Especially dramatic I found. Superb+ vocally as I expected, even the conducting seems to suit Radvanovsky's dramatic intentions (saying this because it somehow seemed to me lacking a good rehearsal talking rudimentary...).
So right. The time for Butterfly - if it ever was - is gone but she would be one hell of a Minnie. She better not wait too long however. She's getting up there.
Italian: it's like they have a different word for everything. I have stated elsewhere that I will never understand why Puccini decided to use the lyrics in such a way that the singer has to have a syllabic break at the climax of Un Bel di. Why not let her sustain the note without interruption? It's SUCH a dramatic moment, it seems odd to "interrupt" it (4:23-4:28.) And actually, it sounds to me like the cut it off sooner than she'd hoped. Am I wrong? It also canNOT be easy if you're singing this in concert to have to stand there and pretend you're all heartbroken. I've always felt sorry for singers in that situation, but I guess that's just part of the job.
Actually, part of the job is to memorize and internalize notes, markings and lyrics before performing so that the focus is on setting oneself free or at least feeling as free as possible, and not bound to or grounded by the score.
It’s difficult to change syllables on high notes, but that’s what makes things thrilling. It’s like the “vo-i” at the end of the Judgment Scene in Aida. It’s very thrilling when someone like Simionato can pull it off. In this case, the “interruption” is just the product of the double consonant in “aspetto.”
@@ER1CwC Yes, I'm familiar with this reaction, but surely--surely--having a sustained note is better than having an interrupted on, even if the glottal stop is tiny. Do you disagree with that? Couldn't Puccini have somehow found a way? Just seems an odd choice from the master of melody.
@@paules3437 I don’t know. The aria is so famous (and iconic), it’s hard to imagine it any other way. But from a vocal standpoint, I kind of like it because it serves as a test. When people eschew it, one can tell that their high notes are not really there!
@@ER1CwC Gosh, I don't find it hard to imagine it differently. I guess that's my whole point. When you say "people eschew it" whom do you mean by "People"? Singers?
Puede ser que la directora esté dirigiendo a otra cantante, o una versión para si misma, o le cuesta acompañar?😂 ¿Puede ser? No sé, ¿eh? Sólo me pregunto.😮 Es lo que más me vino a la mente durante toda el aria. Pero parece que los "tiempos" en "nuevas modalidades adquiridas" son así: o nos juntamos y ya, o no te apartas de un metrónomo ni por un instante. ¿Y la música? ¿Es eso? ¿Un tremendo cálculo matemático?. O es tempo ajustado, articulación, interpretación, sentimiento, técnica, entrega, adaptarse, ser espontáneo pero claro y preciso, interpretar, entregarse, etc, etc, etc y un montón de etcéteras. Pareciera que muchas batutas (muchas) van a lo seguro y sin mucha clase, pareciera.😮 Pareciera también que los tiempos son sólo de ajuste.......
Una gran y maravillosa interpretación.
Que ópera mas bonita, de las mas bonitas de Puccini.
Thank you so much for posting. I would be so grateful if you posted more from this concert. ❤️🙏🏻
Yes, of course. I will more in the next days...
Brava! Such a wonderful performance as an example of a magical concert in Barcelona. We ❤u, Sondra.
My God she is still growing so much artisticly and expressively it's a joy and a privilege to behold. Thank you so much for posting this!❤
Especially dramatic I found. Superb+ vocally as I expected, even the conducting seems to suit Radvanovsky's dramatic intentions (saying this because it somehow seemed to me lacking a good rehearsal talking rudimentary...).
Sondra is great. I can’t see her as a credible Butterfly, but I hope she takes on Fanciulla. She’d make a great Minnie.
So right. The time for Butterfly - if it ever was - is gone but she would be one hell of a Minnie. She better not wait too long however. She's getting up there.
Italian: it's like they have a different word for everything.
I have stated elsewhere that I will never understand why Puccini decided to use the lyrics in such a way that the singer has to have a syllabic break at the climax of Un Bel di. Why not let her sustain the note without interruption? It's SUCH a dramatic moment, it seems odd to "interrupt" it (4:23-4:28.) And actually, it sounds to me like the cut it off sooner than she'd hoped. Am I wrong?
It also canNOT be easy if you're singing this in concert to have to stand there and pretend you're all heartbroken. I've always felt sorry for singers in that situation, but I guess that's just part of the job.
Actually, part of the job is to memorize and internalize notes, markings and lyrics before performing so that the focus is on setting oneself free or at least feeling as free as possible, and not bound to or grounded by the score.
It’s difficult to change syllables on high notes, but that’s what makes things thrilling. It’s like the “vo-i” at the end of the Judgment Scene in Aida. It’s very thrilling when someone like Simionato can pull it off. In this case, the “interruption” is just the product of the double consonant in “aspetto.”
@@ER1CwC Yes, I'm familiar with this reaction, but surely--surely--having a sustained note is better than having an interrupted on, even if the glottal stop is tiny. Do you disagree with that?
Couldn't Puccini have somehow found a way? Just seems an odd choice from the master of melody.
@@paules3437 I don’t know. The aria is so famous (and iconic), it’s hard to imagine it any other way. But from a vocal standpoint, I kind of like it because it serves as a test. When people eschew it, one can tell that their high notes are not really there!
@@ER1CwC Gosh, I don't find it hard to imagine it differently. I guess that's my whole point.
When you say "people eschew it" whom do you mean by "People"? Singers?
Puede ser que la directora esté dirigiendo a otra cantante, o una versión para si misma, o le cuesta acompañar?😂
¿Puede ser?
No sé, ¿eh?
Sólo me pregunto.😮
Es lo que más me vino a la mente durante toda el aria.
Pero parece que los "tiempos" en "nuevas modalidades adquiridas" son así: o nos juntamos y ya, o no te apartas de un metrónomo ni por un instante.
¿Y la música?
¿Es eso?
¿Un tremendo cálculo matemático?. O es tempo ajustado, articulación, interpretación, sentimiento, técnica, entrega, adaptarse, ser espontáneo pero claro y preciso, interpretar, entregarse, etc, etc, etc y un montón de etcéteras.
Pareciera que muchas batutas (muchas) van a lo seguro y sin mucha clase, pareciera.😮 Pareciera también que los tiempos son sólo de ajuste.......
Scorebound, ever stiff, ever terrified of making a false move.