Giuseppe Verdi: "Don Carlo", Princess Eboli aria "O don fatale", Elīna Garanča, Mezzosoprano, Teatro San Carlo Orchestra, Juraj Valčuha Conductor. Claus Guth, director. Naples, 29 Novembrer 2022. Broadcast: Rai 5.
Chère Madame, Votre talent ainsi que votre très jolie voix font le bonheur de mes sombres journées d'hiver. Oui Madame Elina vous etes sublime. Le décor- home nous fait ressortir et admirer votre visage de Madone c'est très très beau . !!! On ne peut que vous apprécier et vous aimer. Respectueusement bien sur .
She is a lyric soprano without high notes...so she is a mezzo!!! No she has no dynamics or the strength needed for lower notes!! In the theater is inaudible unless she is miked!! We need REAL Mezzos!!!
@@elisabeth400 The role was never written for a DRAMATIC MEZZO as such. And by the way You may not like this performance but I think she sings it very well here.
@@Yves_Ka It is unbelievable how ignorant some people are. Eboli "was never written for a dramatic mezzo".. 🤦 Eboli is one of the most famous dramatic mezzo roles. There are even some university dissertations where you can find this role as an example for a dramatic mezzo. I am sorry, but who are you to discuss about voices? Are you a singer and did you sing this role that you know what type of voice is needed for Eboli? I am a singer and i sing Eboli, Lady Macbeth and other Verdi roles. Have you ever heard of "Verdi voices" and what does it mean? I studied with the most famous singers, also with one of the best Eboli of all time: Grace Bumbry. The role of Eboli need a very special voice: a hybrid between a mezzo and dramatic soprano, but it is a very DRAMATIC role. You need a powerful, resonant voice, with a particular dark colour, able to project over a massive orchestra. I am happy that you like Elina Garanča, but she does not have the timbre and volume for this role. AND: Verdi began to compose the role of Eboli FOR A MEZZO-SOPRANO Rosine Bloch, who sang dramatic mezzo roles like Azucena and Amneris at the Paris Opera, and completed it for Pauline Guéymard-Lauters who was older than Bloch and had a dramatic voice between mezzo-soprano and soprano (she sang Leonora but also Amneris). You should hear to Giulietta Simionato, Fiorenza Cossotto, Shirley Verrett or Leyla Gencer to understand what dramatic voices are. Elina Garanča does not approach those historical standards. Do you know that Riccardo Muti said: "We have a lot of singers good for Mozart and Rossini, but singers in the heavy repertoire are becaming fewer and fewer. It is certainly impossible to cast singers for an opera like La forza del destino well", because the great dramatic voices become very rare. Verdi singing faces the most severe crisis and this is very sad. When Grace Bumbry heard my voice for the first time in Salzburg, she said: you have an amazing, very important voice, but who will you sing with- there are no more such voices. The spinto and dramatic voices are so unique that we have now a "new" bad standards. In the Eboli's first aria "Nel giardin del bello" the tessitura undulates between both: dramatic mezzo and dramatic soprano. The high soprano range has to quickly delve into sustained low mezzo passages, almost contralto-like in placement and than suddenly segue into high staccato. But the second one "O don fatale" shows what quality a dramatic mezzo must possess.
Strilla un altro po' .....Interpretazione 0. Capisci quel che dici? Nessun possibile confronto con Lucia Valentini Terrani, Giulietta Simionato, Fiorenza Cossotto, Luciana D' Intino ed altre grandi interpreti del Bel Canto Italiano. Nel don Carlo de la scala tutti o quasi stranieri
I can hear it too, without knowing nothing about vocal technique. Just listen how forced and ugly her chest voice is! Whenever she does not use her chest, her timbre is wonderful.
@@Yves_KaThere's a difference between being able to hit the right notes and actually doing a good job without exhausting oneself and straining their voice. We'll see how she'll be doing in a few years. I'm afraid an early retirement is on the way for Elīna, if she goes on like this.
@@E.V.-il some singers prefer to retire earlier than others but main thing they enjoy their singing career and sing what they want to sing. Many great singers retired early. Singing is not like an airline where one has to aim to keep an aircraft in service for as long as they can. Besides mezzos mostly have the choice to switch to character roles and enjoy extra years doing that. No problem though. I will pass 🪪 n that you are worried she will have to retire early
Too much for her voice. Eboli, now Amneris… soon Azucena? She sounds at her very limit, her voice being a Cenerentola-mezzo type kind of voice…. She might have most of the notes there now, but in a couple of years her voice will suffer because it’s not natural for her to sing these roles. Troyanos was outstanding and very relaxed in the role (not the case here), while the kind of voice that suited Eboli very well was the outstanding Zajick or Borodina
Elina sings Eboli more lyrically or 'light' so to speak. I personally like this way better than some 'big' mezzo voice. It's more suitable to Eboli's character, a young, charming princess.
I think this takes her to her absolute limit. It is well sung, no quibbles. Is there anyone today that can sing this even to a fraction of say, Grace Bumbry? I love Garanca, make no mistake. I do think that she will struggle in a larger house.
Teatro San Carlo is one of the biggest opera house in Europe; I heard this performance twice and Elina voice was huge and stunning, the audience got crazy and asked for encore!
It's impressive that she is able to get through the aria without incident considering she is a lyric soprano, but she's constantly "hitting the wall". Hopefully this isn't a new career choice, otherwise she will need to undo the damage if she can.
Light lyric mezzo should not even attempt roles like Eboli. This is beyond Garanca's vocal capabilities, and frankly she looks out of place. Tempo is twice as slow as it should be - to accomodate her unsuitability for the role. But she still fails - and I am not talking about non-existing low notes that she forces out of herself. Give us all a favor, stick to repertoire written for your voice
Моя любимая Элина...не ожидала от нее такого..Ведь она очень умна! Сколько певиц теряет голоса на не своем репертуаре, мы теряем потрясающих звезд, которым бы петь и петь..Дессей яркий пример..Я очень надеюсь, что Элина сделает сама правильные выводы..
Dunque farei una banalissima considerazione per iniziare: è un'aria cantata magnificamente. Per i paragoni con altre interpreti: secondo me la Obraztova e la Cossotto hanno concesso, come in altre opere, interpretazioni sublimi. La Garanca ha una voce splendida ed è contrariamente ad altri casi diventata più coinvolgente con gli anni,tiene il fiato in modo magnifico sia sul registro acuto e sul quasi velato.. insomma una cantante incredibile.
Es una mujer bellísima, de presencia angelical. Su voz es preciosa, pero yo creo que está abordando, de la misma manera que Anna Netrebko, papeles que rebasan sus capacidades, sea porque su voz no es grande o porque la técnica de entrenamiento vocal no las ha llevado a explotar todo su potencial. Elina se ahoga con las notas graves, y sí reconozco que se entregó a su interpretación con todo. Parece ser que es una tendencia actual que los cantantes no tienen las voces de antes. Quizás sea hora de volver a aprender de las escuelas antiguas, las que trajeron a celebridades como Callas, Tebaldi, Simionato, Oralia Domínguez, Franco Corelli, Del Mónaco, y muchas glorias del siglo pasado. En fin. Espero que no lo tomes a mal, amigo. Saludos desde México.
This is a spinto soprano disguised as ”lyric mezzo” now trying to be a dramatic mezzo/soprano giving all she got but unfortunately also giving too much of what she doesn’t have. She better collect the money quickly…
Compare her concert performance of this aria from 2016 to this one 6 years later. The changes are obvious. Top is more effortful and phrases are shorter here. This is not effortless singing by a long shot. I love Elina in the right rep. She is my favorite Octavian. The last great Eboli in the line of Grand Tradition mezzos (Stignani, Simionato, Cossotto, Verrett, Bumbry) was Dolora Zajick. No one else is carrying on the tradition. Chest registers are now non-existent. Good luck trying to sing great mezzo roles without chest register. 🙄
Her voice is not suited to the heavy Verdi dramatic mezzo roles. There is too much strain here which you can even see in the muscles of the throat as she sings. She has a beautiful lyric mezzo and should concentrate on roles from the earlier bel canto period and perhaps Handel and some Gluck. If she continues down this path she will damage her voice just as her colleague Netrebko has done by moving into the heavier roles of the soprano fach.
Audibly---wobbly---this WAY too much for her. Or, MORE ACCURATELY (sans petty comedy), Eboli is not a character for HER voice, HER body. (Please GAWD don't let this chyle keep listenin' to what deez ignorant-arse profiteers say---lest her vibrato be the one to pay. Selah.)
Как по мне -- не очень. Всё развалилось, нет целостности. Дирижёр делает паузы, замедляет чтобы певице было удобнее. Но ей очевидно тяжело, кое где фальшивит. Партия Эболи не очень подходит её латышскому темпераменту
Way too slow. She doesn’t have the low notes and struggles with the higher ones. And the face-cutting is ridiculous, not to mention the atrocious staging. This is a truly Monster piece which only a rich-voiced Verdian mezzo or Falcon may attempt. Shirley Verrett is ne plus ultra here.
The tempo is all over the place, and too much pointless stage business, as to the voice, no challenge to Baltsa , Bumbry, Verrett or Troyanos, not for me.
грудного регистра нет, микст валит
Shirley Verrett and Grace Bumbry in my opinion were the best Eboli’s. Elina sure puts everything she has into it. Brava to her.
No "brava" should be given here.
@@mikaelb7735
Mind your business troll, “BRAVA”
@@mikaelb7735 ¿Quién te dio vela en este entierro?
@@BellaFirenze Sadly i dont read Spanish.
@@samueljaramillo4221 Shows your personality. Try apples next time as lemons are sooooo sour.
Brava!! I applaud her, it's not an easy aria to control and command.
She has no control that's the issue. She's straining so much.
Chère Madame,
Votre talent ainsi que votre très jolie voix font le bonheur de mes sombres journées d'hiver.
Oui Madame Elina vous etes sublime. Le décor- home nous fait ressortir et admirer votre visage de Madone c'est très très beau . !!!
On ne peut que vous apprécier et vous aimer.
Respectueusement bien sur .
She is a lyric soprano without high notes...so she is a mezzo!!! No she has no dynamics or the strength needed for lower notes!! In the theater is inaudible unless she is miked!! We need REAL Mezzos!!!
This is the best of all her Don Fatales here on TH-cam - she has grown into the role exceptionally well
You should hear Olga Borodina...
@@elisabeth400 I have of course heard Borodina's and I wasn't comparing her to others - I was comparing her own performances of this aria
@@Yves_Ka She sings Eboli not well, she is not a dramatic mezzo. Btw: i am opera singer.
@@elisabeth400 The role was never written for a DRAMATIC MEZZO as such. And by the way You may not like this performance but I think she sings it very well here.
@@Yves_Ka It is unbelievable how ignorant some people are. Eboli "was never written for a dramatic mezzo".. 🤦 Eboli is one of the most famous dramatic mezzo roles. There are even some university dissertations where you can find this role as an example for a dramatic mezzo. I am sorry, but who are you to discuss about voices? Are you a singer and did you sing this role that you know what type of voice is needed for Eboli? I am a singer and i sing Eboli, Lady Macbeth and other Verdi roles. Have you ever heard of "Verdi voices" and what does it mean? I studied with the most famous singers, also with one of the best Eboli of all time: Grace Bumbry. The role of Eboli need a very special voice: a hybrid between a mezzo and dramatic soprano, but it is a very DRAMATIC role. You need a powerful, resonant voice, with a particular dark colour, able to project over a massive orchestra. I am happy that you like Elina Garanča, but she does not have the timbre and volume for this role. AND: Verdi began to compose the role of Eboli FOR A MEZZO-SOPRANO Rosine Bloch, who sang dramatic mezzo roles like Azucena and Amneris at the Paris Opera, and completed it for Pauline Guéymard-Lauters who was older than Bloch and had a dramatic voice between mezzo-soprano and soprano (she sang Leonora but also Amneris). You should hear to Giulietta Simionato, Fiorenza Cossotto, Shirley Verrett or Leyla Gencer to understand what dramatic voices are. Elina Garanča does not approach those historical standards. Do you know that Riccardo Muti said: "We have a lot of singers good for Mozart and Rossini, but singers in the heavy repertoire are becaming fewer and fewer. It is certainly impossible to cast singers for an opera like La forza del destino well", because the great dramatic voices become very rare. Verdi singing faces the most severe crisis and this is very sad. When Grace Bumbry heard my voice for the first time in Salzburg, she said: you have an amazing, very important voice, but who will you sing with- there are no more such voices. The spinto and dramatic voices are so unique that we have now a "new" bad standards. In the Eboli's first aria "Nel giardin del bello" the tessitura undulates between both: dramatic mezzo and dramatic soprano. The high soprano range has to quickly delve into sustained low mezzo passages, almost contralto-like in placement and than suddenly segue into high staccato. But the second one "O don fatale" shows what quality a dramatic mezzo must possess.
Bravo!!!❤
Why is a dwarf giving her a knife? Why does she cut herself? Poor Verdi. Let's see what she does with Azucena and Ulrica.
Decisamente troppo per lei: urla in acuto, prende tanti fiati, portamenti ovunque, gravi sporchi e ingolati... non è cosa sua!
Strilla un altro po' .....Interpretazione 0. Capisci quel che dici? Nessun possibile confronto con Lucia Valentini Terrani, Giulietta Simionato, Fiorenza Cossotto, Luciana D' Intino ed altre grandi interpreti del Bel Canto Italiano. Nel don Carlo de la scala tutti o quasi stranieri
This, was not her best role. She has a fantastic voice, knowledge etc but her voice is to slim (and cold) to fill Eboli´s role. Sad, but true.
Your're so right. Too light a voice for this role.
I can hear it too, without knowing nothing about vocal technique. Just listen how forced and ugly her chest voice is! Whenever she does not use her chest, her timbre is wonderful.
@@ESilva-qv1uv light shmight - one can either sing it or one cant.
@@Yves_KaThere's a difference between being able to hit the right notes and actually doing a good job without exhausting oneself and straining their voice. We'll see how she'll be doing in a few years. I'm afraid an early retirement is on the way for Elīna, if she goes on like this.
@@E.V.-il some singers prefer to retire earlier than others but main thing they enjoy their singing career and sing what they want to sing. Many great singers retired early. Singing is not like an airline where one has to aim to keep an aircraft in service for as long as they can. Besides mezzos mostly have the choice to switch to character roles and enjoy extra years doing that. No problem though. I will pass 🪪 n that you are worried she will have to retire early
Very dramatic singing and acting. How did she do the face cutting? Does anyone happen to know?
I’d guess the knife had (fake) blood inside the blade that you can release by pushing a button or something
Ella canta mal el rol no porque no es una "mezzosoprano" el problema es que como los aborda, su tecnica es un -0.
Too much for her voice. Eboli, now Amneris… soon Azucena? She sounds at her very limit, her voice being a Cenerentola-mezzo type kind of voice…. She might have most of the notes there now, but in a couple of years her voice will suffer because it’s not natural for her to sing these roles. Troyanos was outstanding and very relaxed in the role (not the case here), while the kind of voice that suited Eboli very well was the outstanding Zajick or Borodina
Splendida voce! Potente e morbida, vellutata, affascinante al contempo. 💎🌹🌹🌹
Elina sings Eboli more lyrically or 'light' so to speak. I personally like this way better than some 'big' mezzo voice. It's more suitable to Eboli's character, a young, charming princess.
I think this takes her to her absolute limit. It is well sung, no quibbles. Is there anyone today that can sing this even to a fraction of say, Grace Bumbry? I love Garanca, make no mistake. I do think that she will struggle in a larger house.
Teatro San Carlo is one of the biggest opera house in Europe; I heard this performance twice and Elina voice was huge and stunning, the audience got crazy and asked for encore!
We’ve heard her at the Met. Which is a large theater. And her voice sounds glorious there.
@@michelebzz t has nothing to do with sizes of operahouse and a "claque". Just listen to the way this aria is sung. Not flattering.
DOLORA ZAJICK
@@mikaelb7735
Your opinion, not a fact
Now take the microphone far from her and let's hear the difference...
It's impressive that she is able to get through the aria without incident considering she is a lyric soprano, but she's constantly "hitting the wall". Hopefully this isn't a new career choice, otherwise she will need to undo the damage if she can.
Too slow and wobbly 😪
Bla bla bla...
🥵The expert
She has no chest voice! Dramatic repertoire is not her strength unfortunately
I think she‘s fantastic (beautiful woman,beautiful voice,brillant technic strong personal acting
Brava
Her lower register... not really good. She's not a dramatic mezzo and we can hear it by far.
My best Carmen, my best Eboli, my best Seymour and my best Amneris.
Light lyric mezzo should not even attempt roles like Eboli. This is beyond Garanca's vocal capabilities, and frankly she looks out of place. Tempo is twice as slow as it should be - to accomodate her unsuitability for the role. But she still fails - and I am not talking about non-existing low notes that she forces out of herself. Give us all a favor, stick to repertoire written for your voice
Моя любимая Элина...не ожидала от нее такого..Ведь она очень умна! Сколько певиц теряет голоса на не своем репертуаре, мы теряем потрясающих звезд, которым бы петь и петь..Дессей яркий пример..Я очень надеюсь, что Элина сделает сама правильные выводы..
You are absolutely right!
Вы вокалист? Или так, соболезнуете?
sono d'accordo con Miriam Deveries-
Amazing and perfect mezzo. Beautiful womann ❤
Dunque farei una banalissima considerazione per iniziare: è un'aria cantata magnificamente. Per i paragoni con altre interpreti: secondo me la Obraztova e la Cossotto hanno concesso, come in altre opere, interpretazioni sublimi. La Garanca ha una voce splendida ed è contrariamente ad altri casi diventata più coinvolgente con gli anni,tiene il fiato in modo magnifico sia sul registro acuto e sul quasi velato.. insomma una cantante incredibile.
Es una mujer bellísima, de presencia angelical. Su voz es preciosa, pero yo creo que está abordando, de la misma manera que Anna Netrebko, papeles que rebasan sus capacidades, sea porque su voz no es grande o porque la técnica de entrenamiento vocal no las ha llevado a explotar todo su potencial. Elina se ahoga con las notas graves, y sí reconozco que se entregó a su interpretación con todo. Parece ser que es una tendencia actual que los cantantes no tienen las voces de antes. Quizás sea hora de volver a aprender de las escuelas antiguas, las que trajeron a celebridades como Callas, Tebaldi, Simionato, Oralia Domínguez, Franco Corelli, Del Mónaco, y muchas glorias del siglo pasado. En fin. Espero que no lo tomes a mal, amigo.
Saludos desde México.
Very interesting comments from all.
Brava!👍🎉👏👏👏🌹🌹🌹
Simionato must be rolling in his grave
This is a spinto soprano disguised as ”lyric mezzo” now trying to be a dramatic mezzo/soprano giving all she got but unfortunately also giving too much of what she doesn’t have.
She better collect the money quickly…
Oh, get over yourself.
🔥🔥🔥
esecuzione buona della Signora Garanca.
Compare her concert performance of this aria from 2016 to this one 6 years later. The changes are obvious. Top is more effortful and phrases are shorter here. This is not effortless singing by a long shot. I love Elina in the right rep. She is my favorite Octavian. The last great Eboli in the line of Grand Tradition mezzos (Stignani, Simionato, Cossotto, Verrett, Bumbry) was Dolora Zajick. No one else is carrying on the tradition. Chest registers are now non-existent. Good luck trying to sing great mezzo roles without chest register. 🙄
Disastrous
I love this woman's voice , but she is not eboli.. this aria takes a bigger stronger voice
Итервалика очень плохая, и голос не подходит для Верди.
The most impressive Eboli i have seen and heard🌺💐🌷🌹🥀
Her voice is not suited to the heavy Verdi dramatic mezzo roles. There is too much strain here which you can even see in the muscles of the throat as she sings. She has a beautiful lyric mezzo and should concentrate on roles from the earlier bel canto period and perhaps Handel and some Gluck. If she continues down this path she will damage her voice just as her colleague Netrebko has done by moving into the heavier roles of the soprano fach.
Sublime Elina Garanca, but horrible costumes and decorate! It´s a shame!
Audibly---wobbly---this WAY too much for her. Or, MORE ACCURATELY (sans petty comedy), Eboli is not a character for HER voice, HER body. (Please GAWD don't let this chyle keep listenin' to what deez ignorant-arse profiteers say---lest her vibrato be the one to pay. Selah.)
Как по мне -- не очень. Всё развалилось, нет целостности. Дирижёр делает паузы, замедляет чтобы певице было удобнее. Но ей очевидно тяжело, кое где фальшивит. Партия Эболи не очень подходит её латышскому темпераменту
Too slow!!!!!!!
È brava … ma la principessa Eboli non è un ruolo adatto alla sua voce.😢
Just goes to show how ridiculous direction can take away from a big operatic moment, plus her voice is not robust enough for this aria.
Poopypants mezzo
Voix légèrement limite poussive.........
ABYSMAL!
Way too slow. She doesn’t have the low notes and struggles with the higher ones. And the face-cutting is ridiculous, not to mention the atrocious staging. This is a truly Monster piece which only a rich-voiced Verdian mezzo or Falcon may attempt. Shirley Verrett is ne plus ultra here.
She is not a dramatic mezzo and it shows. She is straining a whole lot here.
vista sl San Carlo, fantastica
The tempo is all over the place, and too much pointless stage business, as to the voice, no challenge to Baltsa , Bumbry, Verrett or Troyanos, not for me.