I love her - I dont care what all the Beckmessers here have to say. I just adore her timbre and the incredible ping she has in her voice. I find the cabaletta somewhat too fast but she does not seem to have any problem with the tempo.
Memorable indeed whether some people in these comments like it or not. And she proved again and again to be a greatest Anna Bolena in Amsterdam one month later.
Saw her as Norma at the Met. Her voice was quite effective in singing the role. It does not have the warm overtones that create sublime profile in Casta Diva or utterances of last act BUT the "edge" is overwhelmingly exciting. Yes, she's a valuable interpreter in the dramatic belcanto repertoir. We need more from her.
As no artist is a perfect producing sound machine, I find that Rebeka is giving a nice and rather emotional performance even if she does not since every note. Remember she recently accepted to sing and play the role in place of Sonya Yoncheva cause of illness.
Thanks for sharing! If you have recorded the entire opera, please consider sharing it, even if it’s only the audio. Thanks for the consideration 😊😊😊🙏🙏🙏
I saw Marina as Mathilde (Rossini) in New York, and she was wonderful. But Anna Bolena is a much tougher role. Sills once said that the real Anne Boleyn would’ve dropped dead from exhaustion, long before the executioner came. I think this is a good effort, but since the more recent years of June Anderson and Ruth Ann Swenson, there haven’t been many great bel canto sopranos.
The singers you mentioned dont have Rebeka's dashing timbre. Swenson was a very good singer with a very pretty voice and Anderson straight white tone with tops that went back into her head was never my cup of tea.
@@Yves_Ka Actually June Anderson had a great colour, in my opinion. In theatre was also pretty big. And Swenson was also a very beautiful voice and live was very exciting. The beauty of a vocal timbre is a subjective matter; I don't find any beauty in Rebeka's voice; it's actually an ugly voice, to my ears, especially the shrill top.
@@barbaratchy969Did you know that Tullio Serafin said that Callas had a "vociacia", "a big unpretty voice"! Yesterday I heard Marina Rebeka's Bolena at the Dutch Nationale Opera. Each one of her performances there has received standing and frenetic ovations. She is extraordinary in the Opera House. And along with her magnificent art of singing and stage presence she gives so much emotion. Isn't it the most important. Each artist is unique. And indeed she is for her so many admirers. For me she has a beautiful voice and tone.
@@claudineshafa5546 You must be part of Rebeka's PR team lol. A great belcanto singer should at least be able to trill. I listened to the Amsterdam broadcast of Bolena and she was decent but that's all. She actually messed up "Al dolce guildami"pretty bad; it went south on the low parts (afaaaaani) and she had serious pitch issues. It's totally ridiculous to compare professional singers with prima donna assoluta Maria Callas.
Marina Rebeka et Karine Deshayes fonctionnent bien ensemble, elles sont ici le duo remplaçant les 2 cantatrices prévues dans ces rôles. J ai beaucoup apprécié Karine Deshayes seule et en duo. Le 2eme acte reste le plus beau à entendre. Quand on a entendu la Callas dans le rôle, difficile de se contenter d autres interprètes
Does it bother anyone else that someone ripped off these artists’ rights by publishing an unauthorized video taken with crappy cell phone audio in order to personally profit from RUclips? So inappropriate and completely rude.
Richard C. Of course it bothers a lot. On the top of that they don't even bother to control and bannish undue comments which are an insult to her artistry, by self-proclaimed opera experts.
This is a fairly decent performance, however I think this role is beyond her abilities. Firstly, on the low parts, Rebeka's voice is inaudible, and in some moments she gets lost (4:26 to 4:30). Secondly, the lack of trills: trills are written; there's nothing optional there, and it's hard to believe that Donizetti ever intended to write such a long scene without a single trill. She doesn't even attempt to trill; not once. Then, she carries on monotonously throughout, without colours; at times legato is lost; so everything is pretty much the same (recitativo, aria, preghiera etc.). The cabaletta "Coppia iniqua" is ok, but I wish she actually sang the written low notes and the trills, rather than adding an unwritten Eb and using some rather strange embellishments in order to avoid the low parts. Overall it's nice, but she's very far from the role's vocal and dramatic demands.
Evidemment nous voudrions tous avoir entendu la Pasta ! Mais depuis callas et Gencer, certes inégalées, on a pas entendu mieux. Le personnage est là. Quelles que soient les critiques pouvant être faites à l'égard de Marina Rebeka (les trilles ne sont pas comme çi et pas comme comme ça, les graves sont un peu faibles, la voix manque de nuances latines....), les Sills, Gruberova, Serra, etc, trops légères, sont ici renvoyées à leurs chères études.
@@levieuxpiano Merci pour la publicité. On doit laisser les légendes se reposer, nous ne parlons pas ici d'autres chanteuses qui sont entrées dans l'histoire de la musique. Rebeka a peu d'offrir; elle est une soprano lyrique légère, mais sa voix n'est pas belle, et ses capacités vocales sont limités; une soprano courte sans aïgus, sans graves, avec trop peu d'agilité. J'ai déjà dit: c'est une interprétation décente, pas phénoménal, comment vous dites. On ne vit pas dans l'age de divas et prima donnas; ajourd'hui on a seulement des chanteurs professionnels. Je ne vois pas la nécessité de délirer pour des choses insignifiantes.
This gentleman Andrea U. is writing at nauseam the same comment!!.. Callas who had more than once to face this kind of comments (a book was published compiling them, at the time letters) said something like : People talk, talk/criticize. As for us the singers we sing.
The fact that some people like her as an artist or her timbre, isn't a reasonable argument. I also like Julie Andrews' timbre, but I don't think she should have sung Bolena. Now about Rebeka: she has little to offer in this repertoire. She does not have the range, nor the belcanto style (no legato, no trills, limited agility, no warmth or sweetness in her voice). It's a common voice, with reasonable qualities, but not exciting in belcanto repertoire. Nowadays audiences aplaude everything, and this is the example.
no legato？limited agility？you don’t even know what you are talking about. Using Julie Andrews as an example shows your ignorance and arrogance. If you want to insult Rebeka, at least you could have chosen another opera singer for the comparison. I am sure you are living a very tedious and lonely life since there are so much hatred and bitchness in you limited sentences. Get a life.
The voice is there, and it’s a beautiful voice, but the belcanto style is completely missing. No mezza di voce, no trills, no magical crecendi- there is no flow . Of course everyone is free to disagree, but before you do I suggest you listen to the true belcanto singers of the last generation: Sills, Sutherland , Callas,Gencer, Caballé etc. But what’s most irritating is the trick of covering her ears with her hands in order to be able to find the right note? Very unprofessional! Never saw one of the great ones do this during a performance!,
Sound ! More sound ! Very much sound ! Where is the style ? Where are the embellishments and the trill ? No thrill at all . Just another screaming Netrebko. These are today's standards. What a pity.
This is as far as any soprano can get from the bel canto style... Metallic and monochromatic voice with zero dynamics that cruelly lacks colours. She just shouts the notes, doesn't she? Btw, has she ever heard of a trill?
@@claudineshafa5546 You care enough to reply... I don't *hate* on anything. Her singing is the farthest thing there is from bel canto. She should be singing some Mozart and Strauss and leave the Italian repertoire alone.
@@claudineshafa5546 Oui, un problème de connaissance du style et d'oreille. Les embellissements étaient sans goût et dérangeaient trop la ligne musicale durant la scène finale. Le legato s'est souvent trouvé brisé. C'est joli, mais par de nombreux aspects, ce n'était pas du bel canto. Que dire du manque de graves... J'ai préféré le final de l'acte 1, un peu plus proche de la partition, même si transposé dans l'aigu pour éviter tous les graves. Karine Deshayes, quantà elle, nous a offert une prestation de premier ordre !
I was there and there was nothing exceptional about her performance : no sense of how to nuance and drive a Bel Canto line, inexistent low notes which are only acceptable for Bolena if the middle is rich and varied in expression, not the case. If she wants to prove herself as a Bel Canto singer, she should choose a role more adapted to her instrument, perhaps Elvira, but I'm afraid her emission is simply too monotone to make the role interesting. Yes, she has no trill but is technically accomplished so she could work on that. I'm not sure why the critics were so wild about her : many, many in the public found her boring but were happy to hear the score again and cheered all the same. Other than the Smeton, who really understood the style and mastered it with aplomb, it was hard times for real Bel Canto at the Théâtre des Champs Élysées.
@@claudineshafa5546 You are perfectly entitled to your opinion, as I am to mine which was confirmed by many others who were in my company and discussions in general following the performance.
Brawoooo. Marina Rebeka the best Anna Bolena.
Absolutely remarkable interpretation of this very difficult final scene! Bravissima Marina Rebeka!
Spectacular
Quelle beauté... sublime
Strepitosa❤
Brava!!!!!!!!!
She sings like a real queen. One of the very best Bolena after Callas.
Exaggerated.
@@barbaratchy969 It is exactly what she is. One of the very best.
In fact her voice is much more beautiful than Callas'.
I love her - I dont care what all the Beckmessers here have to say. I just adore her timbre and the incredible ping she has in her voice. I find the cabaletta somewhat too fast but she does not seem to have any problem with the tempo.
So you don't see any issues with style? Trills? Legato? Chest voice? Voice colour?
@@jaybee2838 No, YOU DO :((
@@jaybee2838 Obviously he doesn't, and neither do I, so take your ridiculous comments and stick them where the sun don't shine.
@@Feisenbach I stick more interesting things where the sun don't shine. Comments aren't one of those things.
@@jaybee2838 Too bad, because that's where they belong.
Phénoménal.
I was there that night: was the audience so poor in its judgment and emotion that it spent 15 mn in frenetic applause ? Memorable evening ...
Her von political supporters pay the claque CB and all her poor bad & boring recordings ... boring & no belcanto... Baltikumpolitikum pooooor
Memorable indeed whether some people in these comments like it or not. And she proved again and again to be a greatest Anna Bolena in Amsterdam one month later.
Saw her as Norma at the Met. Her voice was quite effective in singing the role. It does not have the warm overtones that create sublime profile in Casta Diva or utterances of last act BUT the "edge" is overwhelmingly exciting. Yes, she's a valuable interpreter in the dramatic belcanto repertoir. We need more from her.
She's Very good soprano, Bravo !
Браво Марина! Наконец-то в наш век посредственностей и ничтожеств появилась достойная преемница Марии Каллас!
merci +++
As no artist is a perfect producing sound machine, I find that Rebeka is giving a nice and rather emotional performance even if she does not since every note. Remember she recently accepted to sing and play the role in place of Sonya Yoncheva cause of illness.
Yes she was called just 4 days before the concert.
Pazzesca!
Thanks for sharing! If you have recorded the entire opera, please consider sharing it, even if it’s only the audio. Thanks for the consideration 😊😊😊🙏🙏🙏
one and only who can pull this off in this medicore age
I saw Marina as Mathilde (Rossini) in New York, and she was wonderful. But Anna Bolena is a much tougher role. Sills once said that the real Anne Boleyn would’ve dropped dead from exhaustion, long before the executioner came. I think this is a good effort, but since the more recent years of June Anderson and Ruth Ann Swenson, there haven’t been many great bel canto sopranos.
The singers you mentioned dont have Rebeka's dashing timbre. Swenson was a very good singer with a very pretty voice and Anderson straight white tone with tops that went back into her head was never my cup of tea.
@@Yves_Ka Actually June Anderson had a great colour, in my opinion. In theatre was also pretty big. And Swenson was also a very beautiful voice and live was very exciting. The beauty of a vocal timbre is a subjective matter; I don't find any beauty in Rebeka's voice; it's actually an ugly voice, to my ears, especially the shrill top.
@@barbaratchy969Did you know that Tullio Serafin said that Callas had a "vociacia", "a big unpretty voice"! Yesterday I heard Marina Rebeka's Bolena at the Dutch Nationale Opera. Each one of her performances there has received standing and frenetic ovations. She is extraordinary in the Opera House. And along with her magnificent art of singing and stage presence she gives so much emotion. Isn't it the most important. Each artist is unique. And indeed she is for her so many admirers. For me she has a beautiful voice and tone.
Sorry but Marina Rebeka is a great bel canto singer. And her Anna Bolena is fantastic.
@@claudineshafa5546 You must be part of Rebeka's PR team lol. A great belcanto singer should at least be able to trill. I listened to the Amsterdam broadcast of Bolena and she was decent but that's all. She actually messed up "Al dolce guildami"pretty bad; it went south on the low parts (afaaaaani) and she had serious pitch issues. It's totally ridiculous to compare professional singers with prima donna assoluta Maria Callas.
Marina Rebeka et Karine Deshayes fonctionnent bien ensemble, elles sont ici le duo remplaçant les 2 cantatrices prévues dans ces rôles.
J ai beaucoup apprécié Karine Deshayes seule et en duo. Le 2eme acte reste le plus beau à entendre. Quand on a entendu la Callas dans le rôle, difficile de se contenter d autres interprètes
Does it bother anyone else that someone ripped off these artists’ rights by publishing an unauthorized video taken with crappy cell phone audio in order to personally profit from RUclips? So inappropriate and completely rude.
what profit? There's absolutely no profit made here but the one of sharing beautiful moments of music
Richard C. Of course it bothers a lot. On the top of that they don't even bother to control and bannish undue comments which are an insult to her artistry, by self-proclaimed opera experts.
This is a fairly decent performance, however I think this role is beyond her abilities. Firstly, on the low parts, Rebeka's voice is inaudible, and in some moments she gets lost (4:26 to 4:30). Secondly, the lack of trills: trills are written; there's nothing optional there, and it's hard to believe that Donizetti ever intended to write such a long scene without a single trill. She doesn't even attempt to trill; not once. Then, she carries on monotonously throughout, without colours; at times legato is lost; so everything is pretty much the same (recitativo, aria, preghiera etc.). The cabaletta "Coppia iniqua" is ok, but I wish she actually sang the written low notes and the trills, rather than adding an unwritten Eb and using some rather strange embellishments in order to avoid the low parts. Overall it's nice, but she's very far from the role's vocal and dramatic demands.
Evidemment nous voudrions tous avoir entendu la Pasta ! Mais depuis callas et Gencer, certes inégalées, on a pas entendu mieux. Le personnage est là. Quelles que soient les critiques pouvant être faites à l'égard de Marina Rebeka (les trilles ne sont pas comme çi et pas comme comme ça, les graves sont un peu faibles, la voix manque de nuances latines....), les Sills, Gruberova, Serra, etc, trops légères, sont ici renvoyées à leurs chères études.
@@levieuxpiano Merci pour la publicité. On doit laisser les légendes se reposer, nous ne parlons pas ici d'autres chanteuses qui sont entrées dans l'histoire de la musique. Rebeka a peu d'offrir; elle est une soprano lyrique légère, mais sa voix n'est pas belle, et ses capacités vocales sont limités; une soprano courte sans aïgus, sans graves, avec trop peu d'agilité. J'ai déjà dit: c'est une interprétation décente, pas phénoménal, comment vous dites. On ne vit pas dans l'age de divas et prima donnas; ajourd'hui on a seulement des chanteurs professionnels. Je ne vois pas la nécessité de délirer pour des choses insignifiantes.
Yes. This is at least a rational argument.
@@levieuxpiano Agree with you 💯💯
This gentleman Andrea U. is writing at nauseam the same comment!!..
Callas who had more than once to face this kind of comments (a book was published compiling them, at the time letters) said something like : People talk, talk/criticize. As for us the singers we sing.
Fort mediocre par rapport a Annick Massis ( grave atone, vocalises savonnees, aigu hurle et timbre neutre )
Orribile. voce non adatta al ruolo, direzione senza alcun senso musicale e urlo finale calante.. da dimenticare
VirtuosaColoratura, we are used to your negative comments. Nonsense.
Когда же вы уймётесь, бездарные завистники?
The fact that some people like her as an artist or her timbre, isn't a reasonable argument. I also like Julie Andrews' timbre, but I don't think she should have sung Bolena. Now about Rebeka: she has little to offer in this repertoire. She does not have the range, nor the belcanto style (no legato, no trills, limited agility, no warmth or sweetness in her voice). It's a common voice, with reasonable qualities, but not exciting in belcanto repertoire. Nowadays audiences aplaude everything, and this is the example.
no legato？limited agility？you don’t even know what you are talking about. Using Julie Andrews as an example shows your ignorance and arrogance. If you want to insult Rebeka, at least you could have chosen another opera singer for the comparison. I am sure you are living a very tedious and lonely life since there are so much hatred and bitchness in you limited sentences. Get a life.
You know, what's not exciting? Your comments!
Глупости, продиктованные завистью.
сейчас никто не поет бельканто О чем вы?
The voice is there, and it’s a beautiful voice, but the belcanto style is completely missing. No mezza di voce, no trills, no magical crecendi- there is no flow . Of course everyone is free to disagree, but before you do I suggest you listen to the true belcanto singers of the last generation: Sills, Sutherland , Callas,Gencer, Caballé etc. But what’s most irritating is the trick of covering her ears with her hands in order to be able to find the right note? Very unprofessional! Never saw one of the great ones do this during a performance!,
Sound ! More sound ! Very much sound ! Where is the style ? Where are the embellishments and the trill ? No thrill at all . Just another screaming Netrebko. These are today's standards. What a pity.
This is as far as any soprano can get from the bel canto style... Metallic and monochromatic voice with zero dynamics that cruelly lacks colours. She just shouts the notes, doesn't she? Btw, has she ever heard of a trill?
Jay Bee we know you like to hate on any of Marina Rebeka's videos !! You are boring. We don't care for your opinion.
@@claudineshafa5546 You care enough to reply... I don't *hate* on anything. Her singing is the farthest thing there is from bel canto. She should be singing some Mozart and Strauss and leave the Italian repertoire alone.
Of course thunder of applause were from a deaf audience who doesn't know anything about this repertoire🙄
@@claudineshafa5546 Exactly! Finally we agree on something 😊
@@claudineshafa5546 Oui, un problème de connaissance du style et d'oreille. Les embellissements étaient sans goût et dérangeaient trop la ligne musicale durant la scène finale. Le legato s'est souvent trouvé brisé. C'est joli, mais par de nombreux aspects, ce n'était pas du bel canto. Que dire du manque de graves... J'ai préféré le final de l'acte 1, un peu plus proche de la partition, même si transposé dans l'aigu pour éviter tous les graves.
Karine Deshayes, quantà elle, nous a offert une prestation de premier ordre !
I was there and there was nothing exceptional about her performance : no sense of how to nuance and drive a Bel Canto line, inexistent low notes
which are only acceptable for Bolena if the middle is rich and varied in expression, not the case. If she wants to prove herself as a Bel Canto singer, she should choose a role more adapted to her instrument, perhaps Elvira, but I'm afraid her emission is simply too monotone to make the role interesting. Yes, she has no trill but is technically accomplished so she could work on that. I'm not sure why the critics were so wild about her : many, many in the public found her boring but were happy to hear the score again and cheered all the same. Other than the Smeton, who really understood the style and mastered it with aplomb, it was hard times for real Bel Canto at the Théâtre des Champs Élysées.
I was there and her performance was exceptional. And the audience proved it. Anything you will write here and there won't change it...Mr.Opera!!
@@claudineshafa5546 You are perfectly entitled to your opinion, as I am to mine which was confirmed by many others who were in my company and discussions in general following the performance.
@@stephancatalano7335 Nowadays a major part of audiences love everything . This is a third rate singer that everyone praises. Sad.
@@barbaratchy969 Your attitude is sad.
Orrible comme d'habitude, inutile et urlé
Very clumsy singing.
Very stupid comment.