I keep watching Radoslava Vorgić walk on stage and look around the room with her piercing eyes before she begins singing. I wish I could express what I'm feeling. I just keep replaying it.
Mrs. Vorgic, con voce leggiadra variegata colorita arzigogolata, ha dato a quest'aria barocca un guizzo contemporaneo, con acuti sicuri e ben calibrati. Una cantante interessante, così come l'intero complesso orchestrale.
It's a pity that there are so many commenters trying to compare this to Fagioli. The art cannot be shrunk to a single standard. The lady has a beautiful and powerful voice and performed the aria with great skill and expression and this is definitely a decent contribution to the world of baroque music. Any attempt to "reserve" this aria for a single performer is sectarianism.
@@ChristopherRSkinner Probably, Fagioli influenced many of them or they just rely on the same text (scores) edition. Anyway, both of them are decent, IMO. Check out Lucia Cirillo's version if you are seeking a completely different interpretation - yet another impressive performance.
la musica non è un fossile, tantomeno le sue interpretazioni che portano evviva diversità: questa interpretazione la trovo eccellente e l'interpretazione vocale femminile la trovo più naturale e meno artificiosa
I'd never heard of Vinci before a friend of mine introduced me to his music today. So many lesser known, but amazing, Italian baroque composers - I love Veracini and Barsanti for starters. Also loved this performance for its passion and fine musicality..... great ornamentation. Well done singer and well done orchestra. A big virtual clap from me :-)
Really enjoyed this sung by a beautiful saprano.Fogioli is far more theatrical and I loathe to compare and contrast,just enjoy both wonderful performances.
¡ Me impresiona tanta " diplomacia y condescendencia " frente a una triste realidad ! Si quieren " coquetear ", está bien. Pero... ¿ Es necesaria tanta hipocresía ?? ¡ La ejecución; ES MALA, Y PUNTO ! Voz plana, sin emosión, no llega a tonos altos y cuando lo intenta, desafina horriblemente,se come los bajos y partes del area, corta los cantabile y frases por falta de buena respiración. Muy mala vocalización y peor impostación. Y no es por hacer comparaciones y nada. Pero esta obra fue escrita por Vinci para castrados y tenor. Es decir; una exigencia interpretativa solo para este tipo de voces ( castrados o contratenores ) por el amplio rango musical. La verdad es una y nada más.
Fantastic performance. The very best of what western music has to offer. Excellent recording with very robust basso continuo, one can feel the depth. How do they do it with so few instruments? I have no idea. It sounds like a 1000-people orchestra. This lady is a baroque super star. Franco Fagioli's performance is of course well known. My attachment to Vinci is evidently that I know that Pergolesi, the greatest composer of all time, heard Vinci in 1725-1730 and wanted to compose exactly like him. The rest is history. This is a historical performance for the ages. Leo Depuydt
Voy surcando un mar encrespado, sin velas ni cordelería. Tiembla el mar, el cielo se enfosca, arrecia el viento, flaquean las fuerzas, y los caprichos de la Fortuna me arrastran sin piedad. Infeliz, en este estado me veo abandonado por todos. Solo permanece la inocencia que es causa de mi naufragio.
LYRICS: Vo solcando un mar crudele Senza vele, e senza sarte: Freme l’onda, il ciel s’imbruna Cresce il vento, e manca l’arte; E il voler della fortuna Son costretto a seguitar. Infelice! in questo stato Son da tutti abbandonato: Meco sola e l’innocenza, Chi mi porta a naufragar. ENGLISH TRANSLATION: I'm drifting down the cruel sea without a sail and without tailors the waves are roaring, the sky is darkening the wind is rising, and I'm out of ability to navigate and a fate's will I'm obligated to follow. Unhappy! In this situation everybody abandoned me only with myself and the innocence that causes my shipwreck.
Potreste cantare anche Pergolesi "Scuote e fa guerra" da Il Flaminio : la vostra voce è estremamente adatta al repertorio barocco. Bravissimo Ensemble New Trinity Baroque
I agree that she is a wonderful singer, has a lovely voice and great stage presence - But I also agree with Opera Triple Axel in that her voice and this aria may not be the best match - her voice is light, flexible and lovely as she ascends, but weakens in the lower middle to lower range,. I just think it comes off better sung by a good countertenor or mezzo soprano. She also seems to be fatiguing as the aria progresses - would love to hear her singing something different, perhaps Mozart or in general a coloratura aria that sits higher.? I looking forward to seeing her perform something along those lines....
Marilyn ramberg i feel very confortable listening to her lows She sing perfecly with mixed chest and head voice and sounds so complete in her range no passages her voice Is fluid and resonant never weak, Always in tune very agile and with almost perfect italian pronuntiation, a good expression of the emotions and feelings what you can expect Better from an artist? She performed at her best. And her best Is top quality.
I much prefer this to countertenors who for some reason seem to have become the norm. I find most countertenors' singing lacking dimension because of the way they produce their sound, also almost all of them create ornamentation with their larynx which makes the already unpleasant voice quite guttural. Unfortunate, because there's often some fine musicianship. This is way more enjoyable to me because the lady is using her natural voice with all its overtones and the ornamentation is on the breath like it should be.
Sie singt gut, aber die Konkurrenz ist tatsächlich mit Fagioli und Jaroussky sehr stark. Der Vortrag ist zwar sehr engagiert, aber mir zu laut, zu wenig nuanciert und es fehlt die "vogelgleiche Leichtigkeit". Die Arie ist eben sehr lange und sehr anspruchvoll, da trennt sich gut von sehr gut.
Je reconnais l'effort de la soprano, mais elle manque de rythme et de justesse. Belle tentative de s'attaquer à ce morceau d'anthologie, cependant la puissance n'est pas là !
Je trouve le timbre très beau, malgré tout :) c'est clair, limpide et le chant pas avalé en arrière al bel canto « moderne ». Il y a du soutien, je ne ressens pas vrmt de tension pour compenser à une faiblesse pour projeter.
Just so you know, contemporaries of Vinci and himself would've likely preferred to replace castrati, if needed, with female singers. Falsettists were not so useful to them.
@@tenor-haute-contre cause countertenors technique was in decline, i'm a doctor in the subject u dont really need to tutore me... The thing is, a good countertenor is a rare thing, but when it happens is the best solution, there were even castrati that were actually countertenors using the same technique cause the castration itself did not alter the voice cause it was just partially done.
@@theoperatripleaxel5417 I personally don't know of any Castrato who was in fact a falsettist, aside from Rauzzini (maybe ?) Italian falsettists did exist, sure, Caldara and Lotti were mature Alto singers and some Tenors like Fabri and Cignoni did sing female roles before their voice broke. However, I fail to find any example of those guys continuing their career as falsettists when they're fully grown adults. Just to be precise, I am only talking about Italian operas and any stage except for the British one, which I know did use some « Counter-tenors ». However, looking through documents and ms related to München, Vienna, Dresden's courts, all the dudes that passed through as Soprani or Contralti were Castrati (unless I'm really missing something!). What I find to be more lacking today are not falsettists, but female contralti ! Tons of them existed in the past and some like Diana Vico were even reknowned for playing male roles :)
Well, she is not only beautiful. She also has quite a voice. I have listened dozens of times to both versions, by a soprano and by a countertenor. Evidently, I have not had the privilege of listening to a castrato, a woman's voice with the lungs of a man. Some modern day countertenors probably come very close to this ideal. The Catholic Church caused the castratos by not allowing women to sing. And then when they tried to stop it, the Italians liked it so much that there was no way back. The discussion remains very useful having. Some modern eminent musicians actually have preferred a female voice, I am not sure why. Then again, the artistry of countertenors has improved in the past few decades. For the time being, I think that both offer a unique angle of performing . When I listen to both, I do enjoy the unique perspective that they have to offer. Historically, the fact remains that authenticity can only be guaranteed by having it sung by castrated males (though some males retain their puber voice for some reason in the present day). The discussion goes on. The female soprano voice cannot match the power of the male castrato because of the male lung capacity. But it does have its own timbre. The discussion goes on. But there is no doubt that this is a stellar performance, especially but not only in my opinion for producing Vinci's legendary vigor on steroids with such a small ensemble. Leo Depuydt (Brown University)
I keep watching Radoslava Vorgić walk on stage and look around the room with her piercing eyes before she begins singing. I wish I could express what I'm feeling. I just keep replaying it.
Fantastic! I thought nothing could surprise me after Fagioli, but this lady is brilliant in her own right!
Brava bravissima : impegnativa interpretazione femminile di una aria immortale del repertorio di Vinci!!
Mrs. Vorgic, con voce leggiadra variegata colorita arzigogolata, ha dato a quest'aria barocca un guizzo contemporaneo, con acuti sicuri e ben calibrati. Una cantante interessante, così come l'intero complesso orchestrale.
Brava come altre. Complimenti!
It's a pity that there are so many commenters trying to compare this to Fagioli. The art cannot be shrunk to a single standard. The lady has a beautiful and powerful voice and performed the aria with great skill and expression and this is definitely a decent contribution to the world of baroque music. Any attempt to "reserve" this aria for a single performer is sectarianism.
I agree with the philosophy, though I will say the use of nearly identical ornamentation makes the comparison an easier temptation.
@@ChristopherRSkinner Probably, Fagioli influenced many of them or they just rely on the same text (scores) edition. Anyway, both of them are decent, IMO. Check out Lucia Cirillo's version if you are seeking a completely different interpretation - yet another impressive performance.
la musica non è un fossile, tantomeno le sue interpretazioni che portano evviva diversità: questa interpretazione la trovo eccellente e l'interpretazione vocale femminile la trovo più naturale e meno artificiosa
Binary mindset prevents the world from blooming. And, by the way, this version is bright.
Ummm screw off. Fagioli killed this. She was flat and boring. Adieu.
Voce stupenda. Tanta dignità e bellezza. Bravissimi tutti i musicisti. La voce femminile è il massimo per questa aria di Vinci.
I'd never heard of Vinci before a friend of mine introduced me to his music today. So many lesser known, but amazing, Italian baroque composers - I love Veracini and Barsanti for starters. Also loved this performance for its passion and fine musicality..... great ornamentation. Well done singer and well done orchestra. A big virtual clap from me :-)
One of the most challenging Arias to sing, and this singer does it brilliantly.
Excelente interpretación, a sus pies madame. 👏👏👏👏👏👏👏👏👏👏.
Una prestazione degna di una delle più belle Arie del catalogo Vinci. Complimenti.
Sublime interpretación. Bravo bravo 👏👏👏👏👏👏👏👏👏👏👏👏👏👏 saludos 👋👋👋👋 desde México.
So good interprétation !......
Ma che brava!
Complimenti!
Voce Stupenda!
Astounding. Astonishing. Sweet. Beautiful. Skillful. Awesomeness..... & so is her singing....& so is the ensemble &. . . . Wow. Just...wow!🔥❤️
BRAVA. E BRAVi. Splendida voce, ottima tecnica e intonazione timbrica. Grazie.
Bella interpretazione. Radoslava Brava, Bravissima e Bravi i musicisti di New Trinity!
Merveilleuse interprétation, je vais la réécouter en boucle avec beaucoup de plaisir !
Merci pour cette vidéo !❤
Really enjoyed this sung by a beautiful saprano.Fogioli is far more theatrical and I loathe to compare and contrast,just enjoy both wonderful performances.
on ne doit pas comparer l'interprétation de fagioli avec celle-ci . Cette voix féminine est à sa place ici ,après c'est affaire de gout .Bravo
Superba!!!!! 🎉
Wonderful voice ❤
So great to see a new person in this area! A very few performers are able to master it on this level. Great technique, tempo, expression. Outstanding!
Wow, thank you!
I agree. Eccellente performance di "canto spianato". Sono curioso del risultato se potesse provare a cantare "in maschera", Rodolfo Celletti docet!
¡ Me impresiona tanta " diplomacia y condescendencia " frente a una triste realidad !
Si quieren " coquetear ", está bien. Pero... ¿ Es necesaria tanta hipocresía ??
¡ La ejecución; ES MALA, Y PUNTO !
Voz plana, sin emosión, no llega a tonos altos y cuando lo intenta, desafina horriblemente,se come los bajos y partes del area, corta los cantabile y frases por falta de buena respiración. Muy mala vocalización y peor impostación.
Y no es por hacer comparaciones y nada. Pero esta obra fue escrita por Vinci para castrados y tenor.
Es decir; una exigencia interpretativa solo para este tipo de voces ( castrados o contratenores ) por el amplio rango musical.
La verdad es una y nada más.
Merci pour ce partage... Bravo !!!
what fun !!
brought a big smile to a sunday night
thank you for the post
mxncb
Fantastic performance. The very best of what western music has to offer. Excellent recording with very robust basso continuo, one can feel the depth. How do they do it with so few instruments? I have no idea. It sounds like a 1000-people orchestra. This lady is a baroque super star. Franco Fagioli's performance is of course well known. My attachment to Vinci is evidently that I know that Pergolesi, the greatest composer of all time, heard Vinci in 1725-1730 and wanted to compose exactly like him. The rest is history. This is a historical performance for the ages. Leo Depuydt
Brava! Interpretazione molto personale…
Voy surcando un mar encrespado,
sin velas ni cordelería.
Tiembla el mar, el cielo se enfosca,
arrecia el viento, flaquean las fuerzas,
y los caprichos de la Fortuna
me arrastran sin piedad.
Infeliz, en este estado
me veo abandonado por todos.
Solo permanece la inocencia
que es causa de mi naufragio.
Suena fantastico.
Felicitaciones
Wauw! Mindblowing performance of my favorite aria.👍
Thank you so much
Brava come tante.
Beautiful! Beautiful! Beautiful!
Thank you so much!
Me gustan los matices de su voz.
Hermosa por cierto...
I enjoy.
❤ ovo me nosi!
LYRICS:
Vo solcando un mar crudele
Senza vele, e senza sarte:
Freme l’onda, il ciel s’imbruna
Cresce il vento, e manca l’arte;
E il voler della fortuna
Son costretto a seguitar.
Infelice! in questo stato
Son da tutti abbandonato:
Meco sola e l’innocenza,
Chi mi porta a naufragar.
ENGLISH TRANSLATION:
I'm drifting down the cruel sea
without a sail and without tailors
the waves are roaring, the sky is darkening
the wind is rising, and I'm out of ability to navigate
and a fate's will
I'm obligated to follow.
Unhappy! In this situation
everybody abandoned me
only with myself and the innocence
that causes my shipwreck.
Potreste cantare anche Pergolesi "Scuote e fa guerra" da Il Flaminio : la vostra voce è estremamente adatta al repertorio barocco. Bravissimo Ensemble New Trinity Baroque
Brava
Здорово!
Magnifiques passages ds le aigu...mais un peu plus de folie est nécessaire!!!
Tremenda Radovana, bravísima.
Canta como los angeles .
Lovely.
💜
I agree that she is a wonderful singer, has a lovely voice and great stage presence - But I also agree with Opera Triple Axel in that her voice and this aria may not be the best match - her voice is light, flexible and lovely as she ascends, but weakens in the lower middle to lower range,. I just think it comes off better sung by a good countertenor or mezzo soprano. She also seems to be fatiguing as the aria progresses - would love to hear her singing something different, perhaps Mozart
or in general a coloratura aria that sits higher.? I looking forward to seeing her perform something along those lines....
Why sing Mozart if she can sing Vinci? Who's Mozart, do you know who he is? Leo Depuydt
Marilyn ramberg i feel very confortable listening to her lows She sing perfecly with mixed chest and head voice and sounds so complete in her range no passages her voice Is fluid and resonant never weak, Always in tune very agile and with almost perfect italian pronuntiation, a good expression of the emotions and feelings what you can expect Better from an artist? She performed at her best. And her best Is top quality.
Es war mir ein Vergnügen Frau Vorgić auf einer kurzen Fahrt kennengelernt zu haben!
Puno pozdrava iz Hamburg!
perfetto! Another (other Fagiolio) interpretation of techicaly complex and beautiful Vinci's masterpiece! Bravo!
Glad you enjoyed it!
棒
Нечего добавить, кроме Браво !
I much prefer this to countertenors who for some reason seem to have become the norm. I find most countertenors' singing lacking dimension because of the way they produce their sound, also almost all of them create ornamentation with their larynx which makes the already unpleasant voice quite guttural. Unfortunate, because there's often some fine musicianship. This is way more enjoyable to me because the lady is using her natural voice with all its overtones and the ornamentation is on the breath like it should be.
Sie singt gut, aber die Konkurrenz ist tatsächlich mit Fagioli und Jaroussky sehr stark. Der Vortrag ist zwar sehr engagiert, aber mir zu laut, zu wenig nuanciert und es fehlt die "vogelgleiche Leichtigkeit". Die Arie ist eben sehr lange und sehr anspruchvoll, da trennt sich gut von sehr gut.
Je reconnais l'effort de la soprano, mais elle manque de rythme et de justesse. Belle tentative de s'attaquer à ce morceau d'anthologie, cependant la puissance n'est pas là !
Je trouve le timbre très beau, malgré tout :) c'est clair, limpide et le chant pas avalé en arrière al bel canto « moderne ». Il y a du soutien, je ne ressens pas vrmt de tension pour compenser à une faiblesse pour projeter.
it s just too unfortunate we just heard Franco Fagioli s interpretation. hehe. he s the one to beat!
She sings good for a girl.
LOOK AT FRANCO FAGIOLI, NO COMPARISON.....
Better look at Christopher R. Skinner's version. Fagioli has no chances there;)
Póki co nie słyszałem lepszego wykonania niż Franco Fagioli, jednak chylę czoła że względu na trudność wykonawczą tego utworu.
@@Grzegorz1972 please translate into englih
Уровень самодеятельности
She is beautiful, but this aria just doesn't work with a soprano... A countertenor is needed for the masculine sound to coome.
Just so you know, contemporaries of Vinci and himself would've likely preferred to replace castrati, if needed, with female singers. Falsettists were not so useful to them.
@@tenor-haute-contre cause countertenors technique was in decline, i'm a doctor in the subject u dont really need to tutore me... The thing is, a good countertenor is a rare thing, but when it happens is the best solution, there were even castrati that were actually countertenors using the same technique cause the castration itself did not alter the voice cause it was just partially done.
IN FACT, LOOK AT THE PERFORMANCE OF FRANCO FAGIOLI ON RUclips, TOO.....
@@theoperatripleaxel5417 I personally don't know of any Castrato who was in fact a falsettist, aside from Rauzzini (maybe ?)
Italian falsettists did exist, sure, Caldara and Lotti were mature Alto singers and some Tenors like Fabri and Cignoni did sing female roles before their voice broke. However, I fail to find any example of those guys continuing their career as falsettists when they're fully grown adults.
Just to be precise, I am only talking about Italian operas and any stage except for the British one, which I know did use some « Counter-tenors ». However, looking through documents and ms related to München, Vienna, Dresden's courts, all the dudes that passed through as Soprani or Contralti were Castrati (unless I'm really missing something!).
What I find to be more lacking today are not falsettists, but female contralti ! Tons of them existed in the past and some like Diana Vico were even reknowned for playing male roles :)
Well, she is not only beautiful. She also has quite a voice. I have listened dozens of times to both versions, by a soprano and by a countertenor. Evidently, I have not had the privilege of listening to a castrato, a woman's voice with the lungs of a man. Some modern day countertenors probably come very close to this ideal. The Catholic Church caused the castratos by not allowing women to sing. And then when they tried to stop it, the Italians liked it so much that there was no way back. The discussion remains very useful having. Some modern eminent musicians actually have preferred a female voice, I am not sure why. Then again, the artistry of countertenors has improved in the past few decades. For the time being, I think that both offer a unique angle of performing . When I listen to both, I do enjoy the unique perspective that they have to offer. Historically, the fact remains that authenticity can only be guaranteed by having it sung by castrated males (though some males retain their puber voice for some reason in the present day). The discussion goes on. The female soprano voice cannot match the power of the male castrato because of the male lung capacity. But it does have its own timbre. The discussion goes on. But there is no doubt that this is a stellar performance, especially but not only in my opinion for producing Vinci's legendary vigor on steroids with such a small ensemble. Leo Depuydt (Brown University)
Fagioli forever…second best but hey 🤣