Wow this was really one of the most marvelous interpretations of hers. The middle, high and lower notes sound very beautiful, seamlessly linked together, the phrasing is beautiful and moving, the trills really excelente, the pianissimi virtually flawless, and she even manages a beautiful messa di voce. Brava!
Good for her. This is better in her voice than the bel Canto which was always a hit and miss frankly. She feels more comfortable here. And easily handles the top. and the middle is dark and warm. Great job.
A pesar de su talante de spinto, Netrebko está increíblemente perfecta en esta dulce balanceante aria. Realmente no recuerdo una interpretación de la rusa mejor que esta, quién pensaría que lo suyo es Trovador, con lo que le gustan las cosas grandilocuentes como Turandot o Tosca. Su Tatiana es equiparable, y su Bohème quizá también. Un diez.
Big does not mean good. Her singing is a decent version but in large due to the lack of the better options today. But if you have an ear and a bit of taste, Caballe, Gencer, Price, Sutherland, and so many others were superior. It just breaks my heart that the audience is settling these days. In the 50’s or 60’s, even 70’s, she’d be lucky to be singing Mikaela in someone else’s Carmen. Just an opinion.
+Die Fledermichael Moffo was one of our best, So lovely inside and out...great breath-control and legato, and such a beautiful mellow voice. RIP Anna. But this Anna should not be compared to Moffo. Netrebko is a dramatic soprano and her voice is heavier, darker and bigger than Moffo's. Different voices bring out different shades of feelings. We might prefer one to the other, but varied interpretation of a role via the actor's voice and character (and staging) is what opera is all about. Cheers. BTW, what do you think of Fassbaender's Orlovsky?
+theinkbrain -- Thanks for your comments which are, of course, well taken. But I would like to add that when I, and some others, discuss Anna Moffo's recordings of much of the standard soprano rep we refer to many elements of her singing during her prime. Technically, her rhythmic sense and accuracy of pitch were demonstrably of a high order; also phrasing, observance of dynamics, outstanding breath control, and many other skills consonant with her thorough musical training, knowledge, and sheer level of talent. On the more subjective side, many of us feel that her glorious voice, versatility, sense of 'styles', intelligence, and uncanny emotional and interpretive insights were exceptional. She had the 'complete package' in her unique way, and could express the music in profound, moving, and beautiful ways. This is what all great musicians can do!
She unfortunately doesn’t sound like this nowadays. It’s sad. She is more strained from wear and tear in too heavy roles so now there is almost a wobble and her chestvoice is not good.
She got into a little trouble in "conforta." The production is horrible. The action takes place in the XV century, but there is Leonora (looking like a flight attendant) holding a pair of glasses, surrounded by meaningless sliding panels, and caressing a painting of someone playing the lute (Manrico, I suppose). Other than that, she was okay. She's no Leontyne Price.
ASAS ROSADAS A ária "D'amor sull'ali rosee" - Il Trovatore, do compositor Italiano Giuseppe Verdi, há suspiros e indagação do medo. A noite escura envolve o casal, a mulher chora com a dor, Sem ele saber. Será que sabia que tudo isto era arremedo? A aurora está raiando na madrugada, isto respira ao redor Trazendo lembranças de asas rosadas que memória grava Sem que ele sinta o está lhe acontecendo de mal a pior. D'amor sull'ali rosee, ária de Leonora, que tanto amava, Está no 4º ato, da ópera Il Trovatore, de Verdi, é um luar Escondido nas sombras das nuvens passando ao redor, Visão dos poetas cantando o amor que deve continuar Na atmosfera rosada em que o lirismo encontra o melhor Abrigo. Depois da pandemia no planeta o que é sofredor Será transformado em dádivas agradecidas ao Senhor. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ASAS ROSADAS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
That's what separates the wheat from the chaff: whether your live singing of the whole role matches your recording or your concert version. I still think that Netrebko doesn't quite have the technique for this role.
Beverly Hoch, a light coloratura, had excellent and reliable trills. Gruberova also was good. Callas was an excellent triller (she predates Sutherlands) and she could also trill in the chest register, which I haven't heard Dame Joan do. Sutherland was probably the best triller of all, except in very slow music like D'amo sul ali or Al dolce guidami; in these slow pieces, the trills were done well, but they were never fully integrated into the melody the same was Callas could mold the trills right into the line without ever breaking the legato. In fast music full of trills, nobody could beat Sutherland.
+Shahrdad Thank you for all the great information and a beautiful lesson. I learned a lot. Now I have to go in search of Beverly Hoch. On a different "note" I think that perhaps AN makes up for lack of finesse with her dramatic instincts. It is so difficult to find perfection isn't it? I find I can overlook some things if I can be carried away by the role and the artist, and that is what I tend the most to seek in a performance. And also I think AN's performances depend a great deal on whether or not she has chemistry with her partners. Thank you again, Cheers.
Anna is a wonderful stage creature and totally committed in her performances. I don't find her shading and word coloring that great, and I am not sure how well she speaks Italian or French. But she can certainly put the role across. I respect that she has been working hard on her singing. When she started out, she couldn't sing a trill, but now, in D'amor sul ali, she trills along with the best of them. My biggest worry is that roles like Lady Macbeth are going to do damage to her essentially lyric voice. I have always wished that she had studied further with a teacher of the bel canto technique before embarking on her big stage career. I think she could have been the best singer of that repertoire in her generation. But that reservation set aside, she is a wonderful performer with a glamorous, beautiful voice.
+Harold H Overstatement? It would be interesting to see which active female singer, in your opinion, has a voice more beautiful in timbre, with richness and evenness in all registers?
+VonEssek That's sad though that we only have ONE good soprano. Back in the days of the Callas--controlled Opera world, you had Callas, Telbadi, Sutherland, Price, Verrett, Sills, Moffom Cerquetti, Gencer, and so much more. Now you can barely name one or two without Netrebko's name being involved. Same goes for all vocal types.
Mediocre to passably good. Yes the trills are there but they are awkwardly attacked, the legato is poor, with her timing and phrasing all over the place. Emotional expression glacial.The production is revolting, like nearly everything in Salzburg nowadays. Imagine paying exorbitant ticket prices to see this monstrosity...
Netrebko knew how to sing. It was a correct performance, but she had already begun to abuse her chest voice, and in the high notes there was no purity of sound like Montserrat Caballe did.
💕🍀 내가 젤머코 시픈것 No2 새콤달콤한 동치미가.. 왠 여름에 감곡에 사는 여자들이 꽃 피는 원서헌에 놀러왔다 동치미 막국수 말아 점심 먹고 반주로 마신 쐬주의 술기운이 노을빛으로 알싸하게 물들 때 찰칵찰칵 사진을 찍었다 내 옆에 선 여자가 살갑게 말했다 -이래도 되죠? 내 팔짱을 꼭 꼈다 -더 꼬~옥 !옆에... 사진 찍는 여자가 호들갑을 떨었다 이럴 때면 나는 마아냥 달콤한, 음휴ㅇ한 생각에 푹 빠진다 나랑 사랑이 하고 싶은 걸까? 헤어질 때 또 팔짱을 꼭 꼈다 나는 살짝 속삭였다 -나랑 동침 (同寢) 이 하고 싶지? ㅋ 속삭이는 내 말을 듣고 그 여자는 눈을 동그랗게 크게 떴다 -동치미 먹고 싶으세요? 엥 ~ 이 거시기한 분위기에 왠 동치미!!! 흐흑 ㅋ ㅋ 나는 꼬~옥 이렇다니까! 죽도 밥도 아닌 내인생이여... ㅎㅡ흑
![[LIVE] : ONE ลุมพินี 83 วันนี้!! คู่เอก "พันฤทธิ์ vs ซุปเปอร์บอล วันของโอม MBK"](http://i.ytimg.com/vi/1b4pkKHa_Fk/mqdefault.jpg)
Wow this was really one of the most marvelous interpretations of hers. The middle, high and lower notes sound very beautiful, seamlessly linked together, the phrasing is beautiful and moving, the trills really excelente, the pianissimi virtually flawless, and she even manages a beautiful messa di voce. Brava!
Excelente interpretación !!!!! Eres genial Anna !!!
Estupenda!!! Como siempre !!!
Je l'ai entendu à l'opéra Bastille la semaine dernière, INCROYABLE !!!! Encore mieux que dans cette version, sans fausses notes... Elle est incroyable
+Gaspard de Lencquesaing What false notes?
Gaspard de Lencques
It's not false notes, its little bugs in her voice (stops)
Good for her. This is better in her voice than the bel Canto which was always a hit and miss frankly. She feels more comfortable here. And easily handles the top. and the middle is dark and warm. Great job.
Daniel Raphael IL trovatore is bel Canto...
@@dabi5144 In my opinion, Verdi is the middle way between Bel Canto and Verismo
A pesar de su talante de spinto, Netrebko está increíblemente perfecta en esta dulce balanceante aria. Realmente no recuerdo una interpretación de la rusa mejor que esta, quién pensaría que lo suyo es Trovador, con lo que le gustan las cosas grandilocuentes como Turandot o Tosca. Su Tatiana es equiparable, y su Bohème quizá también. Un diez.
Блестяще! Здесь блестяще поет! Хотя я не поклонница Анны, но вот здесь отлично исполнила ❤
Big does not mean good. Her singing is a decent version but in large due to the lack of the better options today. But if you have an ear and a bit of taste, Caballe, Gencer, Price, Sutherland, and so many others were superior. It just breaks my heart that the audience is settling these days. In the 50’s or 60’s, even 70’s, she’d be lucky to be singing Mikaela in someone else’s Carmen. Just an opinion.
Sublime
Es su mejor papel
It's obvious that many have not heard Anna Moffo's version of this aria on youtube!
+Die Fledermichael Moffo was one of our best, So lovely inside and out...great breath-control and legato, and such a beautiful mellow voice. RIP Anna. But this Anna should not be compared to Moffo. Netrebko is a dramatic soprano and her voice is heavier, darker and bigger than Moffo's. Different voices bring out different shades of feelings. We might prefer one to the other, but varied interpretation of a role via the actor's voice and character (and staging) is what opera is all about. Cheers.
BTW, what do you think of Fassbaender's Orlovsky?
+theinkbrain -- Thanks for your comments which are, of course, well taken. But I would like to add that when I, and some others, discuss Anna Moffo's recordings of much of the standard soprano rep we refer to many elements of her singing during her prime. Technically, her rhythmic sense and accuracy of pitch were demonstrably of a high order; also phrasing, observance of dynamics, outstanding breath control, and many other skills consonant with her thorough musical training, knowledge, and sheer level of talent. On the more subjective side, many of us feel that her glorious voice, versatility, sense of 'styles', intelligence, and uncanny emotional and interpretive insights were exceptional. She had the 'complete package' in her unique way, and could express the music in profound, moving, and beautiful ways. This is what all great musicians can do!
I agree about all you say about Moffo, and I love her.
Only one problem, Moffo never sang Leonora on stage.
She unfortunately doesn’t sound like this nowadays. It’s sad. She is more strained from wear and tear in too heavy roles so now there is almost a wobble and her chestvoice is not good.
Diosa
È una grande la migliore 🤗♥️♥️♥️♥️♥️♥️♥️
Brava Anna. Genial
Very beautiful voice, not a verdian Leonora but good enough. The ridiculous production spoils everything, though.
She got into a little trouble in "conforta." The production is horrible. The action takes place in the XV century, but there is Leonora (looking like a flight attendant) holding a pair of glasses, surrounded by meaningless sliding panels, and caressing a painting of someone playing the lute (Manrico, I suppose). Other than that, she was okay. She's no Leontyne Price.
Wow
Beautiful voice !
ASAS ROSADAS
A ária "D'amor sull'ali rosee" - Il Trovatore, do compositor
Italiano Giuseppe Verdi, há suspiros e indagação do medo.
A noite escura envolve o casal, a mulher chora com a dor,
Sem ele saber. Será que sabia que tudo isto era arremedo?
A aurora está raiando na madrugada, isto respira ao redor
Trazendo lembranças de asas rosadas que memória grava
Sem que ele sinta o está lhe acontecendo de mal a pior.
D'amor sull'ali rosee, ária de Leonora, que tanto amava,
Está no 4º ato, da ópera Il Trovatore, de Verdi, é um luar
Escondido nas sombras das nuvens passando ao redor,
Visão dos poetas cantando o amor que deve continuar
Na atmosfera rosada em que o lirismo encontra o melhor
Abrigo. Depois da pandemia no planeta o que é sofredor
Será transformado em dádivas agradecidas ao Senhor. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ASAS ROSADAS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Super! Leider singt sie heute nicht mehr so.
Verissimo ,peccato!La voce correva per tutto il teatro...
¡¡¡Prodigiosa!!!
La elegancia de la música 100% del mundo entero
Please , what's the name of conductor .? Thanks
game killeuse Daniele Gatti was conducting
Voxinelle Channel
Merci !!
PERFECT
Her concert version in Berlin is far superior to this, with better integrated trills and better overall quality.
That's what separates the wheat from the chaff: whether your live singing of the whole role matches your recording or your concert version. I still think that Netrebko doesn't quite have the technique for this role.
+John Jones And could it be that anyone since Sutherland has had a completely reliable trill?
Beverly Hoch, a light coloratura, had excellent and reliable trills. Gruberova also was good. Callas was an excellent triller (she predates Sutherlands) and she could also trill in the chest register, which I haven't heard Dame Joan do. Sutherland was probably the best triller of all, except in very slow music like D'amo sul ali or Al dolce guidami; in these slow pieces, the trills were done well, but they were never fully integrated into the melody the same was Callas could mold the trills right into the line without ever breaking the legato. In fast music full of trills, nobody could beat Sutherland.
+Shahrdad Thank you for all the great information and a beautiful lesson. I learned a lot. Now I have to go in search of Beverly Hoch.
On a different "note" I think that perhaps AN makes up for lack of finesse with her dramatic instincts. It is so difficult to find perfection isn't it? I find I can overlook some things if I can be carried away by the role and the artist, and that is what I tend the most to seek in a performance. And also I think AN's performances depend a great deal on whether or not she has chemistry with her partners. Thank you again, Cheers.
Anna is a wonderful stage creature and totally committed in her performances. I don't find her shading and word coloring that great, and I am not sure how well she speaks Italian or French. But she can certainly put the role across. I respect that she has been working hard on her singing. When she started out, she couldn't sing a trill, but now, in D'amor sul ali, she trills along with the best of them. My biggest worry is that roles like Lady Macbeth are going to do damage to her essentially lyric voice. I have always wished that she had studied further with a teacher of the bel canto technique before embarking on her big stage career. I think she could have been the best singer of that repertoire in her generation. But that reservation set aside, she is a wonderful performer with a glamorous, beautiful voice.
Sloppy.
The greatest voice of our time!
+Harold H Overstatement? It would be interesting to see which active female singer, in your opinion, has a voice more beautiful in timbre, with richness and evenness in all registers?
None, unfortunately. And In my country we say "among the blind, the one-eyed reigns"
+VonEssek That's sad though that we only have ONE good soprano. Back in the days of the Callas--controlled Opera world, you had Callas, Telbadi, Sutherland, Price, Verrett, Sills, Moffom Cerquetti, Gencer, and so much more. Now you can barely name one or two without Netrebko's name being involved. Same goes for all vocal types.
la Yoncheva per esempio... vero che ha un altro repertorio; la Jaho in certe cose mi piace, in certe altre mah...
VonEssek Not anymore...
the very best voice
Perfetta
Brava! Amazing Anna!
marvellous
Mediocre to passably good. Yes the trills are there but they are awkwardly attacked, the legato is poor, with her timing and phrasing all over the place. Emotional expression glacial.The production is revolting, like nearly everything in Salzburg nowadays. Imagine paying exorbitant ticket prices to see this monstrosity...
Netrebko knew how to sing. It was a correct performance, but she had already begun to abuse her chest voice, and in the high notes there was no purity of sound like Montserrat Caballe did.
💕🍀
내가 젤머코 시픈것 No2
새콤달콤한 동치미가..
왠 여름에
감곡에 사는 여자들이
꽃 피는 원서헌에 놀러왔다
동치미 막국수 말아 점심 먹고
반주로 마신 쐬주의
술기운이 노을빛으로
알싸하게 물들 때
찰칵찰칵 사진을 찍었다
내 옆에 선 여자가 살갑게 말했다
-이래도 되죠?
내 팔짱을 꼭 꼈다
-더 꼬~옥 !옆에...
사진 찍는 여자가
호들갑을 떨었다
이럴 때면
나는 마아냥
달콤한, 음휴ㅇ한 생각에
푹 빠진다
나랑 사랑이 하고 싶은 걸까?
헤어질 때
또 팔짱을 꼭 꼈다
나는 살짝 속삭였다
-나랑 동침 (同寢) 이 하고 싶지? ㅋ
속삭이는 내 말을 듣고
그 여자는
눈을 동그랗게 크게 떴다
-동치미 먹고 싶으세요?
엥 ~
이 거시기한 분위기에
왠 동치미!!! 흐흑
ㅋ ㅋ
나는 꼬~옥 이렇다니까!
죽도 밥도 아닌 내인생이여...
ㅎㅡ흑
Die beste Leonora unserer Tage, unglaublich die dunklen Töne...
👎👎👎Sorry.
Co-conforta... Yikes!
Und die hohen sowieso...
Beautiful voice, with very few emotions
Horror
Ma perché mai?!!!!!Non è la Callas ne la Tebaldi ma ad averne voci così!Sempre a denigrare state!
Geniale