Eelco je vous adore. Merci pour cet air de l'Enlèvement. Quelle voix magique, quelles acrobaties vocales, c'est incroyable. Mais qu'est-ce que c'est beau!! Merci mille fois.
Mrs Deutekom's voice is most impressive, with full, bright tone, strong support, good breath control, and generally (though not invariably) accurate intonation. However, I continue to be greatly disturbed by her florid technique, as well as her liberal employment of the glottal stop, even in the highest register. Admittedly, it does give the florid divisions an enviable accuracy, as if they are being played on a keyboard rather than sung by a human voice. However, the constant aspirates and glottal attacks militate against any proper sense of legato, the smooth binding of each tone to the next. In a sense, it is the most unvocal vocalism I have ever heard. In addition, there is a surprising coldness and neutrality of emotion to this rendition, which is the exact opposite of the state of Konstanze's inner being at this point in the opera. Whether this coldness is a direct result of Mrs Deutekom's unusual vocal technique, or whether it has some other provenance, I am unsure. It is, however, a distressing blot on the ultimately superlative singing of this artist.
Beautifully sung , inclusive the very special coloraturas . Only very few sopranos of the last century were able to meet her high standards. 7:18
I have been hearing this recording for more than 30 years and am still fond of it!
A miracle of singing. BRAVA.
Eelco je vous adore. Merci pour cet air de l'Enlèvement. Quelle voix magique, quelles acrobaties vocales, c'est incroyable. Mais qu'est-ce que c'est beau!! Merci mille fois.
Merci encore. Qu'est-ce que c'est beau!!
Merveilleux. Magique. Irréel. galactique. Merci !
Beautiful.
....herrlich, wie eine Glocke!
Maria Callas me captivait, mais Cristina Deutekom m'a toujours fasciné ...
fantastico!
Urte berri on! Bonne Année! Feliz año!
Mrs Deutekom's voice is most impressive, with full, bright tone, strong support, good breath control, and generally (though not invariably) accurate intonation. However, I continue to be greatly disturbed by her florid technique, as well as her liberal employment of the glottal stop, even in the highest register. Admittedly, it does give the florid divisions an enviable accuracy, as if they are being played on a keyboard rather than sung by a human voice. However, the constant aspirates and glottal attacks militate against any proper sense of legato, the smooth binding of each tone to the next. In a sense, it is the most unvocal vocalism I have ever heard. In addition, there is a surprising coldness and neutrality of emotion to this rendition, which is the exact opposite of the state of Konstanze's inner being at this point in the opera. Whether this coldness is a direct result of Mrs Deutekom's unusual vocal technique, or whether it has some other provenance, I am unsure. It is, however, a distressing blot on the ultimately superlative singing of this artist.