I was lucky to watch the entire performance, I really really loved Nadine's portrayal of the Countess, both vocally and artistically. She was very lovely and cheerful, reminded me of how the character was in Barber of Seville.
Excellent point. Of course Rossini's work came after, but the clever Rosina from Barber is just a couple of years older here and I love that the casting goes for younger, sexier countesses. I wish the two creators would have tackled La Mere Coupable, the third play involving the Almavivas and Figaro. I loved the regal countesses of Te Kanawa, Vaness, Fleming, Huong -- but the current reading of the work is truer.
Praised for her vocal beauty, seamless technique, and abundant musicality, Nadine Sierra is being hailed as one of the most promising, young talents in opera today. She was named the Richard Tucker Award Winner in 2017 and was awarded the 2018 Beverly Sills Artist Award by the Metropolitan Opera. Having made a string of successful debuts at the Met, Teatro alla Scala, Opéra national de Paris, and Staatsoper Berlin, she has become a fixture at many of the top houses around the world. On August 24th, 2018, her debut album, There’s a Place for Us, was released under the Deutsche Grammophon/Universal Music labels.
I should add, I like this casting and some recent casting of Countess Rosina at the MET. This is supposed to be a very young married woman and we are supposed what the hell is wrong with her husband, that he casts about for others. Sierra herself says she was criticized for taking on this role early in her career,; perhaps Majewski or Woodbury were too, but I like them all. Today, April 1, 2021, Sierra was Susanna in a wacky production from Berlin that I couldn't retrieve after I had to interrupt it. Here, Dove Sono comes over in a way that I am sure Mozart and DaPonte would cheer. Brava Miss Nadine.
Such a beautiful Countess! And yes - Rosina hasn't entirely disappeared into matronly resignation here...She's young and spirited. But I'm not sure about the interpolation. In theory they're fine - but here they interrupt the flow of the line. Could be reworked.
Nadine Sierra kills this! This is one of Mozart's most spectacular showpiece arias. I can't accurately judge, since this is just this one aria, but, i would say that the Sierra ranks with Diana Damrau, Renee Fleming, and Dorothea Roschmann as the best countesses i've seen.
Recitative E Susanna non vien! Sono ansiosa di saper come il Conte accolse la proposta: alquanto ardito il progetto mi par, e ad uno sposo sì vivace e geloso... Ma che mal c'è? Cangiando i miei vestiti con quelli di Susanna e i suoi co' miei... al favor della notte... Oh cielo, a qual umil stato fatale io son ridotta da un consorte crudel che, dopo avermi con un misto inaudito d'infedeltà, di gelosia, di sdegni prima amata, indi offesa e alfin tradita, fammi or cercar da una mia serva aita! Aria Dove sono i bei momenti di dolcezza e di piacer, dove andaro i giuramenti di quel labbro menzogner? Perché mai se in pianti e in pene per me tutto si cangiò, la memoria di quel bene dal mio sen non trapassò? Ah se almen la mia costanza, nel languire amando ognor, mi portasse una speranza di cangiar l'ingrato cor!
I have a Blu Ray of Renee Fleming performing the role at Glyndebourne in 1994, she kills it, she was 35 at the time and in glorious full voice. She's too old to play the role now, but, she was magnificent in this production. Never saw her Met performances.
lei puo' cantare tutto!! perche' e' una Divina,come la Callas che si criticava in tutto pero' quando appariva in scena era pur sempre la Divina,lei e' uguale,una Donna meravigliosa
I really like Nadine Sierra but this rendition whilst lovely to listen does not have the mature vocality of say Dame Kiri in her prime in this role, its just a bit light for me, she is a great soprano and if she was on the billing for Nozze di Figaro yes I would gladly go along but its not history making, Dame Kiri was
Sierra's voice is radiant and beautiful here as always. However, the interpolated vocal ornamentation (while tastefully done) is superfluous and detracts from the performance IMO. Mozart's score is perfection as is. Extra decorative effects are unnecessary and unwanted.
@@6828tom Sierra's voice is beautiful. I just don't care for her interpolations in this instance. Everyone has something to carp on, including you I presume. But to each his own.
Я слушала певицу в партии и это было очень достойно!В Графине голос звучит крикливо и нервно.К идеальным Графиням ,например,Шварцкопф или Кири Те Канава,даже не приблидается.И потом,это не Россини и фиоритуры просто неуместны
I’m going to disagree with most of the other comments here. Her voice sounds too light and not creamy enough for the Countess. It also lacks precision and is not fully supported.
Renee Fleming singing Dove Sono popped up in my feed after watching this. It makes me a little less forgiving of Nadine. Nadine is the Ariana Grande of opera. She is technically proficient, but her voice lacks character. Yet the public loves her. Don't get me wrong. Nadine is a decent singer. Decent and nothing more. When compared to the greats like Fleming, Te Kanawa, Oropesa, Dunn, she is simply mediocre.
@@mugrad25 It's not like she's a beginning singer or that young. She's 34. Compare other singers at that age and younger. The quality of voice does not improve. Interpretive ability may improve somewhat.
@@mugrad25 Cecilia Bartoli was singing major opera houses as a teenager. There are recordings of Fleming singing in her early twenties and killing it. Lisette Oropesa won MONCA at 20 and sang Susanna at the Met at 22. If you're waiting for Sierra's voice to improve, don't hold your breath.
Is this a recent performance? It lacks her usual fire & emotion ... not as passionate as some of her previous performances. Still, a performance that most would be happy with. I would enjoy her even if she was singing Mary Had a Little Lamb.
I think she is supposed to be wistful in dove sono, when she realizes what she can do as a remedy, she gains energy. BTW, Sierra in this production comes close to the correct age for Rosina, who is by no means a middle aged woman. Not to take away from the performances I have seen by Te Kanawa, Vaness, Hong when they were older than Sierra.
@@jasongettinger6866 agreed! No disrespect to older portrayals, but as far as I know the character definitely isn't as old as she's often made out to be
@@sergioromau9590 according to that logic I shouldn't have opinions about baseball pitchers. After all, I can't get a ball over home plate. Or maybe those of us who've never held public office should refrain from criticizing our presidents and prime ministers. How could any of us possibly have valid political views? Please. Don't be ridiculous.
She's become quite the darling at the Met, and the Met is developing quite the reputation of pushing mediocre singers. Don't get me wrong, she's a good singer, but nothing special. Her voice lacks character, and from what she's given us, she will never be one of the greats.
Does not even come close to the sopranos who could actually sing Mozart (let alone touching Fleming). It is a little tragic that people deem this quality singing (?) Poor technique and no beauty of timbre. Luckily, Oropesa saves this with her Susanna.
Don't dismiss Nadine Sierra because her Countess in Figaro is not to your liking, there are other roles in the repertoire in which she is simply marvelous! Her Lucia is fantastic, I would go so far as to say the best sopranos who is currently singing the role. Her Violetta is equally as compelling. For a sublime interpretation of The Countess (aside from La Diva Renee, whose brilliance you are already aware of, may I suggest you listen to Carol Vaness, Dame Margaret Price, and Dame Kiri te Kanawa who has a rich creamy tone and is able to float angelic pianissimo high notes that obviously were a source of inspiration to La Diva Renee.
A rather ordinary interpretation, with unfortunate attempts to improve things by adding some unsuccessful "personal touches". Even so, it is rather mean to put this lady in the same thought as Renée Fleming. Few sopranos today merit such mistreatment.
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Surely one of our very best sopranos at the moment 2023
I was lucky to watch the entire performance, I really really loved Nadine's portrayal of the Countess, both vocally and artistically. She was very lovely and cheerful, reminded me of how the character was in Barber of Seville.
Excellent point. Of course Rossini's work came after, but the clever Rosina from Barber is just a couple of years older here and I love that the casting goes for younger, sexier countesses. I wish the two creators would have tackled La Mere Coupable, the third play involving the Almavivas and Figaro. I loved the regal countesses of Te Kanawa, Vaness, Fleming, Huong -- but the current reading of the work is truer.
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@@jasongettinger6866 Sometimes I wonder if Strauss and von Hofmannsthal were influenced by La Mère Coupable in creating Der Rosenkavalier.
Praised for her vocal beauty, seamless technique, and abundant musicality, Nadine Sierra is being hailed as one of the most promising, young talents in opera today. She was named the Richard Tucker Award Winner in 2017 and was awarded the 2018 Beverly Sills Artist Award by the Metropolitan Opera. Having made a string of successful debuts at the Met, Teatro alla Scala, Opéra national de Paris, and Staatsoper Berlin, she has become a fixture at many of the top houses around the world. On August 24th, 2018, her debut album, There’s a Place for Us, was released under the Deutsche Grammophon/Universal Music labels.
Nadine in the fine tradition of wonderfully trained American singers. Her voice is glorious and she knows how to show it to its best advantage.
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Bravo, Nadine! Excellent performance!
Incredible. The beauty of the lady as well as her singing. And of course Mozart‘s genius.
Nadine Sierra.Uma promessa! Poderá ser a voz do seculo!❤
Я вам больше скажу: какой чудный оркестр! Прекрасное исполнение вокальной партии.
That's how I imagine Belle from Beauty and the Beast. 😍 Nadine is the most beautiful soprano of our time...and what a voice...
Beautiful singing.Brawo Nadine Sierra.
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meravigliosa soprano,una nuova Divina
Красота во всём!!! Голос,музыкальность,внешность,простота поведения на сцене....Чудо!
Beautiful!
I like this -- is it the previous SF Opera production that was recently streamed or someplace else. I saw her in SF production about six years ago.
yes, it is the SFO 2015 production, which also was streamed last October. Forgot to put that in the description!
I should add, I like this casting and some recent casting of Countess Rosina at the MET. This is supposed to be a very young married woman and we are supposed what the hell is wrong with her husband, that he casts about for others. Sierra herself says she was criticized for taking on this role early in her career,; perhaps Majewski or Woodbury were too, but I like them all. Today, April 1, 2021, Sierra was Susanna in a wacky production from Berlin that I couldn't retrieve after I had to interrupt it. Here, Dove Sono comes over in a way that I am sure Mozart and DaPonte would cheer. Brava Miss Nadine.
Brava!!!
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Absolutely gorgeous.. what a voice.
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Dulcisimo, muy bello!
Sublimes música y voz
magnifique
Bravissima artista lirica soprano NADINE SIERRA voce stupenda e splendida interprete. Nadia Rossi quadrivio Rovigo Adria e
Unica cantante lirica soprano NADINE SIERRA. Nadia Rossi quadrivio Rovigo Adria
Would have preferred it without the additional ornamentations but still a wonderful version - now one of my favorites.
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Maravillosa y voz sublime
Brawo brawissimo
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Wonderful
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Such a beautiful Countess! And yes - Rosina hasn't entirely disappeared into matronly resignation here...She's young and spirited. But I'm not sure about the interpolation. In theory they're fine - but here they interrupt the flow of the line. Could be reworked.
Carol Vaness is amazing as well...
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Brava
BRAVA!!! I just love her 😍❤💕
prima! wunderbar!
Uaaaaaaaauuuuuuuuuu❤❤❤❤❤🎉🎉🎉🎉🎉
Nadine Sierra kills this! This is one of Mozart's most spectacular showpiece arias. I can't accurately judge, since this is just this one aria, but, i would say that the Sierra ranks with Diana Damrau, Renee Fleming, and Dorothea Roschmann as the best countesses i've seen.
Congratulations
사랑합니다.
😘Bellísima
Recitative
E Susanna non vien! Sono ansiosa
di saper come il Conte
accolse la proposta: alquanto ardito
il progetto mi par, e ad uno sposo
sì vivace e geloso...
Ma che mal c'è? Cangiando i miei vestiti
con quelli di Susanna e i suoi co' miei...
al favor della notte... Oh cielo, a qual
umil stato fatale io son ridotta
da un consorte crudel che, dopo avermi
con un misto inaudito
d'infedeltà, di gelosia, di sdegni
prima amata, indi offesa e alfin tradita,
fammi or cercar da una mia serva aita!
Aria
Dove sono i bei momenti
di dolcezza e di piacer,
dove andaro i giuramenti
di quel labbro menzogner?
Perché mai se in pianti e in pene
per me tutto si cangiò,
la memoria di quel bene
dal mio sen non trapassò?
Ah se almen la mia costanza,
nel languire amando ognor,
mi portasse una speranza
di cangiar l'ingrato cor!
Beautiful, but no one has ever matched the lyric beauty of Arleen Auger.
meravigliosa e unica erede di una Callas
So sad the Met hasn't had a good countess since Renee Fleming in 1994 and 1998.
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I have a Blu Ray of Renee Fleming performing the role at Glyndebourne in 1994, she kills it, she was 35 at the time and in glorious full voice. She's too old to play the role now, but, she was magnificent in this production. Never saw her Met performances.
💐👏🌹
😂😂😂😂😂
She is a fine singer. I don't think the heavier lyric repertoire is right for her.
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lei puo' cantare tutto!! perche' e' una Divina,come la Callas che si criticava in tutto pero' quando appariva in scena era pur sempre la Divina,lei e' uguale,una Donna meravigliosa
Susanna maybe. Not the Countess. Barbarina for sure. The ornamenti are dreadful. This Rosina thinks she is in the Barber of Seville.
"remotely close" nice expression.
After shwarzkopf , difficile de l’égaler.
I sang this in school! I still have the music
ciao la castafiore !
I really like Nadine Sierra but this rendition whilst lovely to listen does not have the mature vocality of say Dame Kiri in her prime in this role, its just a bit light for me, she is a great soprano and if she was on the billing for Nozze di Figaro yes I would gladly go along but its not history making, Dame Kiri was
Sierra's voice is radiant and beautiful here as always. However, the interpolated vocal ornamentation (while tastefully done) is superfluous and detracts from the performance IMO. Mozart's score is perfection as is. Extra decorative effects are unnecessary and unwanted.
Sorry you don't like it. For some, there is always something to carp at.
@@6828tom Sierra's voice is beautiful. I just don't care for her interpolations in this instance. Everyone has something to carp on, including you I presume. But to each his own.
@@UMVELINQANGI I nevah carp. I give educated opinions..
4:40 was borrowed from renee flemming...I actually like it
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I know this sounds elitist,but I'm.struggling to find the artistry here. Just very solid singing
Doesn't sound elitist. Just ignorant or deaf😂
Meglio se avesse interpretato Susanna
Я слушала певицу в партии и это было очень достойно!В Графине голос звучит крикливо и нервно.К идеальным Графиням ,например,Шварцкопф или Кири Те Канава,даже не приблидается.И потом,это не Россини и фиоритуры просто неуместны
I’m going to disagree with most of the other comments here. Her voice sounds too light and not creamy enough for the Countess. It also lacks precision and is not fully supported.
Give me a time code for an unsupported sound:)
@@irinadz ratio lesgooo
Too much ornamentation but overall very pretty
Renee Fleming singing Dove Sono popped up in my feed after watching this. It makes me a little less forgiving of Nadine. Nadine is the Ariana Grande of opera. She is technically proficient, but her voice lacks character. Yet the public loves her.
Don't get me wrong. Nadine is a decent singer. Decent and nothing more. When compared to the greats like Fleming, Te Kanawa, Oropesa, Dunn, she is simply mediocre.
Christ let her mature and get some life experience to breathe pathos into these roles.
@@mugrad25 It's not like she's a beginning singer or that young. She's 34. Compare other singers at that age and younger. The quality of voice does not improve. Interpretive ability may improve somewhat.
@@mugrad25 Cecilia Bartoli was singing major opera houses as a teenager. There are recordings of Fleming singing in her early twenties and killing it. Lisette Oropesa won MONCA at 20 and sang Susanna at the Met at 22.
If you're waiting for Sierra's voice to improve, don't hold your breath.
Fine,just made to measure. Humdrum
Is this a recent performance?
It lacks her usual fire & emotion ... not as passionate as some of her previous performances.
Still, a performance that most would be happy with.
I would enjoy her even if she was singing Mary Had a Little Lamb.
I think she is supposed to be wistful in dove sono, when she realizes what she can do as a remedy, she gains energy. BTW, Sierra in this production comes close to the correct age for Rosina, who is by no means a middle aged woman. Not to take away from the performances I have seen by Te Kanawa, Vaness, Hong when they were older than Sierra.
I believe it is from the SFO 2015 production.
@@jasongettinger6866 agreed! No disrespect to older portrayals, but as far as I know the character definitely isn't as old as she's often made out to be
@@sandywaddell4303 you're correct! I forgot to put that in the description.
I would also enjoy if she were singing Mary Had a Little Lamb :) she's one of my favorite divas!
Her voice is boring and not very distinct. The ornaments are very jarring and distracting, worsened by the fact that her voice is so plain.
You are either blind and deaf or someone who knows absolutely nothing about singing and/ or music . Your negativity is sick-making .
So sorry, but this is run of the mill singing. Nothing special. And where is she coming from psychologically? Nowhere that I can locate.
I agree.
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Are you always that negative? Why don’t you show us how you do it instead of critisizing her performance?
@@sergioromau9590 according to that logic I shouldn't have opinions about baseball pitchers. After all, I can't get a ball over home plate. Or maybe those of us who've never held public office should refrain from criticizing our presidents and prime ministers. How could any of us possibly have valid political views? Please. Don't be ridiculous.
She's become quite the darling at the Met, and the Met is developing quite the reputation of pushing mediocre singers. Don't get me wrong, she's a good singer, but nothing special. Her voice lacks character, and from what she's given us, she will never be one of the greats.
Beautiful singing but too many ornamentations..why bastardize it
✅ singing
👎🏽 acting
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Does not even come close to the sopranos who could actually sing Mozart (let alone touching Fleming). It is a little tragic that people deem this quality singing (?) Poor technique and no beauty of timbre. Luckily, Oropesa saves this with her Susanna.
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Her breath control is fantastic.
Don't dismiss Nadine Sierra because her Countess in Figaro is not to your liking, there are other roles in the repertoire in which she is simply marvelous! Her Lucia is fantastic, I would go so far as to say the best sopranos who is currently singing the role. Her Violetta is equally as compelling. For a sublime interpretation of The Countess (aside from La Diva Renee, whose brilliance you are already aware of, may I suggest you listen to Carol Vaness, Dame Margaret Price, and Dame Kiri te Kanawa who has a rich creamy tone and is able to float angelic pianissimo high notes that obviously were a source of inspiration to La Diva Renee.
E lo so oltre ad essere bella è talmente tanto brava che si fa fatica a riconoscerlo.
You are the reason opera is a dying art. Snobby ass people like you. She sounds amazing. Please send us all a video of you singing this aria.
A rather ordinary interpretation, with unfortunate attempts to improve things by adding some unsuccessful "personal touches". Even so, it is rather mean to put this lady in the same thought as Renée Fleming. Few sopranos today merit such mistreatment.
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