I must say, in my fifty years of opera listening, this is the first time I have heard this role sung by an artist who is actually fulfilling Donizetti's requirements. Sutherland's lack of weight in the middle voice and use of transpositions puts her out of court for me, although surprisingly the dramatic side is rather well done in her portrayal. Sills and Gruberova should never have gone near the part, and much as I love her, Caballé just sings 'too pretty' for this. This lady really understands Donizettian rhetoric, and as Lohengrin points out, gives us Maria Stuarda at full strength and with no compromises. Dare I hope she will undertake to perform Gemma di Vergy?
I think she is the first real Assoluta of the 21st century... she is not Callas or Sutherland, but she can really sing the Assoluta repertoire without cuts and compromises... and we are discussing THE most difficult singing ever written for a human voice... she is extraordinary
@@LohengrinO This is why so few singers are successful in this repertoire. Callas is the only artist I know of who was able to fully encompass the demands of the assoluta roles which she undertook, and to do it brilliantly, as to the manner born. I would love to hear La Rebeka as Lady Macbeth, Armida and Medea.
@@jasonhurd4379 Hmmm...Armida, definitely. But not convinced re: Lady Macbeth or Medea. Maybe. But to me, both roles need a much harsher, choked sound to really excel. Rebeka's voice may still be too rich and beautiful a sound to pull them off. But, then again, maybe she has the ability to color her voice for the effect like Callas did. (It was actually hearing those 2 specific roles that finally got me to adore Callas. I didn't care for her at first, but that was because all I really had heard was her '59 studio recording of Lucia.) It would be interesting to see if she could color her voice for the roles.
Finally a soprano with a REAL voice, and a solid technique. No gimmicks, no short cuts no cheating. Fantastic to behold. Long may she flourish for all of us to admire and enjoy. Congratulations
This is the kind of singing that made me love Donizetti. It's incredibly beautiful music, but it needs the right vehicle to be able to move around and have a real impact. The control here is superb, with piani, mezze di voce, but most importantly, a musical understanding of what is to be sung. Thus, this ends up being a very tasteful interpretation of Donizetti's genius. I'm genuinely impressed.
Tomba 2 this was Werther at the MET 2014 or 15. My first time seeing an opera there. Wether was Kaufmann, Charlotte was Sophie Koch. Lisette was Sophie naturally. Not a fantastic role but she has a pretty nice aria for a light lyric. Anyway, she was a bright spot vocally and with her stage presence. Everything was easy and seamless, bright and warm which matched the character perfectly (Sophie is 15.) she skipped onstage while holding her last A in the aria without losing support. And in Werther with its super psychological drama and ultra dark nature (amplified too by Kaufman’s technique which is to darken EVERYTHING although this is one of the only places it works well.) I always perked my ears up when Lisette walked onstage. She was wonderful and left a lasting impression. I’m glad she’s found success and it rising to the operatic forefront. I’ve been rooting for her for a while. She’s also very good to her fans and has had brief conversation with me on Facebook. Lovely voice, lovely person.
whoa~! She's so good, definatly top of my list 'to watch out for'! I love that it's not just 'notes notes notes HIGH NOTE'....she totally feels it an takes us on the ride like a coaster. Good thing we can replay the clip, I wanna go again!
Finalmente una cantante che sa cantare e con una voce bellissima e particolare , senza bisogno di forzature e con acuti pieni e squillanti. Siamo su un altro pianeta rispetto alle voci più note in circolazione. I grandi teatri dovrebbero fare a gara per averla!
WOW WOW!!!! I LOVE HER. She sounds like one of those great, ballsey but feminine 50s Italian sopranos who knew how to sing in La Scala or a local Italian Bistro for tips. I FEEL her, and that has always been my measuring stick. BRAVA!!!
Amazing! Of course when it comes to listening to recordings I will always fall back on the big three - sutherland, callas, caballe - but she is the only voice today capable of doing justice to some of this fantastic and horribly difficult music.
I was at her concert on 21st March in Paris where she sang marvelously Donizetti and Bellini and the audience was absolutely conquered. The ovation she received was unequivocal.
We will never hear such artistes live in this part of the world unfortunately. We have to depend on recordings, youtube or travels to hear such wonderful singing. But still this something to celebrate....
Bravo Marina,quelle belle voix.Bonne chance pour le future Comme connaiseur,- j´ai vue, La Callas,Tebaldi,Sutherland etc. Je vous consaille aussi Mercadante. by by
In some places she does some things, which were brilliant in Gencer, with the same effect. One I especially liked there, is how her voice becomes united with the violins on the lasts note of act 2, and then they slowly drops out of this in the finale cadences. - But the feeling is exactly that with the best modern singers, the work with its unity of stage and pit is the true star.
... Cantante superba e bellissima donna Soprano di alto spessore Marina Rebeka... un vero gioiello della Lirica!! Grazie caro Lohengrin0 per questo regalo e per tutti quelli che verranno ahahahah... vedi come butto le mani avanti??? Ciao.. Ciao Lohengrin0... Un caro saluto da Elsa.
at the second Roberto, in the beginning, she closes her cords directly upon the high tonality without scooping etc... amazing!! I think all these people who bad mouth her are just parrot-repeating things they have read about her
because Netrebko is a super star and Marina not yet... she will be singing Norma in Hamburg in 2020 and all I have to say after hearing recently her Seattle Norma is how on earth she still has a voice to sing well after singing like that (full forte dramatic Voice without the slightest compromise)… and we are discussing a 3+ octave singer who keeps singing Violeta's Eb6 and C6s and D6s in every single one of her many Traviata performances
@@LohengrinO If she loses her voice at least she'll lost it singing without the slightest compromise as you said; everything or nothing at all, so much dignity in that. On the other hand she's waited for her voice to fully bloom before doing this all, maybe and this is just wishful thinking (very naively of me), she'll have a longer career than we expect her to have.
@@mariomolinaorbea2180 exactly... she waited for her voice to strengthen step by step before diving into the Assoluta repertoire and I think that will protect it from premature aging... and indeed when she loses it, she will have sung several vocal destroyers and quite well... above all, I like to hear to her recordings of the Assoluta roles :D I play and replay them... doesn't happen to me often with any singer in this most Diabolical repertoire
@@LohengrinO Yes! That opening messa di voce grabbed me instantly, and the high notes are great too (there's a video of her recording of Spirito where you can see all the choir's members in shock listening to her).
Ayer se inició la temporada de ópera en el Municipal de Santiago Ópera Nacional de Chile con La Fuerza del Destino. Puesta en escena, orquesta, coro y solistas excelentes donde descolló como Leonora la gran soprano Oksana Sekerina.
i've only heard her live 3x in NYC, first in a concert version of "moise et pharaon" and then donna anna at the met, and later in "guillaume tell." i've always thought she was a superstar, the voice is so bright and silvery, and so pretty, and incredible technique. i'm surprised at her going into a more dramatic direction. please, no medea for her... what's next, abigaille? and yes, she's far better than netrebko or radvanovsky any day...
I think she said she wont delve into the very heavy repertoire... she was offered Abigaille and I think she replied: it is one thing to be able to sing it in studio and a totally another onstage (implying she wont or cant - ) She has been singing Norma beautifully for years now and no sign of vocal loss... I also hope she doesn't start screaming and destroy her Instrument
@@LohengrinO i cannot believe anyone would offer her abigaille. my comment was addressed to the one below that said she should sing medea... few people might know that scotto recorded abigaille. she had a tiny voice but she thought she should be a dramatic soprano. she tried things like gioconda and elena (vespri), by pumping up the chest voice... it was just ugly. terrible choices she made. rebeka's voice is so pretty and pure, she should never damage it by going too big. i was surprised by some of her choices, but i'm glad she's finding a more dramatic persona. i'd love to hear her sing more rossini rarities.
It has to be incredibly demotivating when you are this good - excellent by today’s standards - and you’re not equally famous and highly paid as those useless marketing stunts like Netrebko and Bartoli. Hope she doesn’t give up!
What you people are talking about? She's not as famous as Netrebko, but is definitely one of the most celebrated sopranos now and since some years ago she's been always singing at all the most important opera theaters of the world in main roles to great acclaim. Name it: Met, Paris Opera, Covent Garden, Scala, Munich, Berlin, Wiener Staatsoper, Liceu de Barcelona... Maybe she's not a bestseller of albums (very few singers are today), but she's definitely an A top tier among the world's sopranos nowadays.
@@LohengrinO She is also helped by the fantastic reading of the score by Arrivabeni. In this production the work really becomes the star, with every nuance of the score given dramatic impact in duet with the scenic and vocal action.
I don't understand why some people can't enjoy a woman's talent without bringing up other women and dissing them, as if all women are supposed to be rivals. Can we stop with these inane comparisons? They were gauche in the times of Callas/Tebaldi and they're gauche now. And kinda misogynistic.
There is nothing misogynistic about comparisons. People are compared to each other in any profession or field regardless of their gender performativity. Misogynistic would be: talking about the soprano's hairdo or makeup while criticizing the tenor's singing. And i agree with Lohengrin. You can't compare coke to champagne.
She's awesome. And this aria is the highlight of the "Spirito" recording. I've to notice that she has a kind of bottled sound in the lower register like Callas in later years, its difficult to describe. But i have some doubts that her gifted voice will have a long-lasting career with this singing without regard to losses.
Όταν στα 39 της χρόνια δεν έχασε την φωνή της, νομίζω ότι ξέρει να την προστατεύει. Δεν νομίζω ότι θα γίνει δεύτηυερη Σουλιώτη τώρα πια. Καταπληκτική φωνή, πάντως. Να είσαι καλά.
thank you very much for the correction (corrected) - my ear was between Eb6 and D6 but I was never really able to make the distinction by ear alone only by feeling the Placement of each singer and I dont know Marina that well
I saw her as Mathilde in Guillaume Tell at the Met. Very good singer. But I also liked Sills in this role (I saw her do it onstage), and honestly I think Sutherland is the standard in bel canto. I just can’t understand the Callas worship on any level. Sorry, I guess I’m missing the gene.
Έχω παρατηρήσει ότι σε πολλά βιντεό σου δεν υπάρχει η ημερομηνία ανάρτησης, εκτός κι αν δεν την βλέπω. Γιατί άραγε; Εξαρτάται αυτό από τον ιδιοκτήτη τού καναλιού;
Very good, I haven t heard her live, but I m not sure if she uses a good position of her voice...and I don t want this voice with the pressure of fame, too much contracts...etc... become tired or damaged. I don t were s she from but something strange is in the pronuciation and position of vowels and can be dangerous by time.
She has already been singing a VAST repertoire for over 15 years and she still sounds rock solid... on the other hand several other brilliant singers who sing 3-4 roles altogether have already developed Wobble... Marina with her repertoire already deserves the title Maestra
@@ramoncifuentes4664 have you got a glimpse of her repertoire and she has sung them all exquisitely... Violetta, Norma, Donna Anna, Desdemona, Bolena, Imogene, Maria Stuarda, Anna Erisso, Mathilde, Amelia Boccanegra, Thais, Devereux Elisabetta (in concert), Antonia, Tatiana, Mimi, Vitellia, Trovatore Leonora, Lucia, Queen of the Night (studio), Margherite (Gounod), Juliette (Romeo et Juliette), Luisa Miller, Nedda (Pagliacci), Elcia (Mose in Egitto) and 99% of them live onstage productions with multiple performances (she has been singing Norma for 10 years now - full ranged Norma from top to bottom)... we havent seen the likes of a singer like this since Caballe (50% of roles were done when Montsy had lost her voice)
Lohengrin O Ich habe Marina in Wien gehoert.Sie hat Violetta gesungen.Fuer mich alles klar.Sehr gute Stimme,aber das ist zu venig.Das ist meine Meinung.Vielen Dank fuer alles!!!!🌷
I must say, in my fifty years of opera listening, this is the first time I have heard this role sung by an artist who is actually fulfilling Donizetti's requirements. Sutherland's lack of weight in the middle voice and use of transpositions puts her out of court for me, although surprisingly the dramatic side is rather well done in her portrayal. Sills and Gruberova should never have gone near the part, and much as I love her, Caballé just sings 'too pretty' for this. This lady really understands Donizettian rhetoric, and as Lohengrin points out, gives us Maria Stuarda at full strength and with no compromises. Dare I hope she will undertake to perform Gemma di Vergy?
Im begging her to sing Gemma in her next Spirito album in her Facebook page... she is currently recording a complete Traviata
@@LohengrinO I look forward to it!
I think she is the first real Assoluta of the 21st century... she is not Callas or Sutherland, but she can really sing the Assoluta repertoire without cuts and compromises... and we are discussing THE most difficult singing ever written for a human voice... she is extraordinary
@@LohengrinO This is why so few singers are successful in this repertoire. Callas is the only artist I know of who was able to fully encompass the demands of the assoluta roles which she undertook, and to do it brilliantly, as to the manner born. I would love to hear La Rebeka as Lady Macbeth, Armida and Medea.
@@jasonhurd4379 Hmmm...Armida, definitely. But not convinced re: Lady Macbeth or Medea. Maybe. But to me, both roles need a much harsher, choked sound to really excel. Rebeka's voice may still be too rich and beautiful a sound to pull them off. But, then again, maybe she has the ability to color her voice for the effect like Callas did. (It was actually hearing those 2 specific roles that finally got me to adore Callas. I didn't care for her at first, but that was because all I really had heard was her '59 studio recording of Lucia.) It would be interesting to see if she could color her voice for the roles.
Finally a soprano with a REAL voice, and a solid technique. No gimmicks, no short cuts no cheating. Fantastic to behold. Long may she flourish for all of us to admire and enjoy. Congratulations
This is the kind of singing that made me love Donizetti. It's incredibly beautiful music, but it needs the right vehicle to be able to move around and have a real impact. The control here is superb, with piani, mezze di voce, but most importantly, a musical understanding of what is to be sung. Thus, this ends up being a very tasteful interpretation of Donizetti's genius. I'm genuinely impressed.
J.J. Schlachtfeld I totally agree with you my friend. My DAD would of loved her as well. Arnold Bourbon Amaral 👱👴🌹🌿🌏🌎🌍🎼🎶🎻🎵
A focused sound, even voice from top to bottom, impeccable diction. Bravissima!
Someone to be excited about in today’s singing.... which is a rare thing.
Another new singer I like is Lisette Oropesa, have you listened to her?
Francesco - yes I too like Lisette. I’ve seen her live before, before she was popular.
Tomba 2 this was Werther at the MET 2014 or 15. My first time seeing an opera there. Wether was Kaufmann, Charlotte was Sophie Koch. Lisette was Sophie naturally. Not a fantastic role but she has a pretty nice aria for a light lyric. Anyway, she was a bright spot vocally and with her stage presence. Everything was easy and seamless, bright and warm which matched the character perfectly (Sophie is 15.) she skipped onstage while holding her last A in the aria without losing support. And in Werther with its super psychological drama and ultra dark nature (amplified too by Kaufman’s technique which is to darken EVERYTHING although this is one of the only places it works well.) I always perked my ears up when Lisette walked onstage. She was wonderful and left a lasting impression. I’m glad she’s found success and it rising to the operatic forefront. I’ve been rooting for her for a while. She’s also very good to her fans and has had brief conversation with me on Facebook. Lovely voice, lovely person.
@@francesco-9579 I try not too my friend. Her Manon was a circus. And the tenor was even worse. Sorry my friend. Arnold Bourbon Amaral 💙🐫😷
@@manolis.799 Are we here commenting on Marina Rebeka's singing or Lisette Oropesa's!!🙄
whoa~! She's so good, definatly top of my list 'to watch out for'! I love that it's not just 'notes notes notes HIGH NOTE'....she totally feels it an takes us on the ride like a coaster. Good thing we can replay the clip, I wanna go again!
Finalmente una cantante che sa cantare e con una voce bellissima e particolare , senza bisogno di forzature e con acuti pieni e squillanti. Siamo su un altro pianeta rispetto alle voci più note in circolazione. I grandi teatri dovrebbero fare a gara per averla!
WOW WOW!!!!
I LOVE HER. She sounds like one of those great, ballsey but feminine 50s Italian sopranos who knew how to sing in La Scala or a local Italian Bistro for tips. I FEEL her, and that has always been my measuring stick. BRAVA!!!
Rebeka was my first live Violetta. Just amazing.
Amazing! Of course when it comes to listening to recordings I will always fall back on the big three - sutherland, callas, caballe - but she is the only voice today capable of doing justice to some of this fantastic and horribly difficult music.
Finally! A real soprano voice! A real soprano singer!
I revisit this link almost every day. I am going to her concert 21st March in Paris. I hope she will sing this aria.
I was at her concert on 21st March in Paris where she sang marvelously Donizetti and Bellini and the audience was absolutely conquered. The ovation she received was unequivocal.
@@claudineshafa5546 I can only speak my own mind.
Espledidísima. Que hermosa luce en la foto. Muchas gracias y saludos desde Santiago de Chile
Thanks for introducing her to me.
Grandiose ! Very much looking forward to her Maria Stuarda in Amsterdam next year.
Very beautiful voice.
Magnifique voix! belle technique ! Bravissima! Merci
We will never hear such artistes live in this part of the world unfortunately. We have to depend on recordings, youtube or travels to hear such wonderful singing. But still this something to celebrate....
Fantastic!
Superb! I knew her name, but hadn't heard her till this amazing display. Thank you! A new gem to cherish!
kisses!!
I like😊. Thank you for posting.
Bravo Marina,quelle belle voix.Bonne chance pour le future
Comme connaiseur,- j´ai vue, La Callas,Tebaldi,Sutherland etc.
Je vous consaille aussi Mercadante. by by
Trivia..I know! But what an exquisite PHOTOGRAPH of the doomed Queen!
I like her cd (spirito) but she's even more exciting live
In some places she does some things, which were brilliant in Gencer, with the same effect. One I especially liked there, is how her voice becomes united with the violins on the lasts note of act 2, and then they slowly drops out of this in the finale cadences. - But the feeling is exactly that with the best modern singers, the work with its unity of stage and pit is the true star.
My fav youtube user ! ❤️
Bravissima !!!!
... Cantante superba e bellissima donna Soprano di alto spessore Marina Rebeka... un vero gioiello della Lirica!! Grazie caro Lohengrin0 per questo regalo e per tutti quelli che verranno ahahahah... vedi come butto le mani avanti??? Ciao.. Ciao Lohengrin0... Un caro saluto da Elsa.
Davanti e sopra !!!
@@LohengrinO.... Meno male che sei anche spiritoso!! Mi fa piacere saperlo... di nuovo un saluto e una buona serata caro Lohengrin0. 😁😁😁😁😁😁😁😁😁😁😁😁Elsa
Davvero ben cantato e splendida direzione e orchestra
❤
Arte
Une superbe chanteuse mais surtout une interprète profonde et électrisante.
0:14 An absolutely perfect messa di voce from a modern singer. Where can we find another?
at the second Roberto, in the beginning, she closes her cords directly upon the high tonality without scooping etc... amazing!! I think all these people who bad mouth her are just parrot-repeating things they have read about her
@@LohengrinO Her portamento indeed is one of the greatest I've heard (ever).
@@LohengrinO What bad things could they possibly have to say about her? She's amazing!
Why is Netrebko opening theater seasons and not this lady?
because Netrebko is a super star and Marina not yet... she will be singing Norma in Hamburg in 2020 and all I have to say after hearing recently her Seattle Norma is how on earth she still has a voice to sing well after singing like that (full forte dramatic Voice without the slightest compromise)… and we are discussing a 3+ octave singer who keeps singing Violeta's Eb6 and C6s and D6s in every single one of her many Traviata performances
@@LohengrinO If she loses her voice at least she'll lost it singing without the slightest compromise as you said; everything or nothing at all, so much dignity in that. On the other hand she's waited for her voice to fully bloom before doing this all, maybe and this is just wishful thinking (very naively of me), she'll have a longer career than we expect her to have.
@@mariomolinaorbea2180 exactly... she waited for her voice to strengthen step by step before diving into the Assoluta repertoire and I think that will protect it from premature aging... and indeed when she loses it, she will have sung several vocal destroyers and quite well... above all, I like to hear to her recordings of the Assoluta roles :D I play and replay them... doesn't happen to me often with any singer in this most Diabolical repertoire
@@LohengrinO Yes! That opening messa di voce grabbed me instantly, and the high notes are great too (there's a video of her recording of Spirito where you can see all the choir's members in shock listening to her).
I’m still hoping SF Opera will pull their heads out of their collective rumps and offer her a contract.
Ayer se inició la temporada de ópera en el Municipal de Santiago Ópera Nacional de Chile con La Fuerza del Destino.
Puesta en escena, orquesta, coro y solistas excelentes donde descolló como Leonora la gran soprano Oksana Sekerina.
i've only heard her live 3x in NYC, first in a concert version of "moise et pharaon" and then donna anna at the met, and later in "guillaume tell." i've always thought she was a superstar, the voice is so bright and silvery, and so pretty, and incredible technique. i'm surprised at her going into a more dramatic direction. please, no medea for her... what's next, abigaille?
and yes, she's far better than netrebko or radvanovsky any day...
I think she said she wont delve into the very heavy repertoire... she was offered Abigaille and I think she replied: it is one thing to be able to sing it in studio and a totally another onstage (implying she wont or cant - ) She has been singing Norma beautifully for years now and no sign of vocal loss... I also hope she doesn't start screaming and destroy her Instrument
@@LohengrinO i cannot believe anyone would offer her abigaille. my comment was addressed to the one below that said she should sing medea...
few people might know that scotto recorded abigaille. she had a tiny voice but she thought she should be a dramatic soprano. she tried things like gioconda and elena (vespri), by pumping up the chest voice... it was just ugly. terrible choices she made.
rebeka's voice is so pretty and pure, she should never damage it by going too big. i was surprised by some of her choices, but i'm glad she's finding a more dramatic persona. i'd love to hear her sing more rossini rarities.
Super finalmente ma non esageri in ruoli troppo impegnativi che potrebbero danneggiare la sua splendida e potente voce. Vedi Netrebko
Finalmente una voce sana, piena mai forzata con un bel bel timbro e con una dizione perfetta. Brava
❤🎶🌿🌻🌼🍋🇻🇦✝️🇻🇦🍋🪢🌿💐🌻🧸📚🌸📃⛑🌺😊❤🌿⛑🇲🇬🫂🇲🇬🎶✒🦁🌿🪢🌻💐🌼🌿⛑🌸🌺🎶🌿💐🌸⛑🌼✒📃📚🌺🇻🇦✝️🇻🇦🪢🍋🧸🌻❤😊🌿🙋♂️
It has to be incredibly demotivating when you are this good - excellent by today’s standards - and you’re not equally famous and highly paid as those useless marketing stunts like Netrebko and Bartoli.
Hope she doesn’t give up!
she wont, she is slowly rising to super star status
What you people are talking about? She's not as famous as Netrebko, but is definitely one of the most celebrated sopranos now and since some years ago she's been always singing at all the most important opera theaters of the world in main roles to great acclaim. Name it: Met, Paris Opera, Covent Garden, Scala, Munich, Berlin, Wiener Staatsoper, Liceu de Barcelona... Maybe she's not a bestseller of albums (very few singers are today), but she's definitely an A top tier among the world's sopranos nowadays.
@@Homoclassicus ...plus Bartoli in her prime was one of the greatest Virtuosos Opera has ever seen
@@LohengrinO She is also helped by the fantastic reading of the score by Arrivabeni. In this production the work really becomes the star, with every nuance of the score given dramatic impact in duet with the scenic and vocal action.
Потрясающе!
Voce interessante, interpretazione non perfetta ma si farà. Non dimentichiamo però le Stuarde della Genger e della Caballè!
I don't understand why some people can't enjoy a woman's talent without bringing up other women and dissing them, as if all women are supposed to be rivals. Can we stop with these inane comparisons? They were gauche in the times of Callas/Tebaldi and they're gauche now. And kinda misogynistic.
There is nothing misogynistic about comparisons. People are compared to each other in any profession or field regardless of their gender performativity. Misogynistic would be: talking about the soprano's hairdo or makeup while criticizing the tenor's singing. And i agree with Lohengrin. You can't compare coke to champagne.
Saïd Mrabet Totally agree. Birgit Nilsson said, “We each get our best reviews when someone else is singing!”
Well said SAID MRABET. my sentiments exactly.
@@wotan10950 ahahahahaha GODDESS!!!
😂
She's awesome. And this aria is the highlight of the "Spirito" recording. I've to notice that she has a kind of bottled sound in the lower register like Callas in later years, its difficult to describe. But i have some doubts that her gifted voice will have a long-lasting career with this singing without regard to losses.
Όταν στα 39 της χρόνια δεν έχασε την φωνή της, νομίζω ότι ξέρει να την προστατεύει. Δεν νομίζω ότι θα γίνει δεύτηυερη Σουλιώτη τώρα πια. Καταπληκτική φωνή, πάντως.
Να είσαι καλά.
The final note is a D. The opera ends in D major.
thank you very much for the correction (corrected) - my ear was between Eb6 and D6 but I was never really able to make the distinction by ear alone only by feeling the Placement of each singer and I dont know Marina that well
Electrisant !
Interessante
VERY very interessante.
Mmmmmmmmm!!!!!!!!
full Body focused singing with extreme low and extreme top notes (more than 3 octaves range)... my favorite today along with Julia Lezhneva
I saw her as Mathilde in Guillaume Tell at the Met. Very good singer. But I also liked Sills in this role (I saw her do it onstage), and honestly I think Sutherland is the standard in bel canto. I just can’t understand the Callas worship on any level. Sorry, I guess I’m missing the gene.
Έχω παρατηρήσει ότι σε πολλά βιντεό σου δεν υπάρχει η ημερομηνία ανάρτησης, εκτός κι αν δεν την βλέπω. Γιατί άραγε; Εξαρτάται αυτό από τον ιδιοκτήτη τού καναλιού;
It says 1 year ago??
@@LohengrinO Νο. That's what I mean.
Very good, I haven t heard her live, but I m not sure if she uses a good position of her voice...and I don t want this voice with the pressure of fame, too much contracts...etc... become tired or damaged. I don t were s she from but something strange is in the pronuciation and position of vowels and can be dangerous by time.
She has already been singing a VAST repertoire for over 15 years and she still sounds rock solid... on the other hand several other brilliant singers who sing 3-4 roles altogether have already developed Wobble... Marina with her repertoire already deserves the title Maestra
@@LohengrinO Maestra maybe is too much...
@@ramoncifuentes4664 have you got a glimpse of her repertoire and she has sung them all exquisitely... Violetta, Norma, Donna Anna, Desdemona, Bolena, Imogene, Maria Stuarda, Anna Erisso, Mathilde, Amelia Boccanegra, Thais, Devereux Elisabetta (in concert), Antonia, Tatiana, Mimi, Vitellia, Trovatore Leonora, Lucia, Queen of the Night (studio), Margherite (Gounod), Juliette (Romeo et Juliette), Luisa Miller, Nedda (Pagliacci), Elcia (Mose in Egitto) and 99% of them live onstage productions with multiple performances (she has been singing Norma for 10 years now - full ranged Norma from top to bottom)... we havent seen the likes of a singer like this since Caballe (50% of roles were done when Montsy had lost her voice)
@@LohengrinO Ok, ok...I see you are her principal fan...but for me she is not a goddess yet. But nowadays we can ask for more...
She is a Maestra and has many fans like LohengrinO
Frau Rebeka ist eine gute Saengerin aber Sie singt ohne Seele....😢
I disagree... did you attend her recent Moscow recital of the 3 Queens?
Lohengrin O Ich habe Marina in Wien gehoert.Sie hat Violetta gesungen.Fuer mich alles klar.Sehr gute Stimme,aber das ist zu venig.Das ist meine Meinung.Vielen Dank fuer alles!!!!🌷
Bella donna... Ma voce senza personalità....canta....neanche tanto bene...
Marvelous voice, interpretation and singing
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