating "jazzy" style with a lot of scooping and drawling. The tempo of the cabaletta is so sloooow you just lose the melody !
@@raphaelpisano5462 interesting, I'm just a layman in all things opera and always assumed that the conductors had some sort of veto right, to keep singers (even stars) in line with their musical vision of a piece, from your explanation I deduct, that this is not (always or never?) the case ... the more you know
Stefan Wild well sometimes the divas pick conductors that will let them do whatever they want unfortunately ... Fleming singing bel canto with Muti for example wouldn’t have been the same !
I feel if Maria Callas had been alive still when Fleming came out on the scene, Fleming would've gained SO MUCH from La Divina. Fleming praises Leontyne Price a lot (for what, I don't understand as the voice was subpar at best,) and I feel that Callas could've gave her (Fleming) so much insight that no other Soprano bar Malibran and Pasta have. I love these recordings of La Fleming and they really show off her voice and its true calling: Opera and not swoony jazz tunes.
Fleming couldnt handle real training.. she collapsed in Schwarzkopf's hands.. she is too American to be able to handle truly difficult things :D thats why in Bel Canto she so often sang Garbage (cadenzas and ornaments that would make Bellini's or Donizetti's skin crawl!!)... but again what Fleming gave us, the tremendously beautiful Vocal Line is unique... and she shined in a repertoire that was a non-Callas repertoire... which we needed (Manon, Thais, Marschallin etc).. she is somehow complementary to Callas' Legacy... I think of Fleming as a Lyrical soprano Sfogato... her success lies exactly at the fact she didnt imitate Callas' way but trusted her own feelings.. if she had, her Instrument would have lost its Diamond quality... Price was an amazing singer but she was always in the Human League of Voices.. she never even approached the non-human Heights of Callas and Sutherland.. Fleming in her best day entered the non human category
Lohengrin O Yeah I guess that's the main reason why I like Fleming: She never imitated the likes of Maria Callas, even if it probably would've suited her. She knew her limitations and how she couldn't do half the stuff Callas did but what she did do instead was pretty heartfelt and human. She does compliment Callas a lot though, I agree with that comment.
+deadwalke And I do love her in Bel Canto besides the horrible cadenzas... her Imogene is dreamy, her Maria Padilla fantastic, her Rosmonda aggressive, her Alaide the most beautiful, her Lucrezia the most full bodied, her Armida a true 3 octave full bodied singing... I regret she never sang Bolena (I hope she doesnt get the Gruberova / Sutherland virus and sing Bolena when her Voice collapses!!!).. on the other hand Caballe was a loyal Callas copy, Scotto a nightmarish Callas copy and Sutherland a pale Callas copy... Fleming stood out of all that circle
Lohengrin O I love your post and I appreciate your Insight on Opera. but don't criticize leontyne price the greatest words that came out of the United States. the likes of which will never be heard of again.
Ben gentile Fabrizio Maria Garzi; che è ?...Gershwin...si offenderebbe ?....o ne è il proseguimento logico dello stile Belliniano...arricchito da tutto quello che la musica ha mescolato fino al grido di Lulu di Berg che ha ucciso la Musica? bambine...le note sono quasi sette....il resto non è Vangelo...e come diseva me nona Serafin...Reverenza..zza zza!
Fuera de estilo y de todo lo que significa bel canto y la línea belliniana. Es una mezcla de Mozart y verismo, La cadenza infame y el agudo tirado, los graves suenan huecos y legato forzado. Ahora todas son belcantistas.
@@LohengrinO grande studiosa che ad un certo punto della sua Carriera si crea un proprio stile...questo fa la differenza fra un vera Artista e una cantante pur apprezzabile?....il teatro è una cosa rivoluzionaria e anche al tempo degli autori si maneggiavano spartiti ed arie... come i biscotti di nonna papera...in musica; le note sono quasi sette...e lei mette a disposizione di questa sfida il Meglio ...certe cose non si possono leggere per fortuna il Pubblico entra in empatia...e le Cassadre col ditino puntato...piangono sulle loro Troie...perdute!!!...molti si comportavano così anche con la Verret...la sua è una sfida musicale...Coltissima e bene ha fatto ad andare per la sua strada...più l'ascolto e più mi stupisce...la sua capacità creativa...con un direttore che sembra simbiotico lei sfodera tutto quello che sa...e gli obiettivi stilistici e fonetici sono da autentica Artista che esalta quello che canta in maniera empatica, avendo ben presente quello che pochissime e Artiste somme hanno espresso in questo ruolo...le i ,le supera e va Oltre...sicuramente scontentando molti Melomani...ma arrivata all'Apogeo è bene che un artista diventi Nume tutelare di quello che Sa...e Deve far sapere-Chapeau!
Her voice is such a beautiful gift that she chose to share with the world. What kind of a person could hate her simply for not doing it the way they think she should. They called Callas "La Divina" but she was also a huge DIVA. I'm no expert on opera technique, but I know Renee has a gorgeous voice.
I've always liked the sound and timbre of her voice, even though she gets an awful lot of cruel comments on TH-cam.... personally I really don't understand why?..... each to their own I suppose but do people have to be so vicious in the critism of other artists?....I have my own dislikes but hold my tongue as I don't wish to offend.....it's subjective at the end of the day..... thanks for the posting....
it has to do with two facts I think: 1. she was phenomenally talented and glamorous at the same time (the most Glamorous Opera singer we have seen since Callas - hanging out with Hollywood stars etc and even looking like one! - Netrebko was even more Gorgeous especially in her youth but never that Glamorous, she always had smth totally provincial in her) and 2. She did not follow some extremely important bel canto singing rules, especially the intentional Scoop in her singing which she allowed to plague her singing for vocal Health and Beauty of Sound reasons and that along with her lack of genuine coloratura technique was enough to cast her into the Black List of opera fanatics... lets not forget the Hatred Callas was experiencing while alive and still today we see from her anti fans. Talents that enormous create psychotic Hatred against them. I personally do not like her Scoop in bel canto but I find her Voice exceptionally talented overall
I agree with you, especially on the comments that Callas seemed to provoke a lot of hostility and even hatred in some factions, Bourne out by he fact that the scarcity of filmed performances are conspicuous by their absence!!....there could have been priceless and precious documents for the people who were not lucky enough to see her in her prime.....and even when she wasn't......I wouldn't have cared!!....at least we have her many recordings.....just wish they had recorded her Fedora with the gorgeous Corelli....madness!!...
I feel really bad for Renee singing bel canto. these type of performances and my playlist has Opera Arias sadness. I have a couple of friends that asked me about what do you think about the singer that's interesting in this this Opera Etc. I show them the way a Aria or cabaleta should be sung. and I usually let them listen to Maria Callas La Superba or leontyne price. and then they understand Etc. I don't have all the answers I'm not a total Opera aficionado. but I understand the operatic voice very well thank you for listening I apologize for any typos I use the microphone when I comment. agape Arnold bourbon Amaral
The negative posts *tend* come from the same viscous opera queens again and again. If they don't care fir something/someone, then they truly believe they are "the oracle" and all that they say is true.
Lol
Most of drool, and probly genuflect when Callas name is mentioned (and, of course, ALL must be measured against the Callas Stick)
I have been a Great Fan of Callas since the mid 1970s --- however, as much as I Adore her interps- one MUST face the reality that top started to Wobble in the 1950s, and moved into a Vibrato wide enough to drive a truck through. That is fact. Does it bother me? Nope - taken in context of a great performance, not a prob. But she wasn't flawless. If anyone else missteps in any way- these queens move to crucify...lolol
Thank God that we still have Renee.
Thank you, my friend.
One of the great sopranos of our time.
Only Caballe does this role justice when it comes to overall bel canto technique. Callas was a wonderful Imogene when it came to the drama, but Caballe really set the standard for this opera. Caballe’s long flowing lines evoke a tenderness and vulnerability that’s essential for Bellini. Fleming does a great job too though!
I hate to be the one to say it, but come-on people ... for once, just sit back, let the music flow over you & enjoy it for the shear beauty -- stop being so hypercritical!!
Absofreakinglutely!
Thank you
❤
When people say that Fleming is not a coloratura soprano, I just point them to this video.
dont do that though because this clip does not prove she is a coloratura soprano :D
Well if she was coloratura she would have sung a lot roles like Lucia di Lammermoor or La sonnambula
@@pszl19
....um, she is
Whether a woman sings, or doesn't sing, Lucia has *No* bearing on anything.
...other than, perhaps she didn't like it
😎😎😎
Une immense cantatrice, au timbre et technique vocale époustouflant.
Lohengrin O, I can appreciate that this is gorgeous singing.I also know that it doesn't really sound the way Bellini should sound. As you have pointed,out she lacks true Bel Canto training or style, yet she did a wonderful Armida. Wouldn't Armida be even more of a challenge in the Bel Canto repertoire? Is she simply inconsistent, that is sometimes she rose to the challenge and other times not so much? Or, is there something else going on that I fail to understand. I'd be grateful if you could clarify this for me. Thank you as always for your wonderful posts.
Rossini is always the easiest of the 3 Gods to sing... don't think of Armida the way Callas sang it (that's impossible to sing alike)… the way Renee sang it it was very difficult but not impossible and in Rossini because of the lots of fioritura the Stylistic problems are not that obvious... in Bellini though, omg, everything is exposed... but do you really mind she is not in complete 100% of style? and 99% of Bellini singers do not have the voice (yet sing in style)… I love Renee in Bel Canto (when u compare with Callas or Sutherland, NO!) but alone Yes!
@@LohengrinO Well no, the singing here is so gorgeous that the issue of not being 100% in style becomes almost academic. That said, I went back to Callas' Pirata,(sorry, I know I can't compare Callas to anyone, it is unfair, however it is the only Pirata I have) and to my untrained ear the difference becomes one of melody. That is there is a beauty to Bellinian melody which Callas makes shine in a way that is lacking in Renee's version. Thank you for clarifying this for me. I'm thinking of looking for someone else's version of this same aria just because. Thanks again for helping me learn.
well I think Renee herself would love to be compared to Callas.. but it is unjust to reject a singer because of the comparison to a super being that was born with superhuman vocal and musical abilities and on the top of that decided to sing her roles in a way totally destructive for her voice
@@LohengrinO No rejection here. I agree with you completely. So if I understand you correctly, Callas sacrificed her instrument in order to produce impossible sounds. That is, sounds of a quality and beauty that only she could make. I can't help but wonder if she did that compulsively, by her very nature or if she ever thought about the harm to her instrument and the need to preserve it. I kind of feel that she had no choice but to do what she did the way she did it. That it was an intrinsic part of her nature no matter the cost. You often mention how Price was so concerned about only using the "dividends" and not the "capital" portion of her voice and to what end? I can see some logic to that back in the age of no recordings if you wanted to have a long career and continue to sing for a long time. In this age of accurate recordings it seems less intelligent. By this I mean to take Price's case, we will never know what she might have done if she hadn't worried so much about using the "capital". Thanks again for all you do.
@@juanmorales569 there was no choice, she was feeling there was no other way...
...come per la Genger?....la Fleming giunta alla sua maturità...ha preso lo spartito e co la grande esperienza in ogni repertorio e idiomi diversi...si cuce addosso un vestito Canoro dove si immedesima con tutto quello che la scena le ha insegnato...e qui libera; se non con il confronto con se stessa ;Rivoluziona ll ruolo che altre artiste Somme hanno messo in carniere... le Variazioni sono egregie e rispondono in pieno al verbo tragico che in Bellini è un compromesso fra quello che c'era prima e che verrà dopo...grande intuizione anche di chi ...il direttore che le mette sotto un poema Sonoro...ci sono i momenti languidi che sembrano perle bevute dal veleno della malinconia...e si concede il lusso di preziosismi di ogni genere ....che hanno valenza" empatica" col personaggio che desidera far brillare Imogene di tutto quello che Rossini voleva...se ne facciano una ragione ;" i commentatori della domenica sera"...per ascoltare tutto ciò" verrei dove canta Nuotando con gli orecchi...e lei entrerà nella leggenda....noi nell'oblio delle nostre incongruenti patetiche osservazioni?....come la Cabajlle degli ultimi anni ....lei andava per la sua strada...che Dio le doni pace e a questa Signora del Belcanto ancora forza e coraggio per deliziare il suo pubblico che mi pare ...siano Molti.La musica le sarà grata.Sempre.
A me non pare. La Fleming e' assai impersonale, Imogene come la Marshallin e Violetta...americana tuttofare e molto barocca, senza uno stile preciso. Variazioni eccessive e a vanvera. Lasciamo stare la Gencer, maestra della misura come lo era stata prima la Callas. Si fermavano in tempo, guidate dall'istinto musicale, nella seconda assolutamente infallibile, e da maestri sicuramente piu' illuminati e meno faziosi.
Bravo!!!
*Very* well said
I actually prefer Caballe and Callas' versions of this cabaletta... Fleming is exquisite, but La Divina and La Superba add a special spirit to this most special opera...
veramente ...dancaen813...sarei io...Carmelo Serafin...il tubo è impazzito?
whats the name of this aria?
La sognai ferrito e sangue
As we say in french: "un mauvais goût très sûr". But what excitment!
Can you give the timings of a cadenzas that are completely out of Bellinian style, and what specifically makes them out of style?
celloguy that cannot be either explained or taught..
At 7'20, 9'48, 10'20, 10'46, 10'54, 11'50, 12,20 to 12'36, ...
It's always the same problem with Fleming in bel canto : the voice and technique are wonderful, but her taste is so bad. Her great singing is marred by mannerisms, glottal attacks, "expressive" tics, overwrought phrases and an irritating "jazzy" style with a lot of scooping and drawling.
The tempo of the cabaletta is so sloooow you just lose the melody !
@@raphaelpisano5462 interesting, I'm just a layman in all things opera and always assumed that the conductors had some sort of veto right, to keep singers (even stars) in line with their musical vision of a piece, from your explanation I deduct, that this is not (always or never?) the case ... the more you know
Stefan Wild well sometimes the divas pick conductors that will let them do whatever they want unfortunately ... Fleming singing bel canto with Muti for example wouldn’t have been the same !
I feel if Maria Callas had been alive still when Fleming came out on the scene, Fleming would've gained SO MUCH from La Divina. Fleming praises Leontyne Price a lot (for what, I don't understand as the voice was subpar at best,) and I feel that Callas could've gave her (Fleming) so much insight that no other Soprano bar Malibran and Pasta have. I love these recordings of La Fleming and they really show off her voice and its true calling: Opera and not swoony jazz tunes.
Fleming couldnt handle real training.. she collapsed in Schwarzkopf's hands.. she is too American to be able to handle truly difficult things :D thats why in Bel Canto she so often sang Garbage (cadenzas and ornaments that would make Bellini's or Donizetti's skin crawl!!)... but again what Fleming gave us, the tremendously beautiful Vocal Line is unique... and she shined in a repertoire that was a non-Callas repertoire... which we needed (Manon, Thais, Marschallin etc).. she is somehow complementary to Callas' Legacy... I think of Fleming as a Lyrical soprano Sfogato... her success lies exactly at the fact she didnt imitate Callas' way but trusted her own feelings.. if she had, her Instrument would have lost its Diamond quality... Price was an amazing singer but she was always in the Human League of Voices.. she never even approached the non-human Heights of Callas and Sutherland.. Fleming in her best day entered the non human category
Lohengrin O Yeah I guess that's the main reason why I like Fleming: She never imitated the likes of Maria Callas, even if it probably would've suited her. She knew her limitations and how she couldn't do half the stuff Callas did but what she did do instead was pretty heartfelt and human. She does compliment Callas a lot though, I agree with that comment.
+deadwalke
And I do love her in Bel Canto besides the horrible cadenzas... her Imogene is dreamy, her Maria Padilla fantastic, her Rosmonda aggressive, her Alaide the most beautiful, her Lucrezia the most full bodied, her Armida a true 3 octave full bodied singing... I regret she never sang Bolena (I hope she doesnt get the Gruberova / Sutherland virus and sing Bolena when her Voice collapses!!!).. on the other hand Caballe was a loyal Callas copy, Scotto a nightmarish Callas copy and Sutherland a pale Callas copy... Fleming stood out of all that circle
Lohengrin O Fleming does Bel Canto better than Netrebko.
Lohengrin O I love your post and I appreciate your Insight on Opera. but don't criticize leontyne price the greatest words that came out of the United States. the likes of which will never be heard of again.
Troppo barocca,tutto fuori stile..a tratti pare Gershwin...ma non aveva consiglieri? maestri ripassatori?...
right not a musician American soap
Ben gentile Fabrizio Maria Garzi; che è ?...Gershwin...si offenderebbe ?....o ne è il proseguimento logico dello stile Belliniano...arricchito da tutto quello che la musica ha mescolato fino al grido di Lulu di Berg che ha ucciso la Musica? bambine...le note sono quasi sette....il resto non è Vangelo...e come diseva me nona Serafin...Reverenza..zza zza!
J'ai le mal de mer....
Fuera de estilo y de todo lo que significa bel canto y la línea belliniana. Es una mezcla de Mozart y verismo, La cadenza infame y el agudo tirado, los graves suenan huecos y legato forzado. Ahora todas son belcantistas.
I agree about the Style but Renee's Legato was a Miracle!
@@LohengrinO grande studiosa che ad un certo punto della sua Carriera si crea un proprio stile...questo fa la differenza fra un vera Artista e una cantante pur apprezzabile?....il teatro è una cosa rivoluzionaria e anche al tempo degli autori si maneggiavano spartiti ed arie... come i biscotti di nonna papera...in musica; le note sono quasi sette...e lei mette a disposizione di questa sfida il Meglio ...certe cose non si possono leggere per fortuna il Pubblico entra in empatia...e le Cassadre col ditino puntato...piangono sulle loro Troie...perdute!!!...molti si comportavano così anche con la Verret...la sua è una sfida musicale...Coltissima e bene ha fatto ad andare per la sua strada...più l'ascolto e più mi stupisce...la sua capacità creativa...con un direttore che sembra simbiotico lei sfodera tutto quello che sa...e gli obiettivi stilistici e fonetici sono da autentica Artista che esalta quello che canta in maniera empatica, avendo ben presente quello che pochissime e Artiste somme hanno espresso in questo ruolo...le i ,le supera e va Oltre...sicuramente scontentando molti Melomani...ma arrivata all'Apogeo è bene che un artista diventi Nume tutelare di quello che Sa...e Deve far sapere-Chapeau!