Bear in mind that this was not just a live performance, but at 11:00 a.m.! All in all, very impressive vocalism, even if the second G gets away from her. Not too many live performances of this aria for comparison; in a studio presumably things would have been different.
I must confess...I often sing along with Ms Peters to this recording 2 octives lower...in the privacy of my own home studio where NOBODY could ever hear me.
Thank you for uploading this, leoperarm. Mozart actually sai this was the best vocal composition he had ever written? Did he say that in one of his letters? This is certainly one of Mozart's most powerful and gripping compositions, and I feel that Peters- despite the inherent lightness of her voice- adequately captures the drama.
Meltzerboy, I believe, commented, I believe, in a video of Roberta Peters that she is, iether one of the last, or the last of the birdlike coloraturas. I can recall that Galli-Curci, Lina Pagliughi, Lily Pons, and Erna Sack fall into those categories. Personally, as a singer, this sound feels more natural to me. Why do you think we made this change vocally, and what are the vocal benefits of singing in this manner, i.e. easier control of dynamics and timbre?
Primarily because of the advent of sopranos such as Maria Callas and Joan Sutherland, both who proved that heavier voices could handle this type of repertoire.
Actually her Italian diction is EXCELLENT here and the rest of the aria is beautiful. If you want a singer that sucks...check out Sara Brightman trying to sing operatic repertoire...or Jewel doing the 24 Italian art songs. I certainly wouldn't put Ms Peters in that catagory because her 2nd top G was a bit loose goosey...nor do I think many others would.
I think you mean B-flat 6, on the sixth octave, above high C. The highest that an operatic soprano has ever went up to was a D7(Mado Robin, Ellen Beach Yaw). A few could sing the C above high C (Erna Sack, Lucrezia Aguiari, Katarzyna Dondalska), Ingeborg Hallstein sang up to high A, Natalie Dessay, Lily Pons, Mady Mesple up to Ab6, and Diana Damrau tops at high G.
By your opinion, I don't think you really know her art of singing, her high notes are very interesting and she could do a good high F (to respond your "weak"). Besides, i read recently your comment in Mesplé's Ah! non ginuge, you're wrong! It is a high F# at the end, not an "F natural".
DIANA PLEASE SING IT!!!!! Of course, if Diana sings this she would definitely be the best! Peters is outstanding too. I'm posting it with Luciana Serra, not as good, but not bad ;)
Es extremadamente dificil de cantar, y hasta que Diana lo cante sólo habrán tres sopranos en la corona de esta aria: Gruberova, Dessay y Moser. Si es cierto que hay arias igual de buenas: 'Vorrei siegarvi', 'no che non sei capace', 'ma che vi fece'... Y algunas de esas ya las cantó, en fin...
I don't know much about her history of singing this piece except that this is the only known recording of it. If you want to talk about being consistent, then you need more than one point of data.
Interesting that this was a live performance. In an interview, Edda Moser revealed that, while she had recorded the aria in two different studio recordings, she never dared to sing it live because of the top Gs. She knew that, like the Queen of Night's top Fs, the entire audience would be waiting for those notes, and what if she flubbed them? Cyndia Sieden has also recorded it live, but with a period instrument orchestra, so the Gs are closer to being F sharps. Rita Streich's studio version under Mackerras is good, but she ducks the Gs, singing Es instead (che vergogna!). Gruberova's recording finds her in scoopy mood, and she slithers and croons (more like whines) through the high fioritura in the cantabile, but her Gs are strong and firm. All things considered, I'd say my favorite rendition is Edda Moser's first one, under Leopold Hager. She is the only singer who really sounds like Alcestis addressing the people of Thessaly.
@jasonhurd4379 you are as usual barbarously ignorant. If you look at the score for this aria, look at the meaning of the text, at the fioritura, you'd understand Gruberova's approach. Those passages you refer to as "slithers" and her being in a "scoopy mood" are the unintelligent words of someone musically illiterate. The "whining" - do you not hear that this is a lament of the deepest sorrow, that the long bars of fioritura is sighing, wailing, tears - honestly? There are slurs written everywhere, portamenti is essential so that these long bars do not sound mechanical. But maybe mechanical is what you prefer.
Obviously out of her league.. range, I mean.. when she's going for those high notes.. she practically stops singing for a split second to catch her breath and switch from chest to head voice.. it's a like a different singer took over.. Lovely voice all the same & the rest of the aria is sung admirably.. Thanks a bunch for posting.
haha a voice being 'weak' is a subjective point of argument, fine, but notes however are not. with respect to the mesple video, im afraid you really just dont know what youre talking about, 'ah non gingue' is in Bb, by neessity the high note HAS to be an F natural, F# doesnt even fit the key, go check at a piano if youd ont beleive me (preferebly an in tune one). Im afriad you are 100% definitely wrong, you should really do your research before commenting on these type of things.
haha not really, the fact that that passage is rough (twice in a row, when the rest of the piece sounds like shes in good voice) is probably indicative of non-consistency. even if she sang it perfectly 10 other times (which seems unlikely) it still woudlnt be consistency.
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Roberta Peters - fantastic coloratura soprano, has a wonderful vocal!
Bear in mind that this was not just a live performance, but at 11:00 a.m.! All in all, very impressive vocalism, even if the second G gets away from her. Not too many live performances of this aria for comparison; in a studio presumably things would have been different.
I must confess...I often sing along with Ms Peters to this recording 2 octives lower...in the privacy of my own home studio where NOBODY could ever hear me.
Thank you for uploading this, leoperarm. Mozart actually sai this was the best vocal composition he had ever written? Did he say that in one of his letters? This is certainly one of Mozart's most powerful and gripping compositions, and I feel that Peters- despite the inherent lightness of her voice- adequately captures the drama.
That second top G is an extraordinary sound... how many pitches does she manage to squeeze into it. Both are so wobbly they are quite funny really
Meltzerboy, I believe, commented, I believe, in a video of Roberta Peters that she is, iether one of the last, or the last of the birdlike coloraturas. I can recall that Galli-Curci, Lina Pagliughi, Lily Pons, and Erna Sack fall into those categories.
Personally, as a singer, this sound feels more natural to me. Why do you think we made this change vocally, and what are the vocal benefits of singing in this manner, i.e. easier control of dynamics and timbre?
Primarily because of the advent of sopranos such as Maria Callas and Joan Sutherland, both who proved that heavier voices could handle this type of repertoire.
It was a private recording... I don't have a lot of information.
Actually her Italian diction is EXCELLENT here and the rest of the aria is beautiful. If you want a singer that sucks...check out Sara Brightman trying to sing operatic repertoire...or Jewel doing the 24 Italian art songs. I certainly wouldn't put Ms Peters in that catagory because her 2nd top G was a bit loose goosey...nor do I think many others would.
I think you mean B-flat 6, on the sixth octave, above high C.
The highest that an operatic soprano has ever went up to was a D7(Mado Robin, Ellen Beach Yaw). A few could sing the C above high C (Erna Sack, Lucrezia Aguiari, Katarzyna Dondalska), Ingeborg Hallstein sang up to high A, Natalie Dessay, Lily Pons, Mady Mesple up to Ab6, and Diana Damrau tops at high G.
I heard a sublime version of this aria, song by the french coloratura soprano Nathalie Dessay!
Holy buckets...
that second G was /hilarious/, however high and impressive it was.
By your opinion, I don't think you really know her art of singing, her high notes are very interesting and she could do a good high F (to respond your "weak"). Besides, i read recently your comment in Mesplé's Ah! non ginuge, you're wrong! It is a high F# at the end, not an "F natural".
DIANA PLEASE SING IT!!!!!
Of course, if Diana sings this she would definitely be the best! Peters is outstanding too. I'm posting it with Luciana Serra, not as good, but not bad ;)
Es extremadamente dificil de cantar, y hasta que Diana lo cante sólo habrán tres sopranos en la corona de esta aria: Gruberova, Dessay y Moser.
Si es cierto que hay arias igual de buenas: 'Vorrei siegarvi', 'no che non sei capace', 'ma che vi fece'... Y algunas de esas ya las cantó, en fin...
it contains two G6 if the singer gets to sing them properly.
Her voice keeps getting swallowed up by its own vibrato in the cantabile.
I don't know much about her history of singing this piece except that this is the only known recording of it. If you want to talk about being consistent, then you need more than one point of data.
at the end^^
dont forget Moser
she is the real Dramatico Coloratura Tedesca....The best in Mozart
Que???
No hay Popoli de ella???
Creo que es la primera vez que no estoy de acuerdo con su opinion :-((((((((
Interesting that this was a live performance. In an interview, Edda Moser revealed that, while she had recorded the aria in two different studio recordings, she never dared to sing it live because of the top Gs. She knew that, like the Queen of Night's top Fs, the entire audience would be waiting for those notes, and what if she flubbed them? Cyndia Sieden has also recorded it live, but with a period instrument orchestra, so the Gs are closer to being F sharps. Rita Streich's studio version under Mackerras is good, but she ducks the Gs, singing Es instead (che vergogna!). Gruberova's recording finds her in scoopy mood, and she slithers and croons (more like whines) through the high fioritura in the cantabile, but her Gs are strong and firm. All things considered, I'd say my favorite rendition is Edda Moser's first one, under Leopold Hager. She is the only singer who really sounds like Alcestis addressing the people of Thessaly.
You forgot to mention Natalie Dessay :)
@jasonhurd4379 you are as usual barbarously ignorant. If you look at the score for this aria, look at the meaning of the text, at the fioritura, you'd understand Gruberova's approach. Those passages you refer to as "slithers" and her being in a "scoopy mood" are the unintelligent words of someone musically illiterate. The "whining" - do you not hear that this is a lament of the deepest sorrow, that the long bars of fioritura is sighing, wailing, tears - honestly? There are slurs written everywhere, portamenti is essential so that these long bars do not sound mechanical. But maybe mechanical is what you prefer.
Obviously out of her league.. range, I mean.. when she's going for those high notes.. she practically stops singing for a split second to catch her breath and switch from chest to head voice.. it's a like a different singer took over.. Lovely voice all the same & the rest of the aria is sung admirably.. Thanks a bunch for posting.
Miss Peters do you have a high G? Yes. Do you have TWO high G's? Please - let's be reasonable!
Brava la Peters...
POPOLO!
there are other singers who also can do this quite well tho..... my favourite one is beverly hoch... just saying tho
hahha the last G is sooo funny!
oh! remember it's a G! She does it at least!
g6's at 5:57 :]
Para mi es una de las arias mas hermosas jamás escritas... y que no lo cante me parece algo malísimo..
HAHA me too.
haha a voice being 'weak' is a subjective point of argument, fine, but notes however are not. with respect to the mesple video, im afraid you really just dont know what youre talking about, 'ah non gingue' is in Bb, by neessity the high note HAS to be an F natural, F# doesnt even fit the key, go check at a piano if youd ont beleive me (preferebly an in tune one). Im afriad you are 100% definitely wrong, you should really do your research before commenting on these type of things.
Si pero... no es lo mismo :((((((
why do people attempt to sing things they are not able to sing?
haha not really, the fact that that passage is rough (twice in a row, when the rest of the piece sounds like shes in good voice) is probably indicative of non-consistency. even if she sang it perfectly 10 other times (which seems unlikely) it still woudlnt be consistency.
So dumb
i dont think people should sing things they cant do consistently, shes a professional.
She was an amazing singer...you are nobody.
her real high notes are always weak, this is no exception. and that was one hell of a scoop on the second G haha