egal wie schlecht es mir geht, wie tief unten ich sein kann, erweckt dieser Mann mit der wunderbaren Musik die Freude wieder in mir.... Die Leichtigkeit, die so deutlich von seinem Gesicht abzulesen ist, wirkt anstecken... wie schön das doch ist....
I love his rendition....he gets the essence of the piece perfectly! He does a great job!! Love you Rolando!! I especially love the second time through. His florid passages as brilliant and he's so Musical!!!!!!
Well, my whelm is overed. I was surprised to learn that he's a tenor as he comes across as a baritone, which shows how much I know! What a superb interpretation; how wonderful to newly discoverer the gentleman in this my favourite Handel aria and one who immediately captures the joyous spirit of the piece albeit I think the runs are a tad laboured and I wish he wouldn't sway about >quite< so much as does. Also, my perception of the orchestra's contribution is that it lets him down a little. I won't say they struggle to do their duty but somehow I get the feeling that the sheer gay abandon attained by the singer isn't matched by the band's comparatively pedestrian accompaniment. They 'manage' to do the job but they seem to be firing on five instead of six cylinders. When you put this ensemble beside the players in Joyce Didanato's offering - specifically the one where she's sitting down in a bright red dress - the exhierating instrumental verve which t h e y achieve resembles the difference between a shed versus The Shard. Don't take my word for it, sample the two readings for yourself. Back to Mr Villazon: the trills are delivered with needle sharp precision. In the da cappo he takes off with razzle- dazzle vocal pyrotechnics. Then we reach the cadenza. Wow, it's everything called for and then some. I metaphorically and literally applaud the singer for an indelibly memorable and stupendous performance of this glorious melody. Bravo indeed.
I loved this and REALLY don't get people's objection to it. You have an amazing singer, singing amazing music....amazingly! What's not to like? I really do think that all this fixation with "historically-informed" performance (as quoted elsewhere) sucks the JOY out of the music....and that CANNOT be good.
Damn, another group of couch-potato music critics. No, he will never be Anne-Sophie or Vivica, but he does very well compared to other run-of-the-mill mezzos presently holding major recording contracts (cough, cough, Garanca). His quick trill, his attack of the high notes, and his cadenza solve some issues in the score for a role not written for a male voice. Great performance. Nothing to complain about, ladies. Whatever you criticize, IT IS YOUR TASTE.
Gracias a Rolando Villazon es que conoci a Handel y ahora me gusta tanto que me sorprendo a mi misma tarareando estas bellas arias del barroco, y eso que mi voz es de ducha solamente...jejeje
Dopo notte, atra e funesta, splende in Ciel più vago il sole, e di gioia empie la terra. Mentre in orrida tempesta il mio legno è quasi assorto, giunge in porto, e’l lido afferra. ARIODANTE Tras la noche negra y funesta, resplandece más límpido el sol en el cielo inundando de alegría la tierra. Aunque mi barco casi naufraga en una terrible tempestad, ahora arriba a puerto y toca la costa.
Well, I've compared Bostridge and Villazon on this and I actually prefer Villazon's harder, brighter tone. I know I'll be in a minority with that though.
Not sure why Rolando is performing this aria. He's amazing beyond belief, but there's plenty of other Handel such as Tamerlano that would sound formidable with his flexibility! But can he sing Handel well and stylistically? In my opinion, ABSOLUTELY! =)
Yep, even after 30 years, Dame Janet Baker is pretty much the best Ariodante there is. Even Von Otter under Minkowski (and Minko is a reincarnation of Handel, if you ask me :) hasn't been able come close. It is possible that no one will ever top Baker's perfect interpretation.
Much as I love the lady I totally disagree with your claim about Janet Baker being the best interpreter of this piece. Take a listen to Joyce Didinato's offering, specifically the one where she's sitting in a bright red dress.
Honestly, I don't get the "tenors shouldn't sing this" mentality. Then Bach should ONLY be played on an organ or harpsichord NEVER a piano . . . by the same logic Ludwig and other great female singers should not have been allowed "Winterreise" and . . . you get the idea. He has some trouble with the lowest notes, I'll overlook those easily for the gloriousness of the rest. If you can't enjoy it, why listen? Oh yes, to complain, that's why. Have fun with that!
If Handel didn't write it for a tenor, it probably shouldn't be sung by a tenor, in my opinion, however lovely! To be honest I like the voice in this, and prefer men to sing men's roles!
there's no apology needed, it's not your fault he's bad. i clicked many related videos of other singers, and it was fine. i love Handel and have sung lots of his music, such as Judas Maccabeus, Messiah, Israel in Egypt, and Ariodante. there is proof on my website which i will send you if you don't believe me. the singing is bad. that is my opinion, for the reasons listed in my first comment. not because of interpretive words like "beautiful", but because of measurable words like "intonation"
I agree that the ornamentation in the A' section was a bit random, and poorly vocalized.. However I heard very few intonation problems and didn't hear a rhythm problem. As for the diction and "rapid onsets", that's out of my realm of knowledge. From an outside perspective, it appears you're a baroque purist who doesn't like Villazon, or your shocking criticisms are serving as a vehicle to advertise your own artistry.
I'm not an authority. Here's my two cents anyway: 1. RAPID ONSETS are not the same thing as COLORATURA 2. This aria hides his bad intonation because it's so fast you don't notice. Can't always hide it though - like his first high note at 1:15. 3. At 3:25 - wrong rhythms are not the same thing as either "expression" nor "ornamentation" 4. I don't like this "Spanish Italian" language he has invented here 5. WHAT THE HELL IS HAPPENING from 5:10-5:30 No offense to his fans.
Afther he do alot mistakes in Romatinc and bel canto opera...he trying now do the same in Barroco Opera...I thinking people be crazy more and more....Like Cecilia Bartoli, She just fight to be a Mezzo, than some day she awakens and recording CASTA DIVA. GOD LORD! THIS PEOPLE JUST WANT SALES CD's... MIDIA...THIS MEN NOW MAKE BARROC RECORDINS...WHERE THIS WILL STOPING...HE MORE THAN NEVER IS BARITONO...JUST THIS BARITONO.
Es un aria matadora y la defiende sorprendentemente bien, pero su afinación es imprecisa, y la voz sufre por estar en el rango bajo de su tesitura. Prefiero las mezzos, como Ann Murray, qepd. I agree with jaketaz - good analysis.
naw I'm not particularly into Baroque music, I just know how this aria goes. not a purist at all, I think that people need to find a new take on things sometimes to keep with the times and keep audiences interested. I just find this to be really bad vocalism. rapid onsets mean a new onset of sound for each note. another word for onset might be "attack"... a new attack or re-sounding for each note, instead of one stream of sound for a line with many changing pitches.
egal wie schlecht es mir geht, wie tief unten ich sein kann, erweckt dieser Mann mit der wunderbaren Musik die Freude wieder in mir....
Die Leichtigkeit, die so deutlich von seinem Gesicht abzulesen ist, wirkt anstecken... wie schön das doch ist....
I love his rendition....he gets the essence of the piece perfectly! He does a great job!! Love you Rolando!! I especially love the second time through. His florid passages as brilliant and he's so Musical!!!!!!
i must confess that i was ready to completely hate this,,, but damm, it is actually pretty good!
it ´s nice to be surprised like this once in a while!
Banco 100% esta version, tiene actitud y entrega
Well, my whelm is overed. I was surprised to learn that he's a tenor as he comes across as a baritone, which shows how much I know! What a superb interpretation; how wonderful to newly discoverer the gentleman in this my favourite Handel aria and one who immediately captures the joyous spirit of the piece albeit I think the runs are a tad laboured and I wish he wouldn't sway about >quite< so much as does. Also, my perception of the orchestra's contribution is that it lets him down a little. I won't say they struggle to do their duty but somehow I get the feeling that the sheer gay abandon attained by the singer isn't matched by the band's comparatively pedestrian accompaniment. They 'manage' to do the job but they seem to be firing on five instead of six cylinders. When you put this ensemble beside the players in Joyce Didanato's offering - specifically the one where she's sitting down in a bright red dress - the exhierating instrumental verve which t h e y achieve resembles the difference between a shed versus The Shard. Don't take my word for it, sample the two readings for yourself. Back to Mr Villazon: the trills are delivered with needle sharp precision. In the da cappo he takes off with razzle- dazzle vocal pyrotechnics. Then we reach the cadenza. Wow, it's everything called for and then some.
I metaphorically and literally applaud the singer for an indelibly memorable and stupendous performance of this glorious melody. Bravo indeed.
pare parecchio comodo, lo trovo eccellente e poi l'intelleggibilita' delle parole, grande cosa, bravo, bravo!
I loved this and REALLY don't get people's objection to it. You have an amazing singer, singing amazing music....amazingly! What's not to like? I really do think that all this fixation with "historically-informed" performance (as quoted elsewhere) sucks the JOY out of the music....and that CANNOT be good.
Lejos de ser mi favorito cantando Haendel pero esto le quedó bien.
Damn, another group of couch-potato music critics. No, he will never be Anne-Sophie or Vivica, but he does very well compared to other run-of-the-mill mezzos presently holding major recording contracts (cough, cough, Garanca). His quick trill, his attack of the high notes, and his cadenza solve some issues in the score for a role not written for a male voice. Great performance. Nothing to complain about, ladies. Whatever you criticize, IT IS YOUR TASTE.
@chanteurion Thank you for the input. I'll definitely check on this Bostridge's album.
Glorioso
Gracias a Rolando Villazon es que conoci a Handel y ahora me gusta tanto que me sorprendo a mi misma tarareando estas bellas arias del barroco, y eso que mi voz es de ducha solamente...jejeje
Dopo notte, atra e funesta,
splende in Ciel più vago il sole,
e di gioia empie la terra.
Mentre in orrida tempesta
il mio legno è quasi assorto,
giunge in porto, e’l lido afferra.
ARIODANTE
Tras la noche negra y funesta,
resplandece más límpido el sol en el cielo
inundando de alegría la tierra.
Aunque mi barco casi naufraga
en una terrible tempestad,
ahora arriba a puerto y toca la costa.
@GiovanniCarestini
Thank you, this was an useful input into the 'tenor singing Handel'... thing.
@littlechildren01
I must confess I had the same feelings at the time I first saw it. That's why I decided to upload the video.
freakin' sweet jacket
si... MUCHO imprecisa
Well, I've compared Bostridge and Villazon on this and I actually prefer Villazon's harder, brighter tone. I know I'll be in a minority with that though.
En su camino a ser el sucesor de Placido canta tambien Haendel....Y no lo hace mal!
Not sure why Rolando is performing this aria. He's amazing beyond belief, but there's plenty of other Handel such as Tamerlano that would sound formidable with his flexibility! But can he sing Handel well and stylistically? In my opinion, ABSOLUTELY! =)
it must be very hard to be this angry about such beautiful music. I'm sorry you couldn't just click one of the related videos.
Good diction !
Baroque is an another thing!!
oops, I meant Lorraine Hunt. (Murray is ok, but Hunt was perfect)
Yep, even after 30 years, Dame Janet Baker is pretty much the best Ariodante there is. Even Von Otter under Minkowski (and Minko is a reincarnation of Handel, if you ask me :) hasn't been able come close. It is possible that no one will ever top Baker's perfect interpretation.
Much as I love the lady I totally disagree with your claim about Janet Baker being the best interpreter of this piece. Take a listen to Joyce Didinato's offering, specifically the one where she's sitting in a bright red dress.
Honestly, I don't get the "tenors shouldn't sing this" mentality. Then Bach should ONLY be played on an organ or harpsichord NEVER a piano . . . by the same logic Ludwig and other great female singers should not have been allowed "Winterreise" and . . . you get the idea. He has some trouble with the lowest notes, I'll overlook those easily for the gloriousness of the rest. If you can't enjoy it, why listen? Oh yes, to complain, that's why. Have fun with that!
I loved it, but some of the lower notes seem a bit too low, sounding a bit bassy.
Rolando Villazon,soon to be tried for murder,of a beautiful aria!
If Handel didn't write it for a tenor, it probably shouldn't be sung by a tenor, in my opinion, however lovely! To be honest I like the voice in this, and prefer men to sing men's roles!
there's no apology needed, it's not your fault he's bad.
i clicked many related videos of other singers, and it was fine.
i love Handel and have sung lots of his music, such as Judas Maccabeus, Messiah, Israel in Egypt, and Ariodante. there is proof on my website which i will send you if you don't believe me.
the singing is bad. that is my opinion, for the reasons listed in my first comment. not because of interpretive words like "beautiful", but because of measurable words like "intonation"
The coloratura sounds weird to my ears.
I agree that the ornamentation in the A' section was a bit random, and poorly vocalized.. However I heard very few intonation problems and didn't hear a rhythm problem. As for the diction and "rapid onsets", that's out of my realm of knowledge. From an outside perspective, it appears you're a baroque purist who doesn't like Villazon, or your shocking criticisms are serving as a vehicle to advertise your own artistry.
Comme quoi il n'a pas toujours été mauvais comme un cochon! Bel effort et belle prestation.
I'm not an authority. Here's my two cents anyway:
1. RAPID ONSETS are not the same thing as COLORATURA
2. This aria hides his bad intonation because it's so fast you don't notice. Can't always hide it though - like his first high note at 1:15.
3. At 3:25 - wrong rhythms are not the same thing as either "expression" nor "ornamentation"
4. I don't like this "Spanish Italian" language he has invented here
5. WHAT THE HELL IS HAPPENING from 5:10-5:30
No offense to his fans.
I agree with all your points, especially the fifth.. it's grotesque
Afther he do alot mistakes in Romatinc and bel canto opera...he trying now do the same in Barroco Opera...I thinking people be crazy more and more....Like Cecilia Bartoli, She just fight to be a Mezzo, than some day she awakens and recording CASTA DIVA. GOD LORD! THIS PEOPLE JUST WANT SALES CD's... MIDIA...THIS MEN NOW MAKE BARROC RECORDINS...WHERE THIS WILL STOPING...HE MORE THAN NEVER IS BARITONO...JUST THIS BARITONO.
Es un aria matadora y la defiende sorprendentemente bien, pero su afinación es imprecisa, y la voz sufre por estar en el rango bajo de su tesitura. Prefiero las mezzos, como Ann Murray, qepd.
I agree with jaketaz - good analysis.
naw I'm not particularly into Baroque music, I just know how this aria goes. not a purist at all, I think that people need to find a new take on things sometimes to keep with the times and keep audiences interested. I just find this to be really bad vocalism.
rapid onsets mean a new onset of sound for each note. another word for onset might be "attack"... a new attack or re-sounding for each note, instead of one stream of sound for a line with many changing pitches.
A perfect example of how to mangle a Handel aria.Sing it as though it was verismo,stick to what you know Rolando, Handel is not for you!