ฝัง
- เผยแพร่เมื่อ 15 มิ.ย. 2024
- OPERA VIDEOS THAT WENT VIRAL
These videos have been floating around the internet, garnering MILLIONS of views, and I noticed some.... gaps in the context surrounding them. Let's figure out what's actually happening!
Opera is THRIVING: 00:00-00:36
This is humiliating: 00:37-10:23
She can't SING IT BRO: 10:24-18:25
PATREON NOW LIVE: 18:26-18:52
Sting sings Rigoletto?: 18:53-22:40
Actual opera sung by an actual opera singer: 22:41-28:08
Opera Watch Parties! 28:09-29:15
Viral videos in this reaction:
Jose Carreras singing Tony in West Side Story -1985
• Tenor Keeps Screwing U... - Carreras clip
FULL WEST SIDE STORY DOCUMENTARY
• The Making of WEST SID...
Christa Ludwig & Bernstein CLASH
• Vocalist Disagrees Wit...
Whitney Houston Opera CROSSOVER
• Whitney Houston, Pavar...
Student tenor has balls of STEEL
• Lisette Oropesa is sin...
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Jose Carreras had Acute Lymphoblastic Leukemia and he is a cancer survivor! At 77 he is still going strong! He is a amazing man!
Maybe my favourite of the three tenors. If only because Domingo is a sex predator.
Yes, and he came to Seattle to be treated. He was one of the early test patients for the bone marrow transplant procedure which was developed here. It was a success with him. For many years afterwards, he came to Seattle regularly to do benefit concerts for the research center that treated him. A true gentleman and very nice to those around him.
Lisette is such a sweet and caring person! I met her last year at the Met, and it was amazing. Thanks for posting.
Omg Carreras just looked SO DEFEATED. I’m glad they called it eventually because at some point everyone’s going to be too frustrated to produce anything useable. I mean, you see Christa Ludwig’s frustration pretty plainly too. “The words don’t matter!” “Then why am I here?”
Also I think most of what makes the concert surprise so delightful is Lisette’s charming reaction - I would have sympathy from a singer who was so thrown off they froze or got a little annoyed, but she was sooooo sweet about it!
Really important point you made about the (apparent) ‘perfection’ of recordings. I remember seeing a documentary about Von Karajan recording a symphony and he was sitting with the recording engineers and it was ‘mental’ Von Karajan was saying “we’ll have bars 1-5 from take 1, bars 6-8 from take 5,” etc! If one only listens to recordings and never live performance there is the danger that you get a false impression of real performance. Bernstein could be ‘difficult’ there is a video of trumpeters in the BBC Symphony Orchestra pretty much telling him to forget doing it the way he was trying.
Another great video. Loving your stuff from Concord, Mass. I wish you were Corelli. ha
I wish I was Corelli too 😂
Keep it up, they will come. Your videos are really great. Find bigger, established opera channels on TH-cam and suggest you get on their live shows. They will hugely promote your channel, I know. You have tremendous charisma and knowledge. Great stuff.
Brava, Anna for your astute comments. Recording sessions with live orchestra, just like a sitzprobe with orchestra in the pit and singers onstage are difficult because of the big distances sound has to travel. The singer onstage and upstage of the orchestra is hearing the sound slightly later than the concertmaster and conductor are feeling the beat. So you have to sing slightly ahead of the visual beat the conductor is giving you to get it to line up out in the house or at least on the podium. At the Met, when you are way upstage you have to literally sing about 1 full beat ahead of the orchestra to get it to line up with them (1 reason for the prompter.)
When a singer is in recording session or onstage and looking down at the score, they are never really in line with the orchestra beat because the singer's ear is fooling them. They are also being passive musically, singing along to the orchestra instead of with the orchestra. We conductors can feel it, the moment you look down the tempo changes (usually schlepping.) The reverse is true for the conductor on the podium...you have to be able to breathe with the singer, anticipate tempi and breaths, know when to keep the singer moving and when to let the singer take control. When it works, opera is like chamber music at a huge level....or dancing with a great partner. There has to be give/take on both sides.
You only get that by watching and knowing what to listen for. The opera singer has to learn to read a conductor's body and an opera conductor has to learn to read a singer's body, breath, and vibrato rate. This is rarely taught to us singers or conductors in school....you learn it on the job in the real world. If you're lucky you get a gentle conductor, generous singer, or great coach who shares the wisdom and diplomatically corrects you.
I always tell young singers to never have a score in a sitzprobe...that's the fastest way to be off with the conductor/orchestra. Stand and stare at the conductor during the sitz, you are programming your ear, body, and brain for the delay quotient of the orchestra and the hall's acoustics and helping the conductor know your voice better with an orchestra under it. If I do my job right on the podium, I can actually help you get thru the role flawlessly and also find the tempi that send your voice up and over the orchestra in that particular theater's acoustics.
Such a different video than your usual ones. I've never thought about what it would be like to be recording, or to not be ready for such a thing! I wonder how common it is
Great stuff agein Anna! :)
Totally with you, OperaAnna, on studio recordings. Every time I listen to one that T.S. Eliot line comes to mind: "patient etherized upon a table." Yucch.
🫠🫠
I have this recording. It's how i discovered West Side Story. For me it's an opera.
Ooh. Another video. Yeaaaaah
Imagine if Bernstein had treated Callas like that. Oh my.
YES! Gods, yes! So many good points: preparation is so important; you (maestro) may be the most important person in the room, but PLEASE LISTEN TO THE SINGER, and it is OK to sing along with the performers at the opera. OK, maybe not the last one. 😃 Thank you again, Anna - great video!
🙏🙏🙏
late here > My fave ... Anna Netrebko - take yer pick. ' Meine Lippen' would be a good start , it's a comedy selection
Well, there are two issues here.
1) Most opera roles are created with one specific singer in mind - except Beethoven, that wrote Fidelio as close to unsingable as possible - and every singer has his/her limitations and fortes. This extends to the other instruments as well.
Once Mozart asked Anton Stadler:
"Do You not have that tone on Your instrument?"
Stadtler:"Well... yes"
Mozart: "THEN FIND IT!!"
I think i know which tone he was talking about, as the clarinette has a 3 octave tessitura and to registers: The high overblown and the low (which has a completely different character (warm and mellow). Problem is: You can't play piano in the high and forte in the low. So it must have been one of the tones in the inflection interval.
That is probably why Mozart in his 40th G-minor symphony replaces two oboes with two clarinttes. If you want to play forte in the low register you have to double down.
Mozart was VERY particular in the choice of voices - not just pitch; but character, as Your example with the Commandatore trio excellently demonstrates. Mozart rewrote Susanna when Nancy Storace smashed her voice - so she could sing it after recovering.
2) There is the question of languages. Spanish and Italian are not that far apart (and mainly in the consonants). Italian only has 5 vowels - probably to do with the overtones that shape the vowels character.
Now Christa Ludwig was natural German speaker and the German language is not an open language (i.e. in an open language each syllable ends on a vowel) - and you just don't in the same way close a syllable by opening a new syllable. That is one of Mozarts achievements: He could compose to both italian and german texts.
Now english is totally impossible, as the main dialect characteristics lies in the vowels. Not many operas have been written in english.
Now Mahler was a german speaking bohemian, and Ludwig is on her home turf - and Bernstein is dead wrong. Ludwig with her vast repertoire - it was really large and would know precisely what to do.
Furthermore in German the subjunctive case is generally generated by using the Umlaut - which english speakers cannot pronounce. If You notice in Fidelio that the lyrics to the songs are in the indicative and the spoken text is in the subjunctive case.
Given Carreras's usual repertoire, it might easily have been the case that he'd never studied English language as a vocalist. Not much happened in British opera in the 2½ centuries between Purcell & Britten's debut of Peter Grimes. Some works by Handel, and the Savoy operas of Gilbert & Sullivan, which are rarely performed outside English speaking countries, I imagine. And as you say English is hard to sing and to set operatically. Added to which. Sondheim's libretto is located in a very particular place and time. How could Carreras ever have been expected to give a convincing account of Tony? Even Kiri te Kanawa doesn't fare much better as Maria. They sounded very stiff and lifeless as I recall. Elsewhere the recording had much to enjoy, but a West Side Story without a convincing Tony and Maria feels rather pointless as a whole. I appreciate that either Bernstein or the label wanted marquee names in the main roles - the recording was very expensive and they needed to sell a lot of CDs to make the project profitable. But people were sold a rather disappointing final product, from an artistic point of view.
In a different world I would have loved to see you arguing with Bernstein in rehearsal 😂.
😂😂😂
There are relatively few operas in the modern repertoire that were written with English libretti. There were no real British composers if note between the death of Purcell, at the end of C17th, and the emergence of Elgar and hus contemporaries at the beginning of the C20th. Yes, there was G&S, but they are not performed outside anglophone countries. So there are the operas of Purcell, some of Handel that he wrote in London, and then very little of note until the debut of Britten's Peter Grimes in 1945. So there is little teason for most opera singers from non-anglophone backgrounds to study English as a performance language, and it is not a language that is easy to sing or to set operatically. Lots of tricky vowels, and a strong emphasis on consonants. Carreras is classical and romantic tenor who had pronably never sung a word of English in his life, and for him to do this role was always going to be a stretch. Clearly, for whatever reason, he was inadequately prepared when he went into the studio. It must have been excrutiating for him, give the level of artistry of which he was capable in more familiar rep. West Side Story is more jazz than classical, and more broadway than opera, and Sondheim's lyrics belong to a very specific place. Idiomatically, Carreras never really had a hope, but Kiri te Kanawa as Maria did not fare much better. They give two very wooden and undramatic performances, at the heart of a recording that otherwise has much to admire. But without a strong Tony and Mary, it felt rather pointless overall.
This was an era when classical crossover to popular music was quite often attempted, but rarely with much success. Technique for Opera and for Broadway are very diiferent, as are the demands of performance. A few years later, singers began to emerge who had cross trained betwen the two, and could switch with relative ease. Bernstein's recording feels like it belongs in the distant past now.
I might add that pop to clasical is probably even harder. There is a reason that opera training requires years of effort for most singers, and however quickly they take to it, they climb a mountain in terms of technique, labguages and performance skills. So nit many pop singers can give cinvincing accounts of clasicakl works. There's an album somewhere of Barbara Streisand singing Italian arias, and nevdr for a second can you forgst that you are listening to Barbara Streisand. She just doesn't get it, idiomatically. It has some hilarious moments, but not intentionally!
Lisette Oropesa is one of the coolest, friendliest sopranos out there.
I'm not surprised by Whitney Houston-- one of her cousins is Leontyne Price. There is a LOT of musical talent in that family.
you gotta check out the clip when very young Cecilia Bartoli and Sumi Jo auditioned for Karajan for Bach's Mass in B Minor and after Bartoli left he asked Sumi Jo about her future plans. She revealed that she was booked to record QotN later that year. He couldn't believe it at first and challenged her to sing some ... and she punched it out of thin air ... his face is priceless 😁
I think I've seen clips from that documentary! I'm dying to see the whole thing!!
Hello my friend Anna!!!....No one better than you, to make a reaction video and analyze this incredible singer, with an stunning range voice, who is leaving all the experts, literally with their jaws on the floor (Do you remember Jim Carrey's movie "The Mask"? well, just like that)...In 2017, a 22-year-old singer from Kazakhstan, named Dimash Kudaibergen, was invited to participate in the famous Chinese program for professional singers called "The Singer"... In his first appearance, Dimash covered one of the most difficult songs in the world, a famous French composition called "S.O.S. D'un Terrien En Détresse"...Since then all this madness began on the internet, TH-cam and social networks worldwide and he is already considered the best singer on the entire planet... It is almost impossible to see a human being, being able to reach vocal ranges of 8 octaves, that is, the 88 keys of a digital piano, which allows him to reach all registers, both masculine and feminine, that is, he can sing as Bass, Baritone, Tenor, Contratenor, Contralto, Mezzosoprano and Soprano....You can see in TH-cam to all kinds of experts (Vocal coaches, analysts, singing teachers, singers, youtubers, reactors, etc.), who have dedicated themselves to watching his videos and verifying for themselves that what is said about him is completely true...In addition to all this, Dimash is capable of singing in more than 12 languages...In all his concerts worldwide, tickets are sold in just seconds, via the internet, due to the immense popularity he has worldwide... Anyway, I think you haven't met this impressive singer yet, so here is the link to the first song that Dimash performed in China in that year 2017, the song S.O.S., and if it doesn't bother you, I would like you to mention me as the person who recommended it to you...Warning: You have to be prepared for thousands of views, comments and new subscribers....The video It is more recent, so it does not have the millions of views that the first ones, but it is more complete, including an intro, subtitles in several languages and better audio and sound quality...th-cam.com/video/bDX3FhmyNac/w-d-xo.html
Love Bernstein. But I have to admit, the situation with Christa Ludwig was awkward. Especially since LB spoke German. Although I understand what he was going for as far as the agitated mood in that section. But Otto Klemperer got the same result in a slower tempo in his recording, also with Ludwig.
He wrote this piece and the musical so...🤷🏻♂️
Carreras was the 4th Tony to be hired for this recording, the previous 3 tenors (Shicoff, Hadley, Domingo) having cancelled for various reasons. Carreras was hired a few days before the first recording session and flew in from Spain. He did not grow up singing WSS from childhood like the American singers, and this score is notoriously complex. LB begged Carreras to accept the gig despite there being only a few days to learn the score, telling him that if he didn’t accept, the entire recording would be scrapped. LB’s “hard sell” included a promise to teach Carreras his scenes each night personally, in advance of each next day’s recording schedule. Carreras’s grace under pressure was extraordinary,.
Ok this is what I also had heard but when I went to look it up again I couldn't find it! I either somehow missed it in the docu they made or they didn't say it. Thank you so muuuch. I agree, Carreras handled it amazingly
@@operaanna My belief, based on the evidence in the documentary itself, is that the BBC documentarian decided to create his own narrative, based on the story HE wanted to tell, regardless of whether it was based in fact or not. He used creative editing and splicing of vicdeotape to invent his preferred narrative, which bore little resemblance to the actual story. I was there and saw many of these scenes unfold, and the idea that LB was losing his temper at Carreras is absolutely not the case. To be sure, LB DID lose his temper on several occasions during that week, but not at Carreras. The much more interesting story, in my opinion, involved Miss Te Kanawa, but I suspect that since she is a citizen of the Commonwealth, the BBC filmmaker didn't want to appear critical of her, and so he avoided that story,
`
I've heard other singers express their dismay after their experiences with Bernstein. Kiri te Kanawa wasnt overly enthusiastic.
😬 Interestingly enough though, Ludwig had a lot of respect for him. Incredible musician but not everyone's cup of tea in the rehearsal room I suppose.
I must have missed something. please explain the patron thing
Patreon is a subscription-based platform where you can see exclusive content from your favorite creators! I've only just created mine but there are tons! Patreon.com/operaanna
Well, I can top that one!
Ricardo Muti in 2011 in Rome: Va pensiero:
th-cam.com/video/xRi4_ne0VYM/w-d-xo.html
You must not forget that they are ITALIAN. Notice they are throwing the tickets away! Meaning: We MOST certainly do not want the money back. That is panache.
I could drone on; but let the mute have the last word here.
yeah, we tenors are fucked.... we have unmanliest voice, our roles in the operas at in the earliest one are mostly jerks and when we have sing with mics we always hear complains. 😅
very coool video. thx.
We still love you guys though!!
@@operaanna of course you do, at least so you have someone you can make fun of and give the blame 🤣🤣😉
stay well, greets from Vienna.
Maybe just for haha's you should throw a random genre in there someday. Not like rap. Not that far outside of your real house of course. But maybe something like... Julie Andrews singing Stephen sondheim's not getting married today. Because she sings Every Single part and is amazing at it. Well maybe not every single part. Maybe two out of the three that's something I struggle with and I can't come anywhere near her Mastery period I'm not trained in any way.
I love this idea!!
Can i just say how much I truly deplore the almost total abandonment of belcanto singing? I'm sorry, but in the main, the singers of today simply do not cut it. Quaking frogs compared to belcanto singing.
Here's the thing..belcanto is not just hitting the High notes, but bringing the emotional out, while linking it strongly TO THE TEXT and line of music, which means phrasing and diction ARE important, and not just...well...screeching.
wow, Bernstein really annoys you
Really only the second video. I've seen the full documentary of the west side story and the whole situation is just really difficult and tense, but he's honestly fine there. The Mahler is strange for me - I really don't understand how he approached that piece by basically disregarding what Ludwig needed to do, and clearly Ludwig didn't either.
th-cam.com/video/YZSj1ZeXa0I/w-d-xo.html you should have studies that before your very rude comments which are highly inappropriate. You would have understood way better. Possibly.
How are my comments "highly inappropriate"? I deeply respect what he accomplished and contributed to the world of music as a whole as a composer and as a conductor. I just think his interaction with Ludwig could have gone much differently. Just because he's a fantastic musician doesn't mean everything he did was all fantastic. I found the interaction they had to be highly unprofessional.
The way Bernstein grabbed the score out of Ludwig’s hand wasn’t exactly the height of graciousness. He was a genius, certainly, but you don’t get a pass for everything because of genius. Also Anna never said anything bad about him as a person, she just pointed out that he could have handled Ludwig’s difficulty with the tempo better rather than blowing off her concerns.
@@operaanna watch the video! People your age should better control their wording and acting - Raection videos demand proper thinking and analysing before posting SOMETHING or ANYTHING.
You would never see artists like Franco, Cecilia, Julia or Joyce talking like that. because they understand, you simply don't. A long way to go
@@axisskin i can't drop everything to watch it right away. If you could actually tell me what YOU think instead of pointing me to another video I would appreciate it much more. And please don't put words into my mouth with how much preparation I did or didn't do. I will gladly watch the video and who knows if it will change my opinion, but at the end of the day Bernstein was RUDE. I would feel really uncomfortable working with a conductor who did something like that to me. All opinions are valid, but stop forcing yours on me.
@@operaanna Oh dear, I was expecting this type of answer and I am glad I was not wrong. It shows a lot. You do have very particular way of reacting. I don't put words into your mouth and i won't force my opinion on you at all.
Wishing you all the best and of course no rude conductors on your way.
Maybe focus more on singing instead of producing reaction videos.
th-cam.com/video/Mbnmp14hj4g/w-d-xo.html
One more, once you have watched the first one. It can have an enlightening effect - trust me.
Sincerely yours.
Anna you are not competenti opperatc music, you. were. confident youwouldn't have chsen zppab, instead of Corelli. who is eternal. Callaf ,!😮😮😮😮😮
What are you talking about? I love Corelli, but there's nothing to do with Callaf in this video.
Яi couldn"t find your video os Nessum Dorma with your beloved Pavarotti