Zashorigin e cosa di ''perfetto'' c'è in questa vocalità dilettantesca ?! voce di petto ingolata e poco convincente. registro acuto strangolato ... è ovvio che per te questa è una vocalità ''perfetta'' ?! ma non per me . legato e impostazione della voce sbagliatissime . questa è la mia modesta opinione .
The comparisons to Horne is perhaps only because of the plummy low notes and the way it goes up through the lower middle in a (thankfully) more forward brightness than most mezzos: but this voice is so much larger than Horne's; it reminds me more of Stephanie Blythe in the sheer impact that every register has on the ear, but Ms. Barton in her own person, thankfully. She could use more of Horne's facility; even huge voices should have that and she sometimes skates over the quickest passages. Also she seems to be tackling the huge stuff early and on big stages, which is probably because there seems to be a vacuum and it's sucking any body with promise into it. Let's hope she doesn't get screwed up like 90% of the voices being pulled into play too soon...
+John LaBella I disagree with her "tackling the huge stuff" too early. She started with small roles on the big stages (Second Lady in 'Zauberflote', Giovanna in 'Rigoletto' etc.) and has only really started moving into leading roles on larger stages such as the Met since winning at Cardiff Singer of the World, nearly seven years after winning at the Met's National Council auditions. I share your concerns about young and unready singers being thrust onto bigger stages than their technique can handle, but I think that Barton, as a thirty-five year old woman with plenty of experience in smaller roles under her belt, gifted with the kind of instrument that can fill those massive auditoriums, is ready for these wonderful roles, even as she continues to hone her craft.
This is really Golden Age singing! Not only technically and vocally, but in musical and expressive quality she is a marvelous singer. She sometimes reminds me Horne.
....stà nella logica che le Signore che affrontano Adalgisa...debbano correre dei rischi del confronto....ma in Teatro sicuramente questa interprete credo modelli il suo Timbro alle esigenze di Chi avrà come Antagonista...qui la preghiera è creata con intenzioni di staccarsi dall'entrata di Norma....ed è l'ultima dei protagonisti dell'opera a presentarsi. Geniale Bellini a dare a tutti i protagonisti un leive motive.. intuizione lirica molto incisiva...Wagner adorava dirigere....credo che in Russia non voleva mettere in scena Norma...per il fatto che la protagonista non fosse all'altezza. Molto del suo teatr0; .mistico/eroico che rivoluzionerà il teatro d'opera....verrà ispirato dal maestro Siciliano.
It’s quite similar. Barton’s top is fuller and firmer but Hornes immediacy, telling tone, coloratura and rhythm are well beyond this voice here. But Barton is a glorious singer.
Beautifully polished line, but maybe a bit too heavy in parts. Even the most dramatic of mezzos Stignani was able to lighten the tones to portray the virginal Adalgisa. Very impressive instrument though, and much more enveloping and characterful than Horne's, but obviously with less agility.
+jmiller05 Completely difer of; "a bit too heavy"... she sang it beautifully and accordingly to the required dynamics and inflections. Besides, this isn´t a light mezzo role.
+Zashorigin no, but this also isn't Verdi mezzo rep. In this aria, Adalgisa is in a flush of young, innocent romance and IMO there must be an ingenue quality to the tones. Adalgisa gets heavier later on in the opera when all her illusions are shattered and she's in mortal danger. However like I said, beautiful voice and ever improving. Very musical too.
jmiller05 This is heavy Belcanto. Whether it gets heavier afterwards, it´s just the way the role is. And, it is similar to Verdi than light mezzo roles. Adalgisa and Eboli can be the same mezzo. History speaks for itself.
A thousand thanks for the Norma uploads. I had no way to hear this performance except through the kindness of people like you. Bless you.
Perfect voice for Adalgisa... Beautiful!
Zashorigin
e cosa di ''perfetto'' c'è in questa vocalità dilettantesca ?!
voce di petto ingolata e poco convincente.
registro acuto strangolato ...
è ovvio che per te questa è una vocalità ''perfetta'' ?!
ma non per me .
legato e impostazione della voce sbagliatissime .
questa è la mia modesta opinione .
The comparisons to Horne is perhaps only because of the plummy low notes and the way it goes up through the lower middle in a (thankfully) more forward brightness than most mezzos: but this voice is so much larger than Horne's; it reminds me more of Stephanie Blythe in the sheer impact that every register has on the ear, but Ms. Barton in her own person, thankfully. She could use more of Horne's facility; even huge voices should have that and she sometimes skates over the quickest passages. Also she seems to be tackling the huge stuff early and on big stages, which is probably because there seems to be a vacuum and it's sucking any body with promise into it. Let's hope she doesn't get screwed up like 90% of the voices being pulled into play too soon...
+John LaBella I disagree with her "tackling the huge stuff" too early. She started with small roles on the big stages (Second Lady in 'Zauberflote', Giovanna in 'Rigoletto' etc.) and has only really started moving into leading roles on larger stages such as the Met since winning at Cardiff Singer of the World, nearly seven years after winning at the Met's National Council auditions. I share your concerns about young and unready singers being thrust onto bigger stages than their technique can handle, but I think that Barton, as a thirty-five year old woman with plenty of experience in smaller roles under her belt, gifted with the kind of instrument that can fill those massive auditoriums, is ready for these wonderful roles, even as she continues to hone her craft.
This is really Golden Age singing! Not only technically and vocally, but in musical and expressive quality she is a marvelous singer. She sometimes reminds me Horne.
Avery special Diva!!
livello artistico degno del conservatorio moderno .
Not my favorite voice for the role BUT she sang and acted the shit out of Adalgisa.
She also made me cry.
....stà nella logica che le Signore che affrontano Adalgisa...debbano correre dei rischi del confronto....ma in Teatro sicuramente questa interprete credo modelli il suo Timbro alle esigenze di Chi avrà come Antagonista...qui la preghiera è creata con intenzioni di staccarsi dall'entrata di Norma....ed è l'ultima dei protagonisti dell'opera a presentarsi. Geniale Bellini a dare a tutti i protagonisti un leive motive.. intuizione lirica molto incisiva...Wagner adorava dirigere....credo che in Russia non voleva mettere in scena Norma...per il fatto che la protagonista non fosse all'altezza. Molto del suo teatr0; .mistico/eroico che rivoluzionerà il teatro d'opera....verrà ispirato dal maestro Siciliano.
She has a much better voice than Horne..
It’s quite similar. Barton’s top is fuller and firmer but Hornes immediacy, telling tone, coloratura and rhythm are well beyond this voice here. But Barton is a glorious singer.
Beautifully polished line, but maybe a bit too heavy in parts. Even the most dramatic of mezzos Stignani was able to lighten the tones to portray the virginal Adalgisa.
Very impressive instrument though, and much more enveloping and characterful than Horne's, but obviously with less agility.
+jmiller05 Completely difer of; "a bit too heavy"... she sang it beautifully and accordingly to the required dynamics and inflections. Besides, this isn´t a light mezzo role.
+Zashorigin no, but this also isn't Verdi mezzo rep. In this aria, Adalgisa is in a flush of young, innocent romance and IMO there must be an ingenue quality to the tones.
Adalgisa gets heavier later on in the opera when all her illusions are shattered and she's in mortal danger. However like I said, beautiful voice and ever improving. Very musical too.
jmiller05 This is heavy Belcanto. Whether it gets heavier afterwards, it´s just the way the role is. And, it is similar to Verdi than light mezzo roles. Adalgisa and Eboli can be the same mezzo. History speaks for itself.
Horne why not !? but singing french she seems like Françoise Pollet.... I hope she will be more prudent and perhaps a day in les Troyens ?