Hey guys! I was gonna upload yesterday but last friday I got vaccinated and I didn't had any major side effects really but it maked me a little sleepy. So here we are! Enjoy :) PS: Also 01:11 Elphaba in a different multiverse lol
I love Diana Damrau. She brings such intensity and emotion to this role, that you actually believe she is feeling the words that she is singing, not just performing. Acting...something a lot of opera stars either cannot do, or forget to do while singing.
That particular production shows the Queen at her most awful.evil, and devious better than any I've seen. Too often the role is softened and toned down into just pretty singing and the storyline suffers.
When someone says “the voice of an angel” they mean Lucia Popp. She may not powerhouse it like the others but she goes through like a hot knife through butter, most seem like they struggle or have to give it their all but she seems to produce it with calm ease. Several of these ladies here are my favorites and I love them but I have Lucia on a pedestal just above them all. (Especially when it comes to the queen of the night who is supposed to be manipulating and conniving, a sweet voice is perfect for that)
She definitely has one of the clearer and nicer voices, but I don't like how she puts so many 'h'es in her coloratura. It feels like she is constantly leaking air and she ends up not being 100% on point in the roulade because of it.
I know next to nothing about opera but Lucia Popp sounds the best to my uneducated ear. Her voice sounds effortless and clear as crystal, she's got the voice of an angel
That's a weird style of glottal coloratura. It is not idealistic at all, compared to the traditional legato approach of coloratura. Just listen to Luciana Serra here and you will hear the difference. Regardless of the peculiar fioratura approach of Deutekom, her technique is on par with many great opera singers, particularly her chest coordination!
Diana Danrau is the most Queen of the Night of them all. It's not only her "mad" singing but her absolute control of the stage. Her acting is what makes Opera the best musical genre.
"Peter J. Coulchinsky" ~may 2022 « _Diana Danrau is the most Queen of the Night of them all... her "mad" singing... her absolute control of the stage..._ » +1 Yes _Diana Danrau_ is probably NOT the very 1st one in singing, nor the very 1st one in acting, but nearly the 1st in both makes her deserve the 1st rank in the combined performance. I also attended a Flute where the Queen was perched on top of a balcony at the full back of the stage, thus facing at the same time at long distance her daughter who was at the very front of the stage, and all of us the public, giving her the opportunity to fully develop the incredible energy and speed and emotion yet surgical precision required by that piece full of terrible wrath and grudge, giving full life to the ultra-powerful music and lyrics _"The hellish revenge burns in my heart! Death and destitution to the traitor I hate! Strike him with this deadly weapon! Or you are not my daughter! never more and forever! Go away, ungrateful! Ungrateful! Everything is broken between us until he gives back his villain soul!",_ details in www.amazon.com/gp/customer-reviews/R2FJ4V99E1H8D5?ASIN=B000060OHV Fully and accurately rendering such a masterpiece is difficult, Danrau sure can claim 1st rank. Sat 08 Apr 2023 15h35 GMT
My top 10 1. Cristina Deutekom 1971 7:06 She is comepletely different from the rest, Again...No doubt she IS the Queen of the Night 2. Joan Sutherland 1962 4:36 She is one of the fastest on this list, She may have struggled a little with it but it pays off with absolute perfection 3. Jasna Sajnovic 1990s 3:39 She sounds like a powerful and demanding Ruler ordering Tamino to save Pamina in a amazing way 4. Edita Gruberova 1982 1:54 She combines the beauty and power of her voice into one whole extraordinary voice 5. Edda Moser 1972 3:04 You can easily hear the power and how effortlessly she sings it, She is one of my absolute favourites 6. Mado Robin 1950s 6:07 She has probably the highest voice..She is absolutely amazing and perfect..Rest In Peace, Mado Robin 7. Lucia Popp 1967 1:36 Lucia is one of my favourites because she sounds so amazing in her own unique way 8. Roberta Peters 1964 4:51 She sounds different from the rest and easily hits every note with power 9. Sumi Jo 2001 2:46 She is obviously one of the best when it comes to high notes 10. Kathlyn Lewek 2012 2:12 She has one of the best voices on this list with absolutely no doubt
@@RaymondHng it's the other way round buddy, Viennese pitch in Mozart's time was around A=420Hz. This is almost a semitone lower than the modern standard A=440Hz. Everyone else is singing it up a semitone from the pitch Mozart conceived.
I simply cannot decide what to think about Deutekom. I think she sounds amazing and hits the notes with such precision and ease. On the other hand that gargling sounds kinda off putting. But I always come back to listen to her.
That “throatines” (for want of a better word) is really just due to the style in which she is singing. The opera techniques that result in that type of sound were really used more so in the 1800’s, which is why it sounds old and strange. Very few people sound like that anymore.
I actually really liked Luciana Serra's version of this part! She seemed at ease and it flowed well. Liked Natalie Dessay also! (Moser is always my queen tho
She was born Lucia Poppová: I have no idea when or why she changed it. (It's not as if she needed a less foreign-sounding name for the American market.) But for my money she's the best of this batch - perfectly clear and precise, in tune and on the beat, a really beautiful tone.
Sabine Devieilhe is amazing here too, for coloratura and overall vocal beauty! Coloratura-wise, Sumi Jo, Luciana Sierra, Clara Polito, and Natalie Dessay are topnotch. Thank you Mr. Golightly for sharing this unventured part of the aria.
So many directors just have the queen, especially in this song, stand in one spot on the stage, or up on some platform like at 0:30 and 5:11, and never give the actress to chance to do any acting. They all just park and bark. Their barking, to be fair, sounds incredible, but Diana is one of the few I've ever seen actually *act* during her performance as the queen, especially in the performance in this video. Not to mention her ability to act that well while singing these arias is incredible.
You don't know much about Callas then. Intensity has nothing to do with movement. People were riveted to Callas' every note whilst she stood stock still. This, of course, takes confidence and major talent, which, IMO, Diana Damrau does not have.
@@maryvallettakeith6146 I'm moderately familiar with Callas's work but Callas is irrelevant here because she' not in this video. My comments were specifically about the people in this video performing this aria.
@@maryvallettakeith6146 You're utterly belittling Diana Damrau's ability on that time, she was at her peak when she sang that version and for professional view, Diana really did great and nailed the role, though it kinda damaged her voice throughout her career.
Again, gotta go with Luciana Serra. A lot of them try to sustain vibrato through the runs, and it just gets muddled, but Serra's notes are always crisp and clear, and I love the timbre of her high notes.
I like to this aria as a test for a sopranos skills, precision, and timing. The notation is so simple that the singer has little room to mask mistakes or improper breath support. The staccatos test on breath control and color while the arpeggios expose and texture and form. Lucia and Deutekom are by far the best!
FRAU MOSER! She has the enviable combination of flexibility and at the same time, solidity or darkness of the voice. She's the REAL dramatic coloratura soprano. Damrau's dramaticism is fine but still Moser for me. Dessay, Popp, Sutherland, and Serra's interpretations are great, but their voices are naturally too light for this. But really, these women sounded so beautiful. Dessay's voice is just sweet. I prefer seeing here as Olympia though or Lakme. Serra's staccato notes, as a commenter said here, are distinct and audible, which for me is just splendid. I love the purity of Deutekom's notes, but... the staccato :-( . She was once called a chicken in ridicule because of this.
You have made it very difficult !! Cristina Deutekom is the authority! Clara Polito is the speed, then Edda Moser the drama, then Suterland the softness .. Sumi Jo the sweetness, Olga Peretyatko the moderation, Luciana Serra the clarity .. but Diana Damrau is the owner of my heart ...saludos desde Buenos Aires, Argentina.
They are all amazingly beautiful! I think Diana Damrau spoke to me most but I might have been influenced by the great costume and powerful acting and movement that went with it, but how does one distinguish one birdsong from another as being more beautiful! Love this! Bravo!
I think they are all amazing :) it is after all a very popular and yet difficult role, so the soprano singing it has to know what to deliver. Personally i love Diana Damrau's insane costume and acting skills, not to mention her singing. My favorite to listen to however is Cristina Deutekom, her voice is just so powerful and she makes it sound so easy. Lucia Popp's costume is iconic :D
My favorites were Luciana Serra (6:25) for clearest notes and Natalie Dessay (6:46) for most effortless. I was really expecting to like Christina Deutekom, but it was a little too mechanical for me.
Very interesting and it was a delight tohgear the whole 7'. The last one Cristina Deutekom seems to be quite different from the others. I which I could know which technique was closer to the one that Mozart imagined or at least was performed the very first time it was performed to the public! *sigh*
Diana does a fantastic job because of her acting but also she is the correct voice type for the role. The same reason why Cristina Deutakom and Joan Sutherland sound fantastic. Also, Edda Moser as well. They are all fantastic singers and actresses but are dramatic coloratura soprano’s. Sometimes a light lyric (lighter voiced soprano) tries to sing the role and it can fall a bit flat, because the richness is missing in the voice.
There is so much more to the Queen of the Night than the coloratura and the high notes. The role is short, but has a specific character to portray. The aria "O zittre nicht" shows her complex character; in the first part she is explaining the reason behind her deep sadness and in the second, faster, part she is persuasive and trying to "win him over" to her side. The singer has to shift from one expression to another in the same aria so I think we can conclude that it was not composed solely as a showpiece for high coloratura sopranos - it had a story to tell to make the opera more interesting, a way of "the good vs the bad" if you like. The singer must still sound and act regal and majestic in her rendition and conductors and directors must remember this in order to give the singer the support she needs from them. If they want to go on like speedy Dame Joan or a little slower is of less importance. I may not be right, but this is how I see it and think of her.
Edita Gruberova is very, very underrated. I think she has the best talent in all the singers that featured on youtube to have sung this song. However her lack of emotion is evident in her singing, probably why people didn't give her as much attention. This is also where Diana Damrau excels. I like her singing of this song, because of the range of resonance in her voice. It is very satisfying to hear that she's in her comfort zone, and she's in it to win it. She has done her homework, and not afraid to show off. You can hear the absolute control over every single note of her singing.
Sutherland's handling of the coloratura was in a league of its own. The speed, fluency, and accuracy were phenomenal, and she did it with a voice far bigger than all the others. She, however, never liked singing high Fs, so transposed it down the once or twice she sang the role, which actually brought the pitch down closer to what would have been heard in Mozart's own time. The most ferocious queen was Edda Moser, who also had one of the largest voices here. Deutekom, with her gargling ghaghagha coloratura was unique. Right before the final high F, she sounded just like a chicken. The effect is a bit disturbing, but for an otherworldly character like the queen, it somehow works ok. Hers was also one of the largest voices of the group, and she could sing high Fs as if they were nothing. Gruberova's handling of Mozartian coloratura was also phenomenal and incredibly accurate. There is no one in this group that embarrasses herself. All do quite well.
Sutherland actually recorded O zittre nicht in the original key, but ironically she overshot the high F, so the transposed live version is still better. LOL
My thoughts exactly. She is in a league of her own (obviously still is) for the reasons you mention. There are some beautiful singers here but Joan Sutherland takes it to a higher level where no others seem to have matched it.
Holy freaking christmas cake, this compilation is amazing!!! All of them are good, my favorites are still Diana Damrau, Natalie Dessay and Sabine Devieilhe, but some of these sopranos I knew before and had absolutely no idea they had sang this role!!! 😍 it’s astonishing what they can do with their voices. Thank you for this video!!! ❤
My favs are LEWEK, SUTHERLAND, PERETYATKO, DEUTEKOM (but not in this video), but the others are AMAZING too. POPP, VESENINA, Devieilhe, Serra, Dessay, Park, Damrau, Miklosa, Elmark, ...
For me, technically speaking, it's Deutekom, Popp, and Dessay. From an acting perspective, it's Moser and Elmark. For speed, it's Sutherland. BUT, overall, I would have loved to have seen Roberta Peters do this role.
I am surprised nobody mentioned Kathryn Lewek, the residing top Queen since 10 years. And in Tales of Hoffmann this summer, in Ariodante several years ago, not to forget her Euridice (all in Salzburg) she made it to the top of my favorite singers (together with Jeanine de Bique).
O Zittre Nicht definitely has more complexity and variable dynamics in range and style than Der Holle Rache. In Der Holle Rache, the Queen is no longer holding back her anger and pretending to be a kindly woman and loving mother anymore. She’s playing the role of the villain of the story in a completely honest manner in Der Holle Rache by screaming at Pamina to kill Sarastro for her to get vengeance at the top of her lungs for five minutes straight. Yes, it’s lovely screaming because it’s still a beautifully composed aria by Mozart, but there’s not much depth, humanity, or mystery going on with the Queen anymore. She’s being portrayed as a deranged, power-hungry, and vengeful monster who we’re no longer supposed to sympathize with anymore. In O Zittre Nicht, the Queen is trying to convince Tamino that she’s just a completely helpless, grieving, and kindhearted mother, so he’ll rescue Pamina. To be fair, the libretto for The Magic Flute is ridiculous propaganda to convince people to join the screwed up cult of free masons that Mozart’s friend Emmanuel Schikaneder wrote for him after he Wolfgang joined in his late twenties to early thirties because he was probably having a quarter/mid life crisis after getting married and having kids. Objectively speaking, Sarastro is an asshole who does deserve to be hated by the Queen for kidnapping her daughter, though asking Pamina to murder him for her was fucked up, especially since she could have just done it herself. Anyway, back to O Zittre Nicht, it’s particularly difficult because you’re going through three distinct soprano styles. You start out as lyric, then dramatic, and finally coloratura. When singing this aria, melodically and lyrically, it’s not particularly difficult to memorize because it’s still music composed by Mozart. He knew how to make most of his arias pretty melodically catchy, which is why he’s the most popular composer for opera singers to learn, even today. However, in terms of range, technical skill and breath support, it requires very advanced skills for a soprano. Because it’s so distinctly clear and precise in its melodic structure, any note going even the slightest bit off the center of the pitch or messy diction will stick out.
How little someone's face moves while singing is not an accurate determination of how well they sing or how polished/professional/healthy their technique is. Just look at Cecilia Bartoli as a prime example of this. Her technique is flawless. She possesses one of the finest instruments in the history of opera. And her face moves -- a LOT -- when she sings.
The best in the world is Kathryn Lewek, She has done 50+ performances at the Met in the role of Queen of the Night and over 300 around the world. She commands the stage not only with her voice but also her theatrical performance
#1 for me was Edda Moser. Sadly, the transposition that Sutherland took disqualified her. Otherwise, she would have been my #1. #2 is Deutekom (in spite of her "cluckatura"). Her voice just absolutely nails this role! I wasn't really impressed with anyone else to rate them. (Too bad Rita Shane is missing, who was an amazing Queen of the Night!)
I know this is controversial but Deutekom will always be my favorite, followed close by Roberta Peters, who is - and I really don't get why - usually neglected. To me she was an incredible Queen of the Night, although I know actually nothing about opera.
Hey guys! I was gonna upload yesterday but last friday I got vaccinated and I didn't had any major side effects really but it maked me a little sleepy. So here we are! Enjoy :)
PS: Also 01:11 Elphaba in a different multiverse lol
5:11 Elsa in a different universe
@@caseygreyson4178I was laughing hard while editing
Please make the hole coloratura part. From here until including the part showed in your video before. That would be a good thing then!
@@emanuelschweikert I agree, I feel it's unnecessary cruelty to not include the high F! (Bit still really nice to watch)
Christina Deutkom tho... she's a legend
I love Diana Damrau. She brings such intensity and emotion to this role, that you actually believe she is feeling the words that she is singing, not just performing. Acting...something a lot of opera stars either cannot do, or forget to do while singing.
Abosolutely! She is The Queen herself!
That particular production shows the Queen at her most awful.evil, and devious better than any I've seen. Too often the role is softened and toned down into just pretty singing and the storyline suffers.
That's to distract yourself from her singing.
Christina Deutekom clearly the most effortless
I can't choose who sang best but I adore Diana Damrau's acting skills. She adds a different dimention to opera, specially as the Queen of the Night.
If you can't act while singing in Opera, then you are not being true to the role. Diana Damrau is the best.
I've seen and heard her "Queen" at the Met, will never forget
Madame Damrau is the GOAT!!!❤❤❤
When someone says “the voice of an angel” they mean Lucia Popp. She may not powerhouse it like the others but she goes through like a hot knife through butter, most seem like they struggle or have to give it their all but she seems to produce it with calm ease. Several of these ladies here are my favorites and I love them but I have Lucia on a pedestal just above them all. (Especially when it comes to the queen of the night who is supposed to be manipulating and conniving, a sweet voice is perfect for that)
She definitely has one of the clearer and nicer voices, but I don't like how she puts so many 'h'es in her coloratura. It feels like she is constantly leaking air and she ends up not being 100% on point in the roulade because of it.
Didn't she also record Pamina?
I think I've enjoyed every performance I've ever heard of hers!
I know next to nothing about opera but Lucia Popp sounds the best to my uneducated ear. Her voice sounds effortless and clear as crystal, she's got the voice of an angel
i don’t think people talk about cristina deutekom enough. she’s INSANE!!!! (in a good way lmao)
It’s her technique. She sounds like a Xylophone and a bird
That's a weird style of glottal coloratura. It is not idealistic at all, compared to the traditional legato approach of coloratura. Just listen to Luciana Serra here and you will hear the difference. Regardless of the peculiar fioratura approach of Deutekom, her technique is on par with many great opera singers, particularly her chest coordination!
@@PhoenixStormCrow2000, a turkey fits better.
@@robert111k oh nooo xd
What she's doing is really really weird...I think I get it but that's...whoa. I can't say I love the sound, but I can't deny it's accuracy.
Seriously how Cristina Deutekom could sound like that? It sounds so different but it felt so right. It feels like it is how the song has to be sang.
She seriously sounds like she is saying GAGAGGAGAG, sounds a bit awful to me
@@annapimentel4412 I personally love it
you should check her performance of Merce dillete amiche in the later part.
And she barely parts her lips! Unbelieveble!
exactly
Diana Danrau is the most Queen of the Night of them all. It's not only her "mad" singing but her absolute control of the stage. Her acting is what makes Opera the best musical genre.
Totally agree with that. She owns the role
"Peter J. Coulchinsky" ~may 2022 « _Diana Danrau is the most Queen of the Night of them all... her "mad" singing... her absolute control of the stage..._ »
+1
Yes _Diana Danrau_ is probably NOT the very 1st one in singing, nor the very 1st one in acting, but nearly the 1st in both makes her deserve the 1st rank in the combined performance.
I also attended a Flute where the Queen was perched on top of a balcony at the full back of the stage, thus facing at the same time at long distance her daughter who was at the very front of the stage, and all of us the public, giving her the opportunity to fully develop the incredible energy and speed and emotion yet surgical precision required by that piece full of terrible wrath and grudge, giving full life to the ultra-powerful music and lyrics _"The hellish revenge burns in my heart! Death and destitution to the traitor I hate! Strike him with this deadly weapon! Or you are not my daughter! never more and forever! Go away, ungrateful! Ungrateful! Everything is broken between us until he gives back his villain soul!",_ details in www.amazon.com/gp/customer-reviews/R2FJ4V99E1H8D5?ASIN=B000060OHV
Fully and accurately rendering such a masterpiece is difficult, Danrau sure can claim 1st rank.
Sat 08 Apr 2023 15h35 GMT
My top 10
1. Cristina Deutekom 1971 7:06
She is comepletely different from the rest, Again...No doubt she IS the Queen of the Night
2. Joan Sutherland 1962 4:36
She is one of the fastest on this list, She may have struggled a little with it but it pays off with absolute perfection
3. Jasna Sajnovic 1990s 3:39
She sounds like a powerful and demanding Ruler ordering Tamino to save Pamina in a amazing way
4. Edita Gruberova 1982 1:54
She combines the beauty and power of her voice into one whole extraordinary voice
5. Edda Moser 1972 3:04
You can easily hear the power and how effortlessly she sings it, She is one of my absolute favourites
6. Mado Robin 1950s 6:07
She has probably the highest voice..She is absolutely amazing and perfect..Rest In Peace, Mado Robin
7. Lucia Popp 1967 1:36
Lucia is one of my favourites because she sounds so amazing in her own unique way
8. Roberta Peters 1964 4:51
She sounds different from the rest and easily hits every note with power
9. Sumi Jo 2001 2:46
She is obviously one of the best when it comes to high notes
10. Kathlyn Lewek 2012 2:12
She has one of the best voices on this list with absolutely no doubt
Joan Sutherland transposed the key a half step lower.
@@RaymondHng Still, all that matters is how it sounds
@@techwiz7947 It sounds a half step lower. Mozart did not intend the aria to be transposed a half step lower.
@@RaymondHng it's the other way round buddy, Viennese pitch in Mozart's time was around A=420Hz. This is almost a semitone lower than the modern standard A=440Hz. Everyone else is singing it up a semitone from the pitch Mozart conceived.
Moșuc was the best
I simply cannot decide what to think about Deutekom. I think she sounds amazing and hits the notes with such precision and ease. On the other hand that gargling sounds kinda off putting. But I always come back to listen to her.
Try listening to her in other (heavier) roles, she is much more than a coloratura
Deutekom amazes, but the sound produced isn’t exactly beautiful singing or pleasing to hear.
@@mugenjie subjective, to me it is.
That “throatines” (for want of a better word) is really just due to the style in which she is singing. The opera techniques that result in that type of sound were really used more so in the 1800’s, which is why it sounds old and strange. Very few people sound like that anymore.
Cecilia Bartoli does a lot of that vocal style!
Luciana Serra. With a good margin. The ease and naturalness of the ascending scales is amazing.
I actually really liked Luciana Serra's version of this part! She seemed at ease and it flowed well. Liked Natalie Dessay also! (Moser is always my queen tho
Agreed about Luciana. So clean!!
Agreed. Many sopranos sound like they’re bouncing across each note, but Luciana had a very clean, even sound.
Luciana sounds very clear and has an even amount on each note. Obsessed!
Lucia Popp. Undoubtedly. The most accurate and ductile soprano ever.
Lucia Popp is such a great name
She was born Lucia Poppová: I have no idea when or why she changed it. (It's not as if she needed a less foreign-sounding name for the American market.) But for my money she's the best of this batch - perfectly clear and precise, in tune and on the beat, a really beautiful tone.
@@cephalogenic Diana Damrau (best for acting especially), Lucia Popp, Edita Gruberova, and Deutekom
Natalie Dessay is great but she gives me more Princess of the Day than Queen of the Night
🤣😂🤣
I love her performance as well. It's one of my top 3 for sure. And I agree with you in that the choice of costume... well... could be improved upon.
... and far more as Eurydice.
Sabine Devieilhe is amazing here too, for coloratura and overall vocal beauty! Coloratura-wise, Sumi Jo, Luciana Sierra, Clara Polito, and Natalie Dessay are topnotch. Thank you Mr. Golightly for sharing this unventured part of the aria.
Wow christina deutekom a legend... Rest in peace
They are all perfect 7 or less but Christina Deutekom is a 12 out of 10
im not sure I’d say her technique is the best, but Diana is just so captivating to watch
The best for sure, Cristina Deutekom, has nothing to do with taste or sound, it's so easy done!
So many directors just have the queen, especially in this song, stand in one spot on the stage, or up on some platform like at 0:30 and 5:11, and never give the actress to chance to do any acting. They all just park and bark. Their barking, to be fair, sounds incredible, but Diana is one of the few I've ever seen actually *act* during her performance as the queen, especially in the performance in this video. Not to mention her ability to act that well while singing these arias is incredible.
Park and bark!! I love that! 😆😆🤣.
Also, you said it all, completely!! 🙌🏻👏🏻👏🏻👏🏻
You don't know much about Callas then. Intensity has nothing to do with movement. People were riveted to Callas' every note whilst she stood stock still. This, of course, takes confidence and major talent, which, IMO, Diana Damrau does not have.
@@maryvallettakeith6146 I'm moderately familiar with Callas's work but Callas is irrelevant here because she' not in this video. My comments were specifically about the people in this video performing this aria.
@@maryvallettakeith6146 You're utterly belittling Diana Damrau's ability on that time, she was at her peak when she sang that version and for professional view, Diana really did great and nailed the role, though it kinda damaged her voice throughout her career.
Edita 1:56
Diana 0:10
Joan 4:36
Sumi 2:46
and Cristina 7:06
(Non necessarily in this order) were my favorite and (my opinion) the best here
Deutekom por mucho, nítido y súper cuidado en cada nota.
Again, gotta go with Luciana Serra. A lot of them try to sustain vibrato through the runs, and it just gets muddled, but Serra's notes are always crisp and clear, and I love the timbre of her high notes.
6:25 Luciana Serra: THE PRECISION!
Nobody does it better, NO-BO-DAAY!
Well, I had never heard Sumi Jo but she made me have a emotional reaction in just that short clip. What a beautiful voice.
Cristina Deutecom definitely!
Joan Sutherland is just incredible! Her speed and effortless high notes are just stunning!!
Enunciation suffers though
@@DarryanDhanpat Sutherland transposed the key a half step lower.
@@RaymondHng Yes she did!!!
Величайшая певица. Поет, как птица.
@@RaymondHngwhich is the original baroque tuning.
My top 3. Christina deutekom, Diane damrau, Sumi jo
Christina, Luciana and Diana are my favorites
I can’t stop looking at this and can’t really help wondering how beautiful the Luciano Serra coloratura is! The staccato is just perfect
Lucia Popp is my queen, perfect.
Also, you make my favorite content on TH-cam. Love this channel.
I really liked Roberta Peters at 4:51. Not even sure why it stood out!
Hers also stood out to me!
She just seems like the punk rock version and it’s wonderful.
I'm a Dessay fan so I think she is the best. I just like the way she sounds. And looks. And acts.
My favorites here are Lucia Pop and Sumi Jo, but Cheryl Studer will always be my top pick.
I like to this aria as a test for a sopranos skills, precision, and timing. The notation is so simple that the singer has little room to mask mistakes or improper breath support. The staccatos test on breath control and color while the arpeggios expose and texture and form. Lucia and Deutekom are by far the best!
FRAU MOSER! She has the enviable combination of flexibility and at the same time, solidity or darkness of the voice. She's the REAL dramatic coloratura soprano. Damrau's dramaticism is fine but still Moser for me.
Dessay, Popp, Sutherland, and Serra's interpretations are great, but their voices are naturally too light for this. But really, these women sounded so beautiful. Dessay's voice is just sweet. I prefer seeing here as Olympia though or Lakme. Serra's staccato notes, as a commenter said here, are distinct and audible, which for me is just splendid.
I love the purity of Deutekom's notes, but... the staccato :-( . She was once called a chicken in ridicule because of this.
I adore Moser! She has this power and force behind her voice, when she sings I feel the anger and passion
To call an opera singer a "chicken" sounds like the most ignorant thing
Sutherland and Serra are not to light but the former is to low.
I know this is probably not the popular opinion, but my personal favorite was Kathryn Lewek!
She slayed that section even for a slightly lower key!!
And, brilliantly acted… ANY time she sings this role.
Lucia Popp sounded most beautiful, but Deutekom was most jaw-dropping :P honorable mentions to Dessay and Serra
Didn't she record both the Queen later Pamina?
You have made it very difficult !! Cristina Deutekom is the authority! Clara Polito is the speed, then Edda Moser the drama, then Suterland the softness .. Sumi Jo the sweetness, Olga Peretyatko the moderation, Luciana Serra the clarity .. but Diana Damrau is the owner of my heart ...saludos desde Buenos Aires, Argentina.
Luciana Serra giving us the real definition of staccato! AH-MAZING!
Her staccato was just clear and amazing! No legato whatsoever!!!
I dont even have to watch the video.
Cristina Deutekom is a total slayer in this aria.
Accidentally came upon this video and reminded me of what I need to do to achieve these runs in the Mozart pieces I'm currently studying. Thanks.
They are all amazingly beautiful! I think Diana Damrau spoke to me most but I might have been influenced by the great costume and powerful acting and movement that went with it, but how does one distinguish one birdsong from another as being more beautiful! Love this! Bravo!
Cristina Deutekom is incredible. She barely opens her lips, that purest sound just flows out, effortlessly.
Christina Deutekom for we hear every note that Mozart channeled and in perfect pitch. Diana is superb too.
Lucia Popp, Luciana Serra, Natalie Dessay, and the Deutekom.
1. Deutekom; 2. Moser; 3. Popp; 4. Dessay
I think they are all amazing :) it is after all a very popular and yet difficult role, so the soprano singing it has to know what to deliver.
Personally i love Diana Damrau's insane costume and acting skills, not to mention her singing. My favorite to listen to however is Cristina Deutekom, her voice is just so powerful and she makes it sound so easy.
Lucia Popp's costume is iconic :D
My favorites were Luciana Serra (6:25) for clearest notes and Natalie Dessay (6:46) for most effortless. I was really expecting to like Christina Deutekom, but it was a little too mechanical for me.
Bruh, I simply just can't decide. They're all incredible!! Bravos to each one of them.
Christina Deuktom ❤️
Sabines the best for me not only was the pitches and stacato perfect but look at the effort they put up to that costume.
Very interesting and it was a delight tohgear the whole 7'.
The last one Cristina Deutekom seems to be quite different from the others.
I which I could know which technique was closer to the one that Mozart imagined or at least was performed the very first time it was performed to the public! *sigh*
Brava!! definitely Cristina Deutekom for sure!
Luciana Serra is a win for me.
Luciana Serra sang with the most clarity.
Diana does a fantastic job because of her acting but also she is the correct voice type for the role. The same reason why Cristina Deutakom and Joan Sutherland sound fantastic. Also, Edda Moser as well.
They are all fantastic singers and actresses but are dramatic coloratura soprano’s.
Sometimes a light lyric (lighter voiced soprano) tries to sing the role and it can fall a bit flat, because the richness is missing in the voice.
There is so much more to the Queen of the Night than the coloratura and the high notes. The role is short, but has a specific character to portray. The aria "O zittre nicht" shows her complex character; in the first part she is explaining the reason behind her deep sadness and in the second, faster, part she is persuasive and trying to "win him over" to her side. The singer has to shift from one expression to another in the same aria so I think we can conclude that it was not composed solely as a showpiece for high coloratura sopranos - it had a story to tell to make the opera more interesting, a way of "the good vs the bad" if you like. The singer must still sound and act regal and majestic in her rendition and conductors and directors must remember this in order to give the singer the support she needs from them. If they want to go on like speedy Dame Joan or a little slower is of less importance. I may not be right, but this is how I see it and think of her.
You’re right but few here care
Edita Gruberova is very, very underrated. I think she has the best talent in all the singers that featured on youtube to have sung this song. However her lack of emotion is evident in her singing, probably why people didn't give her as much attention. This is also where Diana Damrau excels. I like her singing of this song, because of the range of resonance in her voice. It is very satisfying to hear that she's in her comfort zone, and she's in it to win it. She has done her homework, and not afraid to show off. You can hear the absolute control over every single note of her singing.
I javent heard the Sutherland before. The speed! V impressive
Sutherland's handling of the coloratura was in a league of its own. The speed, fluency, and accuracy were phenomenal, and she did it with a voice far bigger than all the others. She, however, never liked singing high Fs, so transposed it down the once or twice she sang the role, which actually brought the pitch down closer to what would have been heard in Mozart's own time. The most ferocious queen was Edda Moser, who also had one of the largest voices here. Deutekom, with her gargling ghaghagha coloratura was unique. Right before the final high F, she sounded just like a chicken. The effect is a bit disturbing, but for an otherworldly character like the queen, it somehow works ok. Hers was also one of the largest voices of the group, and she could sing high Fs as if they were nothing. Gruberova's handling of Mozartian coloratura was also phenomenal and incredibly accurate. There is no one in this group that embarrasses herself. All do quite well.
Sutherland actually recorded O zittre nicht in the original key, but ironically she overshot the high F, so the transposed live version is still better. LOL
My thoughts exactly. She is in a league of her own (obviously still is) for the reasons you mention. There are some beautiful singers here but Joan Sutherland takes it to a higher level where no others seem to have matched it.
this has always been edda moser's aria imo... she's amazing!
Holy freaking christmas cake, this compilation is amazing!!! All of them are good, my favorites are still Diana Damrau, Natalie Dessay and Sabine Devieilhe, but some of these sopranos I knew before and had absolutely no idea they had sang this role!!! 😍 it’s astonishing what they can do with their voices. Thank you for this video!!! ❤
Susanne Elmark and Lucia pop are my favourite!
My favs are LEWEK, SUTHERLAND, PERETYATKO, DEUTEKOM (but not in this video), but the others are AMAZING too. POPP, VESENINA, Devieilhe, Serra, Dessay, Park, Damrau, Miklosa, Elmark, ...
Why do I keep hearing "gogogogogogooooh!" from Cristina Deutekom's runs??
It’s hahahahahahahahaha
❤❤❤ talente frumoase Cristina întradevăr regina câtă forță ,câtă expresivitate 🙏😘câtă ușurință
Popp for the clarity, Sutherland for the speed, then Dessay and Peters.
From this selection, the only one who truly possess the technic to execute the colorature with clarity, with color and IN TUNE is Sutherland.
Aside from the singing, I'm also enjoying the costumes a great deal. Because the Queen of the Night gets some really bonkers outfits sometimes.
Olga Peretyatko is also amazing here. ❤️❤️
Still Sabine, Sumi, Natalie, Jasna, Emma and Erika for me.
For me - Joan all the way!!!
😎😎😎
For me, technically speaking, it's Deutekom, Popp, and Dessay. From an acting perspective, it's Moser and Elmark. For speed, it's Sutherland. BUT, overall, I would have loved to have seen Roberta Peters do this role.
Luciana Serra es perfecta, una flauta, en tempo, staccato, cada nota en su lugar.
Edda Moser, Edita Gruberova, Lucia Popp and Mado Robin are awesome.
I am surprised nobody mentioned Kathryn Lewek, the residing top Queen since 10 years. And in Tales of Hoffmann this summer, in Ariodante several years ago, not to forget her Euridice (all in Salzburg) she made it to the top of my favorite singers (together with Jeanine de Bique).
Personal preference : Sabine Devieilhe and Olga peretyakto
But all of them sound fabulous ❤
Yes! Those two and Natalie Dessay are my top 3 picks. They have such clarity and ease.
Cristina deutekon is the best coloratura
La Stupenda takes the crown but I'm also partial to Edita and Lucia!
1:36 best soprano 🎤🎵🎶🎹🎻
This aria is so much harder than Der Hölle Rache. 😫
O Zittre Nicht definitely has more complexity and variable dynamics in range and style than Der Holle Rache.
In Der Holle Rache, the Queen is no longer holding back her anger and pretending to be a kindly woman and loving mother anymore. She’s playing the role of the villain of the story in a completely honest manner in Der Holle Rache by screaming at Pamina to kill Sarastro for her to get vengeance at the top of her lungs for five minutes straight. Yes, it’s lovely screaming because it’s still a beautifully composed aria by Mozart, but there’s not much depth, humanity, or mystery going on with the Queen anymore. She’s being portrayed as a deranged, power-hungry, and vengeful monster who we’re no longer supposed to sympathize with anymore.
In O Zittre Nicht, the Queen is trying to convince Tamino that she’s just a completely helpless, grieving, and kindhearted mother, so he’ll rescue Pamina. To be fair, the libretto for The Magic Flute is ridiculous propaganda to convince people to join the screwed up cult of free masons that Mozart’s friend Emmanuel Schikaneder wrote for him after he Wolfgang joined in his late twenties to early thirties because he was probably having a quarter/mid life crisis after getting married and having kids. Objectively speaking, Sarastro is an asshole who does deserve to be hated by the Queen for kidnapping her daughter, though asking Pamina to murder him for her was fucked up, especially since she could have just done it herself.
Anyway, back to O Zittre Nicht, it’s particularly difficult because you’re going through three distinct soprano styles. You start out as lyric, then dramatic, and finally coloratura. When singing this aria, melodically and lyrically, it’s not particularly difficult to memorize because it’s still music composed by Mozart. He knew how to make most of his arias pretty melodically catchy, which is why he’s the most popular composer for opera singers to learn, even today. However, in terms of range, technical skill and breath support, it requires very advanced skills for a soprano. Because it’s so distinctly clear and precise in its melodic structure, any note going even the slightest bit off the center of the pitch or messy diction will stick out.
Lucia Popp; Luciana Serra, Nathalie Dessay and Sabine Devieilhe; no contest
Emma Pearson looks like Elsa from Frozen
Luciana Serra Notes almost pitch perfect and so precise you cant distinguish the ornament and her voice..
The best: Edda Moser, Roberta Peters and Cristina Deutekom!!! They all have got the technique and a deep, deep breath!
Deutekom hands down is the best. You can tell how well someone sings by how little their face moves while they do it.
I would bet money that video of her is dubbed.
@@maryvallettakeith6146 Nope, that is her natural voice
@@nick.mccray That is a film production. she's lipsyncing to her own pre-recorded vocal. Her glottal stops are still amazing though.
How little someone's face moves while singing is not an accurate determination of how well they sing or how polished/professional/healthy their technique is. Just look at Cecilia Bartoli as a prime example of this. Her technique is flawless. She possesses one of the finest instruments in the history of opera. And her face moves -- a LOT -- when she sings.
Luciana Serra ❤️
All of these are incredible. But Natalie speaks to my heart. She doesn't sound human at all to me. She's amazing. .
Sutherland for me. Her HUGE voice in perfect tune and at an impossible speed takes the cake
The best in the world is Kathryn Lewek, She has done 50+ performances at the Met in the role of Queen of the Night and over 300 around the world. She commands the stage not only with her voice but also her theatrical performance
THIS.
@@vanessawhitneypro Lewek is the Queen of the Night from Hell. Her performance is beyond belief good, both singing and acting.
@@samsanders5100 YES! She is SUCH a force! Love to hear AND watch her!
Also unforgettable: Alla Solenkova, Ingeborg Hallstein, Lilly Pons, Sylvia Geszty, Zdzislawa Donat.
Too many soubrettes cackles and only one, real mother: Deutekom!
I'll go for Kathryn Lewek
#1 for me was Edda Moser. Sadly, the transposition that Sutherland took disqualified her. Otherwise, she would have been my #1. #2 is Deutekom (in spite of her "cluckatura"). Her voice just absolutely nails this role!
I wasn't really impressed with anyone else to rate them. (Too bad Rita Shane is missing, who was an amazing Queen of the Night!)
To the surprise of literally no one, the bel canto singers completely destroyed the competition
Shoutout to Mister Golightly for blessing my uncultured ears with these opera vids
Haha 💜
I know this is controversial but Deutekom will always be my favorite, followed close by Roberta Peters, who is - and I really don't get why - usually neglected. To me she was an incredible Queen of the Night, although I know actually nothing about opera.