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Mozart - MITRIDATE - ASPASIA / Pendatchanska - "Al destin, che la minaccia"
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- เผยแพร่เมื่อ 8 พ.ย. 2011
- Mozart
Mitridate, re di Ponto
ASPASIA / Pendatchanska
"Al destin, che la minaccia"
Conductor Vladimir Spivakov
Russian National Orchestra
Moscow Conservatory's Grand Hall, December 2002
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Wonderful. What a singer!!! One of the most exciting sopranos of the 21st century. Love her.💗💓💞💕💞💓💗
Such an exciting voice. I love her!
There's a touch of genius in her musicality.
yes - sooo wonderful - I love her voice - everything from her...! thanks for posting
Amazing voice!!!!
That's singing with dignity, that is
Oh Alex, sei adorabile con questo! Don't care for crazy comments. A concert is a concert and not looking on the pictures there is still perfect musical style, tecnique and expression. You make the most difficult things live! Remember SEMIRAMIDE.
Extraordinary!
What a technique!
you are right, it could be better, but...
❤
AMAZING!!!
First of all, Dimitrova was not her teacher. Her teacher was her own mother Valerie Popova. And I don't agree about her being uncharismatic. Maybe in this performance she is a bit stiff, but in others she shows her complete artistry with goes beyond vocal expression.
operamusicfan She is performing in the baroque style in which they stand there and just sing.
No bravas? What is wrong with this audience? Did they gather them from the Music Society for The Deaf and Emotionless?
Well,if. Cecilia. Bartolli said she is a mezzo!! This great bulgarian soprano,can say she is a mezzo too. With better musicianship and more temperament!!plenty of real tempetament. Most lyrics mezzos today sounds like her,but with less power in their low register. She is a serious artist and a great bulgarian soprano!!!
Brava
très impressionnante.je préfère cependant A Auger .
Not one brava. They must be deaf.
I listened her as Aspasia in Turin, in 1995 and I was not fond of her performance, but I don't remember she had so annoying a vibrato. Maybe, seven years later, she got worse.
The flicker vibrato definitely gotten worse. Hear her on the Rene Jacobs recordings of La Clemenza and Don Giovanni.
Oh gosh! It's awful
If you don't like vibrato why do you come listen to a singer with a very pronounced one??
pffffffffff
Preferirei fare un gioco con Saw che ascoltarti !!!
Beh vacci e non sporcare sta pagina
The voice is amazing yes...but her stage presence and lack of charisma make me yawn after the first couple of high cs...Just like Dimitrova (her teacher) she's a sound making machine, but dead in regards to eloquent singing. Her face is the same throughout. There's no emotion on the face, no gestures, no artistry besides technique. I prefer to see Tiziana Fabricinni with all her vocal flaws for 2 hours than this girl for a couple of arias. Opera IS theater SUNG. Y
Dimitrova's voice emotionless? Dear.
You can see the way they've dressed her up, I don't think the concept was expressivity to the max.
Dimitrova was a walking and talking robotic singer. Sorry but all she offered was pure sound.
It's not about making faces and jumping around (although one can make faces that are more appropriate than other faces, certainly, ditto for movements). A singer's expressivity should be able to be judged without referring to the visuals at all. Granted, Dimitrova wasn't that much of a thespian, but the voice was totally imbued with feeling.
I think you described both ladies perfectly (that is, Alex and Ghena)! I, too, think both are sound-making machines. There is very little subtlety in their singing. They are good for open-air concert not so much for recordings.