Edita Gruverova is simply wonderful, outstanding, marvelous, sometimes out of this world, besides being a major actress and artist. I had the enormous luck of seeing her in Berlin some years ago and that experience was one that remains one of the most stunning theatrical and musical experiences I have ever had in my life.
My favorite part is 35:30! The way her crystal clear voice mixes with the orchestra and choir - just gorgeous.. needless to say that her whole performance here is spectacular❤️
Declino? Sì, certamente, ha 60 anni, ma a cantare e interpretare così.....non ne esistono di ventenni, trentenni ecc. È un mostro di bravura, di legati e di fiati. Una voce puntata in maschera, che fa suonare ogni sospiro, ogni appoggiatura. Una meraviglia. E poi di una sensibilità commovente....
Maravillosa interpretación. Jamás he visto a nadie declamar como ella cuando confiesa ser la única culpable. Hasta la orquesta se para . Por no hablar de la coloratura y de la expresividad durante toda la ópera. Jamás te olvidaremos, Edita
¿En serio? Y luego nos preguntamos por qué la ópera está en la m... Con semejante afición... Esta puesta en escena de Norma fue un puro despropósito. Y el colmo, una soprano ligera con voz temblona haciendo gorgoritos sin venir a cuento y saltándose la mitad de la partitura, simplemente por qué no era capaz de cantar lo que Bellini escribió. Un p... desastre.
Just watched this again and once more was blown away by the sheer beauty and power of Gruberova’s voice and interpretation of the druid priestess. Norma is of course the very zenith of the belcanto roles which other great interpreters such as Sutherland and Caballe have surmounted, and which Gruberova also achieved. A good production, good singing particularly Ganassi as Adalgisa, less so the tenor, but a fabulous tribute to the late great Slovakian soprano Edita Gruberova. You are now singing in heaven. R.I.P.👏👏👏
I never found her to be idiomatic in the Italian repertoire, not did I ever think she had the right voice for Norma. And yet, I really like her here. Somehow she made it work for her. And finally a Pollione who looks the part.
Although Callas is the reference for Norma in the 20th century who towers above all others, I think Gruberova offers an alternative interpretation of equal stature that may also be more authentic to 19th century ideals regarding Norma. She's certainly as great a musician as Callas, and the fact that she is less authoritative in the role is a plus for me because it brings out the vulnerability in the character of Norma. I also enjoy how playful and spontaneous her musicianship is and how rhythmically responsive and propulsive her phrasing. When we remember that Bellini wrote both Norma and Amina in "La Sonnambula" for Giuditta Pasta (both of which she sang in 1831), Gruberova seems an extremely apposite vocal representation of the role, even at 60.
Bellissima regia geometrica minimalista della norma di bellini 2006 questa edizione mi riporta indietro e mi ricorda la mia infanzia bellissima edizione che porto nel cuore❤❤❤❤❤❤❤🎉🎉❤❤❤❤❤❤
@@Feisenbach primadonna is a concept that developed depending on belcanto. belcanto is unfortunately far from its past glory. Belcanto soprano is almost gone. The rest is far from that skill. Therefore, primadonnaism is evaluated not over belcanto but on general success. Anna Netrebko from Angela Gheorghiu bel canto distant primadonnas.
Me pregunto qué habría dicho Milanov si hubiera visto esto, teniendo en cuenta que cuando Sills, en plena forma vocal, tras cantar una versión bastante decente de Norma, declaró que no le habia resultado tan difícil, comentó: 'es que, querida, cantar la Norma como la cantas tú, no es difícil'.
ah , I ara volen posar opera al Palau de la Musica xx no s,ha fet mai opera al Palau de la Musica , no esta preparada per la opera , perque , es auditori de concerts classic , nomes ❤
Does anyone have the timestamp of is the "Casta Diva" piece? I started the whole opera and quickly recognizes it at.... 29:16 (end 36:20) Unfortunately, there is a fair number of "hiccups" in the sound recording during this piece. What a pity !!!
Aixo son veus , i , opera que em escoltat al Liceu , amb el grup del cinque pis Ara s,ha acabat Liceu , I , veus Volen posar opera Contemporania al Liceu Menys mal , que tenim La Farandula de Sabadell , que ja fa curanta anys tenim opera classica , no Contemporania ❤
because there are fans of other famous sopranos, such as Dame Sutherland, Cabelle, and Sills, who simply cannot appreciate the beauty of diversity and difference. It's a sad thing that they lock themselves in that small little box and fail to explore the full possibility and potentials of opera world.
Malgré la beauté de la voix, elle n'est pas celle qui convient à Norma. Elle est plus proche de Lucia que de Norma. Il y eut quelques Norma sublimes, telles Callas ou Caballé. Quant à la mise en scène, encore du grand n'importe quoi!! On croirait voir Norma sortie d'un château fort médiéval. Il faut recadrer les metteurs en scène qui se prennent pour de grands génies, alors que les génies sont ceux qui composèrent ces chefs-d'oeuvre!
Je ne discuterai pas de la "voix" mais une fois encore du n'importe quoi pour la mise en scène , ce qui devient une généralité !!! Où est la magie et l'élégance d'un , entre autre , Jean Pierre Ponelle ? Je suis dernièrement sorti de la Monnaie à Bruxelles , Olivier Py et ses mises en scène d'une vulgarité et pornographie sans nom , avait , une fois encore , sévi. J'avoue ne pas avoir regarder le programme. Si j'eûs su , je me serais épargner cette soirée épouvantable , même écourtée.
@@dejonghlouis9194 Raison pour laquelle je ne vais quasiment plus à l'opéra. Voir ces "mises en scène" ridicules m'a définitivement dégoûté de ces pauvres types un peu semblables aux architectes dont il ne restera rien dans 50 ans !!
Brava la Gruberova, ma in questo ruolo preferisco Sutterland e Caballe'. Ma una parola x Sonia Ganassi? Bravissima come sempre. Uno dei mie attuali mezzosoprani preferiti...C O M P L I M E T I a Sonia
UNA INTERPRETACION LOGRADA, SOLO LOS AGUDOS SON DISTORCIONANTES, LA GRUBEROVA ESTABA YA I¡ UN TANTO EN ECADENCIA, Y DEBIO CUIDAR MAS LA ELECCION DE SU REPERTORIO, MEJOR LA CABALLE, SCOTO, SUTHERLAND PARA NO MENCIONAR A CALLAS, AUN ASI MERECE OIRSE
Dear Ms. Gruberova, you are without a doubt one of the best coloratura sopranos. You sang Norma's cavatina in such an interesting and peculiar way, and it is after interminable dictatorship of the unequal Maria Callas in the role of Norma, really BRAVA !!! But I am disappointed, you added so many flourishes in the cabaletta that it seemed to me that you confused the style of Bellini with that of Rossini. The high priestess expresses her joy? Or his revolt? Your ultra-coloratura version of the cabaletta has destroyed the dramaturgy of the authors. And maybe that's why the final C was short and not expressive. Pity ! Regards Gabriel Chère Mme Gruberova, vous êtes sans aucun doute l'une des meilleures sopranos colorature. Vous avez chanté la cavatine de Norma d'une manière si intéressante et si particulière, et c'est après interminable dictature de l'inégal Maria Callas dans le rôle de Norma, vraimen BRAVA !!! Mais je suis déçu, vous avez ajouté tant de fioriturs dans la cabaletta qu'il m'a semblé que vous avez confondu le style de Bellini avec celui de Rossini. La grande prêtresse exprime sa joie ? Ou sa révolte ? Votre version ultra-coloratura de la cabaletta a détruit la dramaturgie des auteurs. Et c'est peut-être à cause de cela que le Do final était court et pas expressif. Dommage ! Cordialement Gabriel Многоуважаемая Г-жа Груберова вы беспорно одна из самых лучших среди колоротурных сопрано. Вы так интересно и своеобразно исполнили каватину Нормы и это после несканчаемой диктатуры непревзойденной Нормы Марии Каллас, БРАВА ! Но я разочарован, в кабалетте вы добавили так много фиоритур что мне показалось что вы перепутали стиль Беллини с Россини, Верховная жрица выражает свою радость ? Или свой протест ? Ваша ультроколоротурнная версия кабалетты разрушила драматургию авторов и может именно от этого финальное До было коротким и не вырозительным. Жаль !
Autrefois, il était courant de couper la reprise avec la seconde strophe. Cela pouvait d'ailleurs se justifier s'il cela pouvait éviter justement un bis repetita qui n'apportait rien. Quand les compositeurs prévoient une reprise, c'est précisément pour qu'elle soit variée, ornementée. C'est rhétorique et les grands castrats, pendant leur longue formation, avaient un enseignement spécialement dédié à cette capacité à ornementer et, plus encore à improviser. Les meilleurs d'entre-eux étaient d'ailleurs réputés pour ne jamais chanter un air deux fois de la même façon. Cette pratique s'est poursuivie jusqu'à la moitié du XIXème siècle, jusqu'à ce que le chant romantique, puis le vérisme la fassent disparaître. Heureusement, depuis, des chanteurs curieux et informés, soutenus pas des musicologues et des chefs cultivés ont réactivé ce savoir-faire qui est maintenant bien ancré: les Horne, Sutherland, Caballé, Sills, Verrett, Baltsa, Larmore, Merritt, Blake, Florez, Raimondi, Ramey... Gruberova...
@@brunopicaude3092 Vous n'avez pas compris le sens de mon commentaire. P.S. Si vous voulez lister les belkantistes du 20ème siècle, alors la liste devrait commencer par Maria Callas !!!
@@gabrielbelimo9762Qui est pour moi la plus grande. Il y a eu eu néanmoins avant elle des chanteuses époustouflantes formées dans l'école du bel canto à une époque où il avait quasiment disparu. Je pense par exemple à la contralto Ernestine Schumann-Heinck.
@@pepitogrillo8263 That's how opera is. The voice is more important than the looks. Have you ever seen a Cio-cio-san who looked like a 15-year-old for instance?
@@tjtyjtj65tj651tj People? What people? People behave here? You mean people write here. Heavenly sounds? You mean as in a thunder storm? Hail? Who are you? Who do you hope to be? Get a hobby. Get a life. Get lost. You must be one of those frustrated opera queens found in America. Happy Pride Month!
MMMMmmmmm....A breakdown for the newbies. This production is modern and "geometrically conceptual" featuring Druidic hoods, beige trench coats, toy rifles, dark sets and lots of large sawed off branches from trees. There are many triangle shapes in the set. Too many. The tenor is martial, heavy, loud and a visually effective actor, if not terribly bel canto in style nor is he ardently romantic, but he is in tune. The Adalgisa here is a creamy full lyric mezzo with plum pudding moves and warm flexible firm support to the prima donna and everyone else.. The prima donna is a laser beam lyric coloratura past her prime yet with plenty of vocal tricks up her sleeve if not the obvious dramatic coloratura presentation one hopes for.The high note climaxes in the lyrical phrases never reach a forte from the lead unless she is in ensemble. The title role is expressed more like a woman who is unlucky in love and has disgraced her tribe and just wants to crawl under a rock. We do not get that she is going to the chopping block for the abandon of love ( the :pyre death" is completely absent and not even really hinted at) but rather to see her "Druish" therapist. Was this a mistake ? No. Is it Norma as one should know it past 1925? No. Is Edita Gruberova mad and a waste of time here?? No. She is committed to her career and to these great composers and bringing them before the public with whatever she has left. This was the tipping point of her career when many people thought this should be her SAYONARA. As you can see from the endless perfs posted on youtube- it wasn't. Many opera goers and fans are hotly divided in both directions of opinion of her performances from this 2006 period and onward to the present..
She was a ligera that faced different roles for different voices, she sang and a magnificent performance, had a great technique and great stage personality, don't compare with any other soprano because she was as Callas UNIQUE.
Ves _Qual cor tradisti_ y parece la escena de la locura de _Lucia,_ cantada por la novia gremlin de Benjamin Button. Paso por que una estrella como Gruberova tuviera el capricho de cantar Norma antes de morirse de vieja, pero ¿los comentarios laudatorios? ¿Y luego nos preguntamos por qué la ópera se va al guano? Pues por eso. Porque los aficionados no tienen criterio. Son mayormente una pandilla de _snobs_ fanatizados sin, ya no conocimientos, sino sin la más mínima sensibilidad musical ni teatral. Bah.
Really bad night for Edita. I must say however that I managed to catch her Lucia at Covent Garden in the early 1980s and that was a pretty bad night, too!
AM Ohhh yes!!! Maybe you just don’t like the sound of her voice, which I accept of course, but Edita is and will always be one of the greatest opera singers to ever walk this earth.(and even if you don’t like her voice or acting, you can’t deny that her technique is outstanding!!)❤️ viva edita
Still good for my money :) I love her in this recording. She might do it better when she was in her 40s, but I like her here even more because she has deep emotioal colors and still has her Gruby force of nature. I also very much like her recordings of Norma with Elina Garanca - sublime, in my oppinion.
Désolé mais ce n'est pas une grande norma. Elle a du mal à pousser ses notes vers le haut. On a toujours l'impression que la note aiguë demeure feutrée. Jamais éclatante et libérée
It’s a shame to show Druids like muslims . A big shame!!! It is owful…. Very bad performance…. Wonderful singers … but….What a pity for the singers and musicians to take part of this shame…. ? 😢
She should have stopped singing ten years before this disastrous performance. Despite being a great singer during her prime, even then she never had the voice to sing Norma.
You're out-and-out lying your foolish head off. You call this "disastrous"? My you fanatic cultists have an irrational disconnect of no precedence. And no credibility.
She is so pathetic! Norma is for a dramatic voice with agility with a very strong low and middle voice. She doesn't even have 5% of this role's score in her throat, why?
I like her Norma, as well as a whole lot of other people do. And I very often ask why there are so many haters of her singing 'dramatic' roles? There is a saying - if trolls hate you for what you do, you must have done something great =) be really alarmed when trolls praise you, because this might mean you're going mainstream, or worse =)....
Haters my ass. ARE YOU EVEN MUSICAL? DO YOU KNOW HOW TO READ MUSIC? Don’t you see that a lot of the score is very low in tessitura so the use of great chest voice is an absolute most for this role? Who told you this role was for a lyric voice???? How can I be hating in regards to a light lyric soprano as Gruberova was who barely even hit let alone sang the low register at all and lack the big dramatic presence in the middle voice????????? The fact that you and other people refuse to acknowledge this is alarming when is about 50% of the score and the reason why today opera is where it is which is in a such low level like never ever before in its history. This is unacceptable! It truly is!
@@beachfanatic2010 Both Monsi and Callas were far better Normas but to call this disastrous performance you must be mad. Out of three let's be honest (and I can speak because I can read music as a 19-year-old baritone in studying) Edita's voice preserved the best. She sang better at 71 than Callas at 50. And I love Callas. Both my singing teacher and I. My teacher has her picture on the piano but Gruberova is a fine, fine singer but Norma is not quite for her but you must know that there are so many bad Normas...
@@tarejso5632 Gruveroba and her dreadful tiny mosquito voice do not belong in the same sentence with Caballe. And Callas doesn’t belong in this conversation at all. What an insult. Callas sang 37 dramatic soprano roles in her debut year at the age of 13 years old in the Athens opera. What did Callas loose in this conversation?
Eine Präsentation (Bühne, Kostüm, Ausstattung) von bemerkenswert sinnloser Hässlichkeit, mit wenigen überraschenden Regieideen. Ein sehr gediegenes Orchester, dem etwas mehr italienische Anmutung gut täte. Streckenweise überforderte Feierabendchöre. Die Gruberova kompetent, aber manchmal auch ein wenig müde (verständlich, wenn man das alles schon hundertmal gesungen hat ...). Der Tenor nicht mein Geschmack. Insgesamt gehobene Staatstheaterware, aber beileibe keine Sternstunde. PS überzeugende, streckenweise bezaubernde Adilgisa
She is miked and amplified to the bones, like the rest of the cast. She is horrible. Is her mike in her uvula? What a disgrace! It's unbelievable that opera became Broadway, a musical theater joke. How sad! Is there any opera theater left in the world that doesn't demand personal amplification? This all started with the Met and that Levine midget. Horrible!
I can assure you Gruberova does not need any amplification, I wonder if you ever heard her voice in the theatre? Or you just judge voices from recordings and not from a personal experience?
![Bellini: Norma - Callas, Corelli, Ludwig, Zaccaria, de Palma, Vicenci, Serafin (1960) [Subtitles]](http://i.ytimg.com/vi/IwiFz7XKJiw/mqdefault.jpg)
![Bellini: Norma - Callas, Corelli, Ludwig, Zaccaria, de Palma, Vicenci, Serafin (1960) [Subtitles]](/img/tr.png)
Edita Gruverova is simply wonderful, outstanding, marvelous, sometimes out of this world, besides being a major actress and artist. I had the enormous luck of seeing her in Berlin some years ago and that experience was one that remains one of the most stunning theatrical and musical experiences I have ever had in my life.
AHURISSANT ! génial !!! Mais quelle artiste, quelle voix, quelle musicalité ooooooofffffffff
요즘 하루에 한번씩 보고있어요 ㅎㅎ 너무 좋아~~~~~~~^0^
Gracias por esta música tan maravillosa
Sublime interpretazione.una voce acutamente piena e pienamente espressiva.Stupisce e convince.
Edita Gruberova ha estat sempre sensacional amb Norma ❤
¡Fantástica Edita Gruberova !
BRAVI!!
Ваша Норма прекрасна.Браво !
Бальзам на душу от вашего голоса .
Самая сложная оперная ария . Безупречно!!! Браво!!!
Magnífica, a los que la critican, les recuerdo que Callas no llegó ni a los 50's cantando, la única equiparable es la extraordinaria Magda Olivero.
Ma questo a chi importa? Grube e lontana anni luce di Maria!
@@alexeyizmirliev64 Not anymore.
Great Voice, great performance
L‘ unica! ❤
My favorite part is 35:30! The way her crystal clear voice mixes with the orchestra and choir - just gorgeous.. needless to say that her whole performance here is spectacular❤️
Absolutely beautiful bravos every ones ❤️
Una interpretazione magistrale! Una voce stupenda!
Gia in declino?
Declino? Sì, certamente, ha 60 anni, ma a cantare e interpretare così.....non ne esistono di ventenni, trentenni ecc. È un mostro di bravura, di legati e di fiati. Una voce puntata in maschera, che fa suonare ogni sospiro, ogni appoggiatura. Una meraviglia. E poi di una sensibilità commovente....
Maravillosa interpretación. Jamás he visto a nadie declamar como ella cuando confiesa ser la única culpable. Hasta la orquesta se para . Por no hablar de la coloratura y de la expresividad durante toda la ópera.
Jamás te olvidaremos, Edita
¿En serio? Y luego nos preguntamos por qué la ópera está en la m... Con semejante afición... Esta puesta en escena de Norma fue un puro despropósito. Y el colmo, una soprano ligera con voz temblona haciendo gorgoritos sin venir a cuento y saltándose la mitad de la partitura, simplemente por qué no era capaz de cantar lo que Bellini escribió. Un p... desastre.
Just watched this again and once more was blown away by the sheer beauty and power of Gruberova’s voice and interpretation of the druid priestess. Norma is of course the very zenith of the belcanto roles which other great interpreters such as Sutherland and Caballe have surmounted, and which Gruberova also achieved. A good production, good singing particularly Ganassi as Adalgisa, less so the tenor, but a fabulous tribute to the late great Slovakian soprano Edita Gruberova. You are now singing in heaven. R.I.P.👏👏👏
LAUGHABLE.
Après la Norma/Medea de Callas, cette incroyable Norma/Lucia de Gruberova...
Edita is 60 years old and still sings well and is a great actress
lucynka102 bellini
Non sopporto queste scenografie...la ascolto x la prima volta x curiosità ....x me devo gradire scene, costumi oltre le voci
Bravo bravo bravo
And against all odds and in spite of that Gruberova - Great singer! Even now in 72!
I never found her to be idiomatic in the Italian repertoire, not did I ever think she had the right voice for Norma. And yet, I really like her here. Somehow she made it work for her. And finally a Pollione who looks the part.
Edita, provided her own interpretation...........she Is still a DIVA
Edita Gruberova: degna Norma di questi ultimi anni!
Fantástico y para los que la critican que canten ellos. A ver si son capases de dar un c6. A sus 60 años.
❤ottimo anche Pollione..!
Although Callas is the reference for Norma in the 20th century who towers above all others, I think Gruberova offers an alternative interpretation of equal stature that may also be more authentic to 19th century ideals regarding Norma. She's certainly as great a musician as Callas, and the fact that she is less authoritative in the role is a plus for me because it brings out the vulnerability in the character of Norma. I also enjoy how playful and spontaneous her musicianship is and how rhythmically responsive and propulsive her phrasing. When we remember that Bellini wrote both Norma and Amina in "La Sonnambula" for Giuditta Pasta (both of which she sang in 1831), Gruberova seems an extremely apposite vocal representation of the role, even at 60.
Bellissima regia geometrica minimalista della norma di bellini 2006 questa edizione mi riporta indietro e mi ricorda la mia infanzia bellissima edizione che porto nel cuore❤❤❤❤❤❤❤🎉🎉❤❤❤❤❤❤
I think so she is last primadonna.....she was 60 years old on the video so good performance and very great success
Yes amazing for 60
Why should she be the last?
@@Feisenbach primadonna is a concept that developed depending on belcanto. belcanto is unfortunately far from its past glory. Belcanto soprano is almost gone. The rest is far from that skill. Therefore, primadonnaism is evaluated not over belcanto but on general success. Anna Netrebko from Angela Gheorghiu bel canto distant primadonnas.
grande artista
Шикарная Норма! Браво Эдита Груберова!
Me pregunto qué habría dicho Milanov si hubiera visto esto, teniendo en cuenta que cuando Sills, en plena forma vocal, tras cantar una versión bastante decente de Norma, declaró que no le habia resultado tan difícil, comentó: 'es que, querida, cantar la Norma como la cantas tú, no es difícil'.
Outstanding electric performance...edita (at 60)....SUPERB!!....the critics are just that...critics...period....
ah , I ara volen posar opera al Palau de la Musica xx no s,ha fet mai opera al Palau de la Musica , no esta preparada per la opera , perque , es auditori de concerts classic , nomes ❤
Люблю Джильду - Груберову.
Wunderbare Musik und wunderbare Stimmen! Leider ist der Genuss der Aufnahme etwas getrübt, da Bild und Stimme nicht ganz synchron verlaufen.
Does anyone have the timestamp of is the "Casta Diva" piece?
I started the whole opera and quickly recognizes it at....
29:16 (end 36:20)
Unfortunately, there is a fair number of "hiccups" in the sound recording during this piece. What a pity !!!
Minuto 42... le faltó fiato para el agudo final...pero se entiende.....
Aixo son veus , i , opera que em escoltat al Liceu , amb el grup del cinque pis Ara s,ha acabat Liceu , I , veus Volen posar opera Contemporania al Liceu Menys mal , que tenim La Farandula de Sabadell , que ja fa curanta anys tenim opera classica , no Contemporania ❤
No comment.
💓💓💓 !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
I don't know why I'm shocked by seeing hating comments ...
because there are fans of other famous sopranos, such as Dame Sutherland, Cabelle, and Sills, who simply cannot appreciate the beauty of diversity and difference. It's a sad thing that they lock themselves in that small little box and fail to explore the full possibility and potentials of opera world.
Yang Sigmund You are so right.. but bad for them I guess! This is nothing but wonderful and I feel pity for everyone who can’t appreciate it
Malgré la beauté de la voix, elle n'est pas celle qui convient à Norma. Elle est plus proche de Lucia que de Norma. Il y eut quelques Norma sublimes, telles Callas ou Caballé.
Quant à la mise en scène, encore du grand n'importe quoi!! On croirait voir Norma sortie d'un château fort médiéval. Il faut recadrer les metteurs en scène qui se prennent pour de grands génies, alors que les génies sont ceux qui composèrent ces chefs-d'oeuvre!
Totally agree with everything you say
Je ne discuterai pas de la "voix" mais une fois encore du n'importe quoi pour la mise en scène , ce qui devient une généralité !!! Où est la magie et l'élégance d'un , entre autre , Jean Pierre Ponelle ? Je suis dernièrement sorti de la Monnaie à Bruxelles , Olivier Py et ses mises en scène d'une vulgarité et pornographie sans nom , avait , une fois encore , sévi. J'avoue ne pas avoir regarder le programme. Si j'eûs su , je me serais épargner cette soirée épouvantable , même écourtée.
@@dejonghlouis9194 Raison pour laquelle je ne vais quasiment plus à l'opéra. Voir ces "mises en scène" ridicules m'a définitivement dégoûté de ces pauvres types un peu semblables aux architectes dont il ne restera rien dans 50 ans !!
Non sapevo che ai tempi antichi dei Galli e romani avessero già inventato le mitragliatrici..😅😮😊
Brava la Gruberova, ma in questo ruolo preferisco Sutterland e Caballe'. Ma una parola x Sonia Ganassi? Bravissima come sempre. Uno dei mie attuali mezzosoprani preferiti...C O M P L I M E T I a Sonia
UNA INTERPRETACION LOGRADA, SOLO LOS AGUDOS SON DISTORCIONANTES, LA GRUBEROVA ESTABA YA I¡ UN TANTO EN ECADENCIA, Y DEBIO CUIDAR MAS LA ELECCION DE SU REPERTORIO, MEJOR LA CABALLE, SCOTO, SUTHERLAND PARA NO MENCIONAR A CALLAS, AUN ASI MERECE OIRSE
Premiered #otd in 1831 🌹🌹🌹
2:11:14 ADALGISA FIA PUNITA? more like Adalgisa fia morira after hearing that """"""""chest voice""""""""
Dear Ms. Gruberova, you are without a doubt one of the best coloratura sopranos. You sang Norma's cavatina in such an interesting and peculiar way, and it is after interminable dictatorship of the unequal Maria Callas in the role of Norma, really BRAVA !!! But I am disappointed, you added so many flourishes in the cabaletta that it seemed to me that you confused the style of Bellini with that of Rossini. The high priestess expresses her joy? Or his revolt? Your ultra-coloratura version of the cabaletta has destroyed the dramaturgy of the authors. And maybe that's why the final C was short and not expressive. Pity !
Regards Gabriel
Chère Mme Gruberova, vous êtes sans aucun doute l'une des meilleures sopranos colorature. Vous avez chanté la cavatine de Norma d'une manière si intéressante et si particulière, et c'est après interminable dictature de l'inégal Maria Callas dans le rôle de Norma, vraimen BRAVA !!! Mais je suis déçu, vous avez ajouté tant de fioriturs dans la cabaletta qu'il m'a semblé que vous avez confondu le style de Bellini avec celui de Rossini. La grande prêtresse exprime sa joie ? Ou sa révolte ? Votre version ultra-coloratura de la cabaletta a détruit la dramaturgie des auteurs. Et c'est peut-être à cause de cela que le Do final était court et pas expressif. Dommage !
Cordialement Gabriel
Многоуважаемая Г-жа Груберова вы беспорно одна из самых лучших среди колоротурных сопрано. Вы так интересно и своеобразно исполнили каватину Нормы и это после несканчаемой диктатуры непревзойденной Нормы Марии Каллас, БРАВА ! Но я разочарован, в кабалетте вы добавили так много фиоритур что мне показалось что вы перепутали стиль Беллини с Россини, Верховная жрица выражает свою радость ? Или свой протест ? Ваша ультроколоротурнная версия кабалетты разрушила драматургию авторов и может именно от этого финальное До было коротким и не вырозительным. Жаль !
С уважением Габриел
Autrefois, il était courant de couper la reprise avec la seconde strophe. Cela pouvait d'ailleurs se justifier s'il cela pouvait éviter justement un bis repetita qui n'apportait rien. Quand les compositeurs prévoient une reprise, c'est précisément pour qu'elle soit variée, ornementée. C'est rhétorique et les grands castrats, pendant leur longue formation, avaient un enseignement spécialement dédié à cette capacité à ornementer et, plus encore à improviser. Les meilleurs d'entre-eux étaient d'ailleurs réputés pour ne jamais chanter un air deux fois de la même façon. Cette pratique s'est poursuivie jusqu'à la moitié du XIXème siècle, jusqu'à ce que le chant romantique, puis le vérisme la fassent disparaître. Heureusement, depuis, des chanteurs curieux et informés, soutenus pas des musicologues et des chefs cultivés ont réactivé ce savoir-faire qui est maintenant bien ancré: les Horne, Sutherland, Caballé, Sills, Verrett, Baltsa, Larmore, Merritt, Blake, Florez, Raimondi, Ramey... Gruberova...
@@brunopicaude3092 Vous n'avez pas compris le sens de mon commentaire.
P.S. Si vous voulez lister les belkantistes du 20ème siècle, alors la liste devrait commencer par Maria Callas !!!
@@gabrielbelimo9762Qui est pour moi la plus grande. Il y a eu eu néanmoins avant elle des chanteuses époustouflantes formées dans l'école du bel canto à une époque où il avait quasiment disparu. Je pense par exemple à la contralto Ernestine Schumann-Heinck.
Why Pollione is 30 years younger than Norma. That cougar!
Nobody asked the question when Alfredo Kraus sang with June Anderson who could have been his daughter.
@@brunopicaude3092 Since Norma is a fertile mother it's a little weird having Gruberova at that age singing at motherhood, yes
@@pepitogrillo8263 That's how opera is. The voice is more important than the looks. Have you ever seen a Cio-cio-san who looked like a 15-year-old for instance?
But he was a horrible tenor.
It is sad to see a great singer in a role that is beyond her means.
And yet people here behave like they were hearing only heavenly sounds coming out of her.
@@tjtyjtj65tj651tj People? What people? People behave here? You mean people write here. Heavenly sounds? You mean as in a thunder storm? Hail? Who are you? Who do you hope to be? Get a hobby. Get a life. Get lost. You must be one of those frustrated opera queens found in America. Happy Pride Month!
@@tjtyjtj65tj651tj Maybe that's how we experienced it! Are we not entitled to our opinion?
You're full of it.
@@nielrishoi8156 Mi dispiace moltissimo ma non parlo Ingles. Stronzo.
🇱🇨❤️!!!
Hacía tiempo que no veía y, sobre todo, que no oía, una cosa tan ridícula.
seems to me critics of her Casta Diva are exaggerating.......
29:18 Casta Diva
Ce ne fossero oggi
MMMMmmmmm....A breakdown for the newbies. This production is modern and "geometrically conceptual" featuring Druidic hoods, beige trench coats, toy rifles, dark sets and lots of large sawed off branches from trees. There are many triangle shapes in the set. Too many. The tenor is martial, heavy, loud and a visually effective actor, if not terribly bel canto in style nor is he ardently romantic, but he is in tune. The Adalgisa here is a creamy full lyric mezzo with plum pudding moves and warm flexible firm support to the prima donna and everyone else.. The prima donna is a laser beam lyric coloratura past her prime yet with plenty of vocal tricks up her sleeve if not the obvious dramatic coloratura presentation one hopes for.The high note climaxes in the lyrical phrases never reach a forte from the lead unless she is in ensemble. The title role is expressed more like a woman who is unlucky in love and has disgraced her tribe and just wants to crawl under a rock. We do not get that she is going to the chopping block for the abandon of love ( the :pyre death" is completely absent and not even really hinted at) but rather to see her "Druish" therapist. Was this a mistake ? No. Is it Norma as one should know it past 1925? No. Is Edita Gruberova mad and a waste of time here?? No. She is committed to her career and to these great composers and bringing them before the public with whatever she has left. This was the tipping point of her career when many people thought this should be her SAYONARA. As you can see from the endless perfs posted on youtube- it wasn't. Many opera goers and fans are hotly divided in both directions of opinion of her performances from this 2006 period and onward to the present..
She was a ligera that faced different roles for different voices, she sang and a magnificent performance, had a great technique and great stage personality, don't compare with any other soprano because she was as Callas UNIQUE.
Ves _Qual cor tradisti_ y parece la escena de la locura de _Lucia,_ cantada por la novia gremlin de Benjamin Button. Paso por que una estrella como Gruberova tuviera el capricho de cantar Norma antes de morirse de vieja, pero ¿los comentarios laudatorios? ¿Y luego nos preguntamos por qué la ópera se va al guano? Pues por eso. Porque los aficionados no tienen criterio. Son mayormente una pandilla de _snobs_ fanatizados sin, ya no conocimientos, sino sin la más mínima sensibilidad musical ni teatral. Bah.
non e un soprano belcantista, canta le note ma non esiste nel suo canto l´italianitá
mi piace quest'Adagisa! chi e"?
Really bad night for Edita. I must say however that I managed to catch her Lucia at Covent Garden in the early 1980s and that was a pretty bad night, too!
Did she ever have a good night?
DavidAsset78 perhaps everything is bad because you tend to be in a bad mood?
AM Ohhh yes!!! Maybe you just don’t like the sound of her voice, which I accept of course, but Edita is and will always be one of the greatest opera singers to ever walk this earth.(and even if you don’t like her voice or acting, you can’t deny that her technique is outstanding!!)❤️ viva edita
🤦🏻♀️
So past her prime.
Still good for my money :) I love her in this recording. She might do it better when she was in her 40s, but I like her here even more because she has deep emotioal colors and still has her Gruby force of nature. I also very much like her recordings of Norma with Elina Garanca - sublime, in my oppinion.
Désolé mais ce n'est pas une grande norma. Elle a du mal à pousser ses notes vers le haut. On a toujours l'impression que la note aiguë demeure feutrée. Jamais éclatante et libérée
It’s a shame to show Druids like muslims . A big shame!!! It is owful…. Very bad performance…. Wonderful singers … but….What a pity for the singers and musicians to take part of this shame…. ? 😢
Scusate, pero e anni luce da Callas.
Mise en scène tellement ridicule....
She sings Casta Diva too slowly and performs poorly ! One of the worst Casta Diva performances ever !
No, she is great.
She should have stopped singing ten years before this disastrous performance. Despite being a great singer during her prime, even then she never had the voice to sing Norma.
Norma was made for dramatic soprano, or at least lyric spinto. I agree with Artful: this is a disastrous performance!
A manifestação da platéia anula qualquer comentário desairoso e negativo acima registrado pelos pretensos entendidos.
Cassio de Luna Freire
Tin ears.
You're out-and-out lying your foolish head off. You call this "disastrous"? My you fanatic cultists have an irrational disconnect of no precedence. And no credibility.
She is so pathetic! Norma is for a dramatic voice with agility with a very strong low and middle voice. She doesn't even have 5% of this role's score in her throat, why?
I like her Norma, as well as a whole lot of other people do. And I very often ask why there are so many haters of her singing 'dramatic' roles? There is a saying - if trolls hate you for what you do, you must have done something great =) be really alarmed when trolls praise you, because this might mean you're going mainstream, or worse =)....
Marija Jastrebinska haha - great saying! And very true!
Haters my ass. ARE YOU EVEN MUSICAL? DO YOU KNOW HOW TO READ MUSIC? Don’t you see that a lot of the score is very low in tessitura so the use of great chest voice is an absolute most for this role? Who told you this role was for a lyric voice???? How can I be hating in regards to a light lyric soprano as Gruberova was who barely even hit let alone sang the low register at all and lack the big dramatic presence in the middle voice????????? The fact that you and other people refuse to acknowledge this is alarming when is about 50% of the score and the reason why today opera is where it is which is in a such low level like never ever before in its history. This is unacceptable! It truly is!
@@beachfanatic2010 Both Monsi and Callas were far better Normas but to call this disastrous performance you must be mad. Out of three let's be honest (and I can speak because I can read music as a 19-year-old baritone in studying) Edita's voice preserved the best. She sang better at 71 than Callas at 50. And I love Callas. Both my singing teacher and I. My teacher has her picture on the piano but Gruberova is a fine, fine singer but Norma is not quite for her but you must know that there are so many bad Normas...
@@tarejso5632 Gruveroba and her dreadful tiny mosquito voice do not belong in the same sentence with Caballe. And Callas doesn’t belong in this conversation at all. What an insult. Callas sang 37 dramatic soprano roles in her debut year at the age of 13 years old in the Athens opera. What did Callas loose in this conversation?
No, she can't sing Norma, the voice is old and problems with breathing
Bullshit.
Maybe problem with your hearing?
@@Feisenbach that is your point
Non sopporto questa scenografia e costumi...x me è importante siano conformi al periodo in cui si svolge la scena
Ca braille, rien d'autre
Eine Präsentation (Bühne, Kostüm, Ausstattung) von bemerkenswert sinnloser Hässlichkeit, mit wenigen überraschenden Regieideen. Ein sehr gediegenes Orchester, dem etwas mehr italienische Anmutung gut täte. Streckenweise überforderte Feierabendchöre. Die Gruberova kompetent, aber manchmal auch ein wenig müde (verständlich, wenn man das alles schon hundertmal gesungen hat ...). Der Tenor nicht mein Geschmack. Insgesamt gehobene Staatstheaterware, aber beileibe keine Sternstunde.
PS überzeugende, streckenweise bezaubernde Adilgisa
She is miked and amplified to the bones, like the rest of the cast. She is horrible. Is her mike in her uvula? What a disgrace! It's unbelievable that opera became Broadway, a musical theater joke. How sad! Is there any opera theater left in the world that doesn't demand personal amplification? This all started with the Met and that Levine midget. Horrible!
I can assure you Gruberova does not need any amplification, I wonder if you ever heard her voice in the theatre? Or you just judge voices from recordings and not from a personal experience?
Saw this twice live in Munich. No mikes involved.
Premiered #otd in 1831 🌹🌹🌹