There are some musical moments for which I would be thankful forever. In the theatre or on recordings, some moments have been truly quintessential in the development of the operatic singing. This long expected stage debut in Lucia di Lammermoor of the stunning Hungarian soprano Klára Kolonits, is one of them. It's much more than the new variations; or her amazing dark voice , with a great flexibility, able to sing all notes in a huge range. It's about the way belcanto should be sung: the character lives!!!!!. Lucia is a notorious role, all sopranos try to sing it perfectly. Some of them achieve it, but often, in an indistinguishable mode. This is the excitement that comes from Klára's revival: she has her own approach to the role, she understands both her instrument and the character, the final product is a splendid symbiosis of the two components. The new fireworks, the way the voice maintains its colours in the original key, the emotion she's given, the powerful portrayal of a complex character are just some features to be mentioned, but in fact, the combination of vocal virtuosity, genius acting and emotions, coming from a personal, well researched perspective leads to this unforgettable Lucia di Lammermoor. Klára is one of the few artists that would make you forget what you know about this character, or how it's been sung before, but she reinvents it in front of you through her amazing vocal qualities, expressiveness and genuine ideas. Brava!!!!
Oh, that cadenza, and the acting and lighting during that was quite possibly one of the most transcendent things I've seen and heard. If only I could have seen it there live!
My thoughts exactly! I haven't heard or seen a Lucia Mad Scene as moving or as stunning as this since Sutherland / Zefirelli! Truly something very rememberable! I want to see the whole production!
O DOCE SOM A ária do 3º Ato Mad Scene - Il dolce suono, da ópera Lucia di Lammermoor, de Donizetti, traz a personagem Lucia que se apresenta no palco com um vestido opala Longo, branco, ensanguentado, vislumbrando a visagem Surgindo em sua direção e, diante de seus companheiros Do elenco, enfatiza: Ohimè, sorge il tremendo fantasma e ne separa! Lucia relembra os encontros alvissareiros Com o amado, junto a uma fonte. Surge o ectoplasma Comprovando a existência de almas errantes. A amável Lembrança do passado e as intrigas que de lá persistem. O amor vivenciado na fonte e a perseguição implacável. A Covid - 19 traz a reflexão do viver por nós apresentado Nos sonhos que são as mensagens de amor que existem Na simplicidade que nos traz o doce som acalentado. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - O DOCE SOM (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
The usual is transposed down form F major to E-flat, and most people are more accustomed to hearing E-flat than F major because everyone performs it in E-flat
Phenomenal bravissimo Klara ;) ! 🙌🏼🙌🏼🙌🏼❤️❤️🌹🌹🌹
Bravissima ~ Klára, rare that one can still be moved by a Lucia … I wept WITH your Lucia! Stunning portrayal and vocalism. BRAVA
That was hauntingly beautiful. I loved the use of the glass harmonica. That cadenza was wonderful. Brava Klara
There are some musical moments for which I would be thankful forever. In the theatre or on recordings, some moments have been truly quintessential in the development of the operatic singing. This long expected stage debut in Lucia di Lammermoor of the stunning Hungarian soprano Klára Kolonits, is one of them. It's much more than the new variations; or her amazing dark voice , with a great flexibility, able to sing all notes in a huge range. It's about the way belcanto should be sung: the character lives!!!!!. Lucia is a notorious role, all sopranos try to sing it perfectly. Some of them achieve it, but often, in an indistinguishable mode. This is the excitement that comes from Klára's revival: she has her own approach to the role, she understands both her instrument and the character, the final product is a splendid symbiosis of the two components. The new fireworks, the way the voice maintains its colours in the original key, the emotion she's given, the powerful portrayal of a complex character are just some features to be mentioned, but in fact, the combination of vocal virtuosity, genius acting and emotions, coming from a personal, well researched perspective leads to this unforgettable Lucia di Lammermoor. Klára is one of the few artists that would make you forget what you know about this character, or how it's been sung before, but she reinvents it in front of you through her amazing vocal qualities, expressiveness and genuine ideas. Brava!!!!
Good job !!!! It is rare for a soprano to sing it in the original key. U deserve a round of applause for the gut to sing it in the orignal key.
Oh, that cadenza, and the acting and lighting during that was quite possibly one of the most transcendent things I've seen and heard. If only I could have seen it there live!
And listen to that applause!
My thoughts exactly! I haven't heard or seen a Lucia Mad Scene as moving or as stunning as this since Sutherland / Zefirelli! Truly something very rememberable! I want to see the whole production!
@@artdanks I think she's performing it right about now actually in Budapest. So get an airplane ticket quick! ;)
@@PhilosophicalDance MAN! I would LOVE to be there! She seriously is one of the few singers today that sings very well and understands this role!
@@artdanks Managed to make it out to Budapest for her Norma last year in May. It was really quite something. Do indeed see her live if you can.
The director should never be allowed near an opera singer or production again, but the soprano's voice is extraordinary. Wonderful!
Yes, it would be great to have the full recording!! I am so curious to hear her in the beautiful Verranno a te sull'aure and in the sextet!
BRAVA, Klara!!!
Give us complete audio recording, please!
The best Lucia of our time!
Brava.
I love the picchiettati at 6:10!
Kolonits Klára előtt le a kalappal, de a látvány, és ez egész, számomra, borzalmas!
O DOCE SOM
A ária do 3º Ato Mad Scene - Il dolce suono, da ópera
Lucia di Lammermoor, de Donizetti, traz a personagem
Lucia que se apresenta no palco com um vestido opala
Longo, branco, ensanguentado, vislumbrando a visagem
Surgindo em sua direção e, diante de seus companheiros
Do elenco, enfatiza: Ohimè, sorge il tremendo fantasma
e ne separa! Lucia relembra os encontros alvissareiros
Com o amado, junto a uma fonte. Surge o ectoplasma
Comprovando a existência de almas errantes. A amável
Lembrança do passado e as intrigas que de lá persistem.
O amor vivenciado na fonte e a perseguição implacável.
A Covid - 19 traz a reflexão do viver por nós apresentado
Nos sonhos que são as mensagens de amor que existem
Na simplicidade que nos traz o doce som acalentado. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - O DOCE SOM (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Qué son?? Andamios la escenografía... HORROR.... o es backstage... no sé no entiendo...
Is it just me, or this is a pitch higher than usual?
It's in original key, in F major
The usual is transposed down form F major to E-flat, and most people are more accustomed to hearing E-flat than F major because everyone performs it in E-flat
She sounds like a student to me.