She is absolutely amazing in this clip. The voice flawless. Her acting amazing. I love this staging and interpretation of LaTraviata. This staging is soooo important if opera is going to move tje genre forward so to speqk
The Comments on this page are some of the most uneducated, inaccurate comments that are just in poor taste. First of all, people complain when an opera performer is just standing there and singing with no emotion or feeling behind the performance. Now, you have Marina, who makes a CHOICE (good actress!) and decides to fully commit to an interpretation, and people say that it's "too much" or "Not right" or "inaccurate." Some Acting 101 people. There is no definitive "right and wrong's" in acting when figuring out choices and actions to play. Some choices are stronger than others, and that is the goal of the actor/actress and the directing team to uncover. What is going to be the strongest choice to help enhance the story being told and is consistent to the character. This is a VERY active rendition of this Aria, something you DO NOT see, which I think is quite exciting! Also, lets not forget that she did not direct herself and I am sure, had some direction in finding her way to this interpretation. If you look at some of Violetta's Text, she has "Oh! Oh! Love! Madness and Euphoria." Also, lets not forget the title, La Traviata - The Fallen Woman. Just a couple of examples to Justify this choice and give some praise for taking a risk and going outside the box and not playing towards what people are expecting, which is the bases of a lot of your arguments. People are upset, because they are not getting what they "expect." If thats really why you dislike this performance, thats a pretty poor reason. As someone who has performed with Marina, the vocal chops are unbelievable and effortless. So much color, a gorgeous coloratura, and her ability to tell the story through her acting is extremely impressive. YES, this is my own personal option, blah blah blah, however, If she was as "boring" or as "plain" as you all claim, she would not be an International Opera Star and Diva.
Jeremy Sonkin Spare us the rant. People are privileged to their opinions the same way you are to yours. If they don't like it, they have a right to say so.
It is such a pain that there is only one video (Don Giovanni) in the entire Met Opera on demand catalogue with her. One of my favourite sopranos, wish to hear and see more of her, I think her voice is totally amazing, belcanto at its best and her voice has the substance for tackling a very big range of repertoire, also dramatic roles that not many sopranos can do well, Anna Bolena for instance. I can see why some people say she is the (maybe only?) soprano assoluta of our time.
I took my sister to see this production in late 2014, her first opera. Traviata is one of my favourites, and I'd been obsessed with the Willy Decker production for the clean and simple it is - especially for those who are new to opera. I had been kinda dissatisfied with a lot of contemporary Violetta castings coz the voice sounds either too thin/light or too thick/heavy. Marina Rebeka blew me away. I had never heard of her. Her voice fit the role perfectly and her acting was great. I especially loved the way she plays with dynamics.
Alfredo's being onstage here takes getting used to. I assume that his presence is meant to be symbolic - he's all in her mind, but not really physically there. Marina Rebeka is superb! How wonderful that Netrebko, having to go the way of all flesh sooner or later, has such an excellent successor!
I like Marina Rebeka's singing, including the high E-flat, which is neither in the score nor necessary, but can be fun when the soprano does it right. And I like the Decker production. But it is one of the drawbacks of this DVD age, I think, that I don't think I would go to see this either in the house or in HD, because it is so indelibly stamped with the memory of its original, now already legendary cast.
Jose Hill Callas had nothing to do with it. The note has been sung by many sopranos, practically since Fanny Salvini-Donatelli created the role in 1853. Amelita Galli-Curci holds that note for an eternity in her 1919 Victor recording. So does Luisa Tetrazzini in her 1911 recording.
It's too hard to choose between Marina and Anna, so I won't. :3 I like both of them, and they both did a marvelous job. Marina is very playful while Anna is rather cocky and a smarty-pants in their roles.
Ella expresa la vívida trama en su expresión cantada, creo muy acorde y encarnando muy bien el personaje. Además la voz es muy particularmente propia, con buen y fácil manejo, su timbre adopta el color del drama, dando así un alto porcentaje de la esperada violetta.
She's gorgeous, seems like really classy but at the same time also particular, with a big personality and voice. I'm not agreeing with the heavy her critics; she's not Maria Callas, it'sobvious... but not for this reason the singer/actress Marina Rebeka deserves bad criticism.
Una de las mejores sopranos de este momento y no tiene el reconocimiento que otras cantantes mediocres tienen (Netrebko). Ha ido madurando la voz y asumiendo paulatinamente roles que le queda.
The Italian Text Violetta: Sempre libera degg´io folleggiare di gioia in gioia, vo´che scorra il viver mio pei sentieri del piacer. Nasca il giorno, o il giorno muoia, sempre lieta ne´ ritrovi, a diletti sempre nuovi dee volare il mio pensier Alfredo: Amor è palpito dell´universo intero, misterioso, altero, croce e delizia al cor. Violetta: Oh! Oh! Amore! Follie! Gioir! English Translation Violetta: Free and aimless I frolic From joy to joy, Flowing along the surface of life's path as I please. As the day is born, Or as the day dies, Happily I turn to the new delights That make my spirit soar. Alfredo: Love is a heartbeat throughout the universe, mysterious, altering, the torment and delight of my heart. Violetta: Oh! Oh! Love! Madness! Euphoria!
I just saw her in La Traviata at La Scala this weekend. The difference in the staging is jarring. LOL. But she was great. Much better than Netrebko, who I have had the misfortune of hearing 4 times.
@@brookeggleston9314 Thank you for telling me! Now it makes sense that someone would pay good money to hear a singer he/she can't stand - not once, but four times! Wonder why I never did that - sounds like a great way to spend your money.
I saw her this weekend and the Eb was sustained longer and was bigger. The rest was also much more flashy. She is a real coloratura. And she was pretty great by today's standards. The acting was outstanding and thankfully, the production was not gimmicky like this. This Violetta would tell Germont to go X$%$&#**$ himself. Makes absolutely no sense.
Nebretko's version to me is like fine wine there's just something to it that i love and i usually listen to that version when i listen to Traviata but Rebeka has incredibly clear melodies which i really appreciate, some of Nebretko's highnote melodies were sloppy and not all accurate so its so good to hear such a clean version like this, where you can hear every note that's written!!! definitely has more control and a better tone, so technically yes, it's more improved
Marina Rebeka is single-handedly carrying all the burden necessary so that history will not look back on the early 21st century as a Dark Age of Singing that produced the likes of Jonas Kaufmann, Anna Netrebko, Juan Diego Flórez, and Sondra Radvanovsky.
I'm pretty impress with her voice. But it seems she gave all and then had not enough left for that big hight note at the end. No big deal but that's one of the reason why I'm not crazy about that over-acting you see in Opera these days.
+MustacheVerra Well, it's either over-acting or under-acting, and, for opera, over-acting and getting a shorter note is, in my opinion, better. Because, face it, if you don't speak Italian and go to this opera, the only way you'll understand what's happening is if the actors show us with their body language. That's just my two-cents worth. God bless you, Mustache!
I guess it is the First Verdi Stephen Cistello was doing, he has to more a little more. Singing is well done. He is trained in Pesaro, to take care of his voice. Wih Rebecca they are a handsome couple.
I hate this production but she has a fantastic voice and acting chops to boot. I imagine in house and 60 ft from stage it has more finesse. But again the production is gross.
It is not anger it's experience and knowledge. I'm just stating the obvious maybe one of the alleged greatest sopranos of our times, In your words, pales when is actually held to a higher standard. I love opera, I love La traviata, I have heard in seen how does supposed to sound. Factual criticism is not hate please grow up
It’s what Oprah has become. She is wonderful. I too disliked this scene. I too think she deserved better. But better is more expensive for one thing, and I’m an older generation so I’ll just have to get over it won’t I.
Really nice, but this production belongs to the original cast - Anna Netrebko, Rolando Villazon, Thomas Hampson, which should remain forever untouched.
Ridiculous stage work and the production was not a huge success in NYC..I expect to find a new one coming soon...there's has never been a golden voice in this production yet...
+jerry “profgv” vezzuso Judging by the NY public who still prefer to see Liberace style Zeferelli productions, who cares what they think. They dont understand anything about dramatic theater. As long as there are drapes, tinsel and glitter they are happy!
She sings this ok, not great but overall pretty good (except scooping up to notes so often...) but she is acting up a storm because the production is a big zero which she has to fill in: I'm exhausted just watching her go through the motions of illustrating every shifting thought: it's so superficial and distracting from the actual content of the scene: no one actually behaves like that, do they?
I am really sick of this production.....Did they really think it was that good so they had to repeat it so many times? They should come up with something new I guess. Now the soprano-I don't get that violent stage attitude, is this what " sempre libera" means? Violence?I don't think she has the colors for the role....the voice is very non-homogeneous and pretty ordinary I would say, if not ugly and her acting is cheap and unfocused.
Dear Andrei, First of all, this production is absolutely amazing, the director is a genius! You see the whole story through a black and white world where Violeta is the red spot. Traviata' s real topic is social injustice. The story talks about this woman who can not be forgiven, because society will never accept her! that´s why she has to give up Alfredo. But her time is fading, that why this big clock remind her that she has no time (because she is sick). This production is so powerful!!!!!! That is why is so famous!!! y a perfect way to tell this story. The way the director stages the aria, is related to the way he wants to tell the story. I would invite you to see the whole production, open your mind, relax and try to enjoy. Remember Traviata is based on "The Lady of the Camellias". The opera is based on the play, thats why it would be awesome if you could read the novel. Some new productions are not well received because we are so fanatic of the opera, that we are square and we refuse new visions. In case of the singer, I don't like her either, but we should listen to her live! Many voices sound awful in recordings, some others sound beautiful, but yo don't hear them in the actual theatre. Voices are supposed to be criticized in the theatre! Greetings
Great Comment Pe Callahan !!!! That is not a romance aria! It is her trying to avoid the possibility of a real love! I am sick of people who bases their knowledge of opera in youtube videos! Take a moment and read the libretto once on a while! Have a little respect for lyricists! Opera is not music only, is drama told in music! first drama! Happy New year!
It’s due completely to the horrid staging and “updating” of the production. The whole opera is ludicrous in a world with today’s viewpoints where it really doesn’t matter who you are and doesn’t prevent you from being with the person you love. It certainly isn’t going to ruin a family members chances at a wedding if you fall in love with a hooker. And that is exactly why it should be performed with traditional staging. They are pushing the wrong atmosphere which is getting rid of core opera goers in favour of being trendy and “modern”. Opera isn’t modern. No one expects casinos and red leather sofas in an opera.
I hate this production. It's simply AWFUL! And a great disappointment that the soprano doesn't sing the trills written by Verdi as an important part of the characterization of Violetta. Rebeka has been lauded as a new star and by some even compared to Callas. Fine as her voice is, to compare her to Callas when she can't trill, is a sad sign of how much vocal and technical standards have deteriorated on the operatic scene.
Some singers have no trill (or not enough). Caballe had no trill! This is genetic. Should she leave singing because of this! Why not pointing out other aspects of her singing...magnificent indeed.
@@claudineshafa5546 Genetic? LOL That is pure nonsense. Do you think Callas, Sutherland, Moffo, Fleming and all the other sopranos who CAN (or could) actually trill were born with it? No, it was a skill that they mastered, just like any other technical part of singing is.
@@claudineshafa5546 that is just nonsense. The trills are in the score, other sopranos have mastered them, Rebeka doesn't. Your comment makes no sense.
I wonder if this woman knows the story of "La Traviata", has ever read the libretto or seen the opera in a decent production. She might also consider studying some Italian and stop looking like she wants to kill everyone when she is singing
What else ?!!! "This woman" as you call her vulgarly is one of the finest and most acclaimed sopranos on stage nowadays and your comment won't change it. About the staging and her acting why don't you blame the stage director!!! Poor you with all this anger in your heart...
Horrifying! So much dramatic art, so much movement. Marina does not control breathing. She's drowning. Doesn't reach to the high notes. Opera is about singing, not pole vaulting!
Well, I see her as passionate, expressive, delightfully dramatic, emotional, distraught and aggressive. If you don't like that then watch Anna Netrebko's wooden, unexpressive, emotionless, and dull rendition from the Aria of the same name ...
@@PurpleShaman121 First: Thank you very much for your comments. Second: I defend harmony in opera, it is necessary to use the instruments of dramatic art but always without harming the singing. I think that Marina has enormous talent, and an excellent taste but she should work more on her vocal potential, not replace it with theatrical extravagance. Third: Netrebko does not know how to sing opera. A good presence and nothing more has lost all her potential.
The voice is just stunning!
Marina's singing is absolutely amazing, what a wonderful voice.
Fabulous and original interpretation. Marina is wonderful.
I love Marco Armiliato. You can really tell that he's always breathing with the singers.
I'm loving this woman's voice
I won't lie: just scored tickets to see her at La Scala the opening night of La Boheme this March, and I'm STOKED.
How was it?
She is absolutely amazing in this clip. The voice flawless. Her acting amazing. I love this staging and interpretation of LaTraviata. This staging is soooo important if opera is going to move tje genre forward so to speqk
The Comments on this page are some of the most uneducated, inaccurate comments that are just in poor taste. First of all, people complain when an opera performer is just standing there and singing with no emotion or feeling behind the performance. Now, you have Marina, who makes a CHOICE (good actress!) and decides to fully commit to an interpretation, and people say that it's "too much" or "Not right" or "inaccurate." Some Acting 101 people. There is no definitive "right and wrong's" in acting when figuring out choices and actions to play. Some choices are stronger than others, and that is the goal of the actor/actress and the directing team to uncover. What is going to be the strongest choice to help enhance the story being told and is consistent to the character. This is a VERY active rendition of this Aria, something you DO NOT see, which I think is quite exciting! Also, lets not forget that she did not direct herself and I am sure, had some direction in finding her way to this interpretation. If you look at some of Violetta's Text, she has "Oh! Oh! Love! Madness and Euphoria." Also, lets not forget the title, La Traviata - The Fallen Woman. Just a couple of examples to Justify this choice and give some praise for taking a risk and going outside the box and not playing towards what people are expecting, which is the bases of a lot of your arguments. People are upset, because they are not getting what they "expect." If thats really why you dislike this performance, thats a pretty poor reason.
As someone who has performed with Marina, the vocal chops are unbelievable and effortless. So much color, a gorgeous coloratura, and her ability to tell the story through her acting is extremely impressive. YES, this is my own personal option, blah blah blah, however, If she was as "boring" or as "plain" as you all claim, she would not be an International Opera Star and Diva.
+Jeremy Sonkin I couldn't agree more.
Jeremy Sonkin Spare us the rant. People are privileged to their opinions the same way you are to yours. If they don't like it, they have a right to say so.
Jeremy Sonkin Right on!
Onigbajamo yes, and no one's right was taken away due to the presence of this insightful, reasonable, and respectful comment
Absolutely. She is a wonderful soprano and her acting is very impressive here, too. And I never even heard of her before today, which is my loss.
It is such a pain that there is only one video (Don Giovanni) in the entire Met Opera on demand catalogue with her. One of my favourite sopranos, wish to hear and see more of her, I think her voice is totally amazing, belcanto at its best and her voice has the substance for tackling a very big range of repertoire, also dramatic roles that not many sopranos can do well, Anna Bolena for instance. I can see why some people say she is the (maybe only?) soprano assoluta of our time.
I took my sister to see this production in late 2014, her first opera. Traviata is one of my favourites, and I'd been obsessed with the Willy Decker production for the clean and simple it is - especially for those who are new to opera. I had been kinda dissatisfied with a lot of contemporary Violetta castings coz the voice sounds either too thin/light or too thick/heavy. Marina Rebeka blew me away. I had never heard of her. Her voice fit the role perfectly and her acting was great. I especially loved the way she plays with dynamics.
Alfredo's being onstage here takes getting used to. I assume that his presence is meant to be symbolic - he's all in her mind, but not really physically there. Marina Rebeka is superb! How wonderful that Netrebko, having to go the way of all flesh sooner or later, has such an excellent successor!
Couldn’t agree with you more… I am just not a fan of modern productions. I prefer the traditional costumes and what not.
She is great by the way the misse in scene really cool !
I like Marina Rebeka's singing, including the high E-flat, which is neither in the score nor necessary, but can be fun when the soprano does it right. And I like the Decker production. But it is one of the drawbacks of this DVD age, I think, that I don't think I would go to see this either in the house or in HD, because it is so indelibly stamped with the memory of its original, now already legendary cast.
Ever since Maria Callas did that interpolation it has become commonplace.
Jose Hill Callas had nothing to do with it. The note has been sung by many sopranos, practically since Fanny Salvini-Donatelli created the role in 1853. Amelita Galli-Curci holds that note for an eternity in her 1919 Victor recording. So does Luisa Tetrazzini in her 1911 recording.
Jose Hill What utter nonsense!
my new favorite soprano
ОБОЖАЮ ВАШ ДУЭТ ВЕЛИКОЛЕПНОЕ ИСПОЛНЕНИЕ БРАВО❤❤❤
Its so clean ahhh
Une des meilleures violetta. Vu à la Scala . Absolument merveilleuse
Grazie Maestro Verdi..
Omg I’m playing Violetta’s Aria for my flute exam tomorrow
It's too hard to choose between Marina and Anna, so I won't. :3 I like both of them, and they both did a marvelous job. Marina is very playful while Anna is rather cocky and a smarty-pants in their roles.
@PolishViking who are the 5 people who thumbs uped this??
I can just cry, cry and cry
Personally not my style but I think both of them are incredible!
Ella expresa la vívida trama en su expresión cantada, creo muy acorde y encarnando muy bien el personaje. Además la voz es muy particularmente propia, con buen y fácil manejo, su timbre adopta el color del drama, dando así un alto porcentaje de la esperada violetta.
Hermosa voz
I definitely like her more than Netrebko. Marina is just gorgeous!
Really?
Marina Rebeka's singing is truly exciting and bears a lot of personality.
I disagree
@@operaanimelover369 Yess! Agree with you .
Bravo, Marina!
Marina Rebeka is today one of the best soprano !!!
But in this aria she is sometimes slow.
she is? Oh no :( im concerned
@@helenaiv7830 You must be joking!
She's gorgeous, seems like really classy but at the same time also particular, with a big personality and voice. I'm not agreeing with the heavy her critics; she's not Maria Callas, it'sobvious... but not for this reason the singer/actress Marina Rebeka deserves bad criticism.
Anna Moffo's Sempre Libera is the best. Incredible agility and beauty of sound. La Belissima!
complimenti , moto brava e bella
Divine Verdi, divine Marina
Beautiful!
Una de las mejores sopranos de este momento y no tiene el reconocimiento que otras cantantes mediocres tienen (Netrebko). Ha ido madurando la voz y asumiendo paulatinamente roles que le queda.
Excelente, lindísima!!!
Absolutely hate the production but love the singer.
Amooooodeh!
The Italian Text
Violetta:
Sempre libera degg´io
folleggiare di gioia in gioia,
vo´che scorra il viver mio
pei sentieri del piacer.
Nasca il giorno, o il giorno muoia,
sempre lieta ne´ ritrovi,
a diletti sempre nuovi
dee volare il mio pensier
Alfredo:
Amor è palpito dell´universo intero,
misterioso, altero,
croce e delizia al cor.
Violetta:
Oh! Oh! Amore!
Follie! Gioir!
English Translation
Violetta:
Free and aimless I frolic
From joy to joy,
Flowing along the surface
of life's path as I please.
As the day is born,
Or as the day dies,
Happily I turn to the new delights
That make my spirit soar.
Alfredo:
Love is a heartbeat throughout the universe,
mysterious, altering,
the torment and delight of my heart.
Violetta:
Oh! Oh! Love!
Madness! Euphoria!
아주 좋네요
As usual, she sounds amazing. Hating on the modern production tho. And Alfredo on stage..? 🧐
Yes!
👏👏👏👏👏
Solid!
БРАВО ИЗ РОССИИ С ЛЮБОВЬЮ
I just saw her in La Traviata at La Scala this weekend. The difference in the staging is jarring. LOL. But she was great. Much better than Netrebko, who I have had the misfortune of hearing 4 times.
same!!!!! I was in the same performances as you, she was incredible.
If you don't like Netrebko, why do you keep going to her performances? Does it feel THAT good to criticize afterwards?
@@Feisenbach You may not have noticed, but Netrebko was *not* the only person involved in the production!!
@@brookeggleston9314 Thank you for telling me! Now it makes sense that someone would pay good money to hear a singer he/she can't stand - not once, but four times! Wonder why I never did that - sounds like a great way to spend your money.
Incredibly good! I wish she had trills. Singing "Gio Foleggiare" with trills is another level of skill.
It's mandatory. Without the trills, an important part of the vocal characterisation of Violetta is missing.
Montserrat Caballe had no trills. Nobody cared apparently!
@@claudineshafa5546 Well Caballe faked the trills. Indeed she didnt have one, but she would aways vibrate the notes to imitate one hahaha
Finally a soprano with the high E flat! She cut it short, but at least she nailed it. When they skip it, It is such a disappointment.
Flyinghow that’s how you can she’s a coloratura soprano. Usually only they do the Eb6 intorpolation.
I saw her this weekend and the Eb was sustained longer and was bigger. The rest was also much more flashy. She is a real coloratura. And she was pretty great by today's standards. The acting was outstanding and thankfully, the production was not gimmicky like this. This Violetta would tell Germont to go X$%$&#**$ himself. Makes absolutely no sense.
she sings much better than Netrebko
Nebretko's version to me is like fine wine there's just something to it that i love and i usually listen to that version when i listen to Traviata but Rebeka has incredibly clear melodies which i really appreciate, some of Nebretko's highnote melodies were sloppy and not all accurate so its so good to hear such a clean version like this, where you can hear every note that's written!!! definitely has more control and a better tone, so technically yes, it's more improved
She has an amazing voice and technique
La misma regia de 2005 N y V
👍💯❤
Her high stuff is so lovely, but I wish shed use more chest in her middle-low range. She gets a little hooty.
mood
Marina Rebeka is single-handedly carrying all the burden necessary so that history will not look back on the early 21st century as a Dark Age of Singing that produced the likes of Jonas Kaufmann, Anna Netrebko, Juan Diego Flórez, and Sondra Radvanovsky.
La misma regia para Netrebko y Villazon en 2005
I'm pretty impress with her voice. But it seems she gave all and then had not enough left for that big hight note at the end. No big deal but that's one of the reason why I'm not crazy about that over-acting you see in Opera these days.
+MustacheVerra Well, it's either over-acting or under-acting, and, for opera, over-acting and getting a shorter note is, in my opinion, better. Because, face it, if you don't speak Italian and go to this opera, the only way you'll understand what's happening is if the actors show us with their body language. That's just my two-cents worth. God bless you, Mustache!
who is the tenor?
i think it is Stephen Costello.
Stephen Costello
Maestro Wenarto Stephen Costello... I saw this opera live in theater and I remember that haha
I guess it is the First Verdi Stephen Cistello was doing, he has to more a little more. Singing is well done. He is trained in Pesaro, to take care of his voice. Wih Rebecca they are a handsome couple.
Pardon me for a lapsus scribendi, I meant: Costello has to move a little more. Thanks
I hate this production but she has a fantastic voice and acting chops to boot. I imagine in house and 60 ft from stage it has more finesse. But again the production is gross.
Голос то хороший, но блин постановка - как пошло. Эта ария уже в предчувствии беды - у героини душа разрывается, она не знает куда кидаться.
Да уж, это не дама с камелиями, а какая-то дешевая пьяная проститутка.
@@3uHo4ka так опера и называется не дама с камелиями, а Травиата), два разных понятия)
IS not BAD- nice high and clear sporan and not less feelings in thies part.- The highest parts is nearly perfekt...
Is it weird that the whole time I'm just freaked out that she's gonna step on the glass?
Pésima escenografía, horrible actuación, pero una magnífica voz.
As for the acting it is up to the stage director.....
It is not anger it's experience and knowledge.
I'm just stating the obvious maybe one of the alleged greatest sopranos of our times, In your words, pales when is actually held to a higher standard. I love opera, I love La traviata, I have heard in seen how does supposed to sound. Factual criticism is not hate please grow up
looks like they had to let the dress out a littlle....
but at least this violetta can sing!
Joost Van Berge She is not bad!
Joost Van Berge That's called a womanly figure. I guess you don't know what that is.
@@lara-fi4ww she is extremely good.
It’s what Oprah has become. She is wonderful.
I too disliked this scene. I too think she deserved better. But better is more expensive for one thing, and I’m an older generation so I’ll just have to get over it won’t I.
Прям таки лучше Нетребко...
Espantosa salida a escena del tenor, que debe estar en off. Estas boutades se cargan las óperas.
Really nice, but this production belongs to the original cast - Anna Netrebko, Rolando Villazon, Thomas Hampson, which should remain forever untouched.
Thank goodness that that is not the case - that way we get to hear more fascinating performances,
Marina does here better than Anna Netrebko.
Nonsense!
That;s ridiculous. No production or cast is so sacrosanct that no one else should ever do it. I saw Yoncheva and Fabiano and they were both brilliant.
If you consider Netrebko and Villazon untouchable you should rethink of yourself...
Ridiculous stage work and the production was not a huge success in NYC..I expect to find a new one coming soon...there's has never been a golden voice in this production yet...
+jerry “profgv” vezzuso Judging by the NY public who still prefer to see Liberace style Zeferelli productions, who cares what they think. They dont understand anything about dramatic theater. As long as there are drapes, tinsel and glitter they are happy!
Natalie Dessay in the same production
Marina Rebeka not a "golden voice" ? You are joking...
Yes, there is one and it is Marina Rebeka.
Rebeka is totaly amazing!
Netrebko is crap compered to her.
The first line would have been enough. You know, it IS possible to compliment one singer without trashing another!
Yes indeed Rebeka is totally amazing
Vocalement brillant, scéniquement immonde
Possessed by Medea?
Donde dice que Violeta era ordinaria y borracha?
She looks like she has a headache which is what she is giving me.
Doug Barker um, probably yeah, I mean the character is supposed to be pretty drunk
@@ryanandersen7226 Ha.
she is so rude, It’s not Violeta’s style
yes, she's aggressive.....
Blame the stage director!!
Is this the aria the Slovakian woman played for hours each day for 16 years?
It was Di Provenza sung by Domingo 😂
I think It's not Violetta.
Anna is suitable for this direction.
You mean for this ugly production....
Хорошо, но Анна Нетребко нежнее, чувственнее...
I was hoping she would vomit on that Horrible set, and have Peter Gelb slip and fall on it.
You could improve your italian even though your voice is amazing as always.
She sings this ok, not great but overall pretty good (except scooping up to notes so often...) but she is acting up a storm because the production is a big zero which she has to fill in: I'm exhausted just watching her go through the motions of illustrating every shifting thought: it's so superficial and distracting from the actual content of the scene: no one actually behaves like that, do they?
Marina Rebeka sings without compromises and never skips top notes
Too bad Joan Sutherland canceled that night.
is she still alive?
Dr. Tiffany Renée Jackson Of course and she's doing better than ever. Can't wait to see her with Callas next month.
I am really sick of this production.....Did they really think it was that good so they had to repeat it so many times? They should come up with something new I guess. Now the soprano-I don't get that violent stage attitude, is this what " sempre libera" means? Violence?I don't think she has the colors for the role....the voice is very non-homogeneous and pretty ordinary I would say, if not ugly and her acting is cheap and unfocused.
I find her voice to be very ordinary as well.
Dear Andrei, First of all, this production is absolutely amazing, the director is a genius! You see the whole story through a black and white world where Violeta is the red spot. Traviata' s real topic is social injustice. The story talks about this woman who can not be forgiven, because society will never accept her! that´s why she has to give up Alfredo. But her time is fading, that why this big clock remind her that she has no time (because she is sick).
This production is so powerful!!!!!!
That is why is so famous!!! y a perfect way to tell this story.
The way the director stages the aria, is related to the way he wants to tell the story.
I would invite you to see the whole production, open your mind, relax and try to enjoy.
Remember Traviata is based on "The Lady of the Camellias". The opera is based on the play, thats why it would be awesome if you could read the novel.
Some new productions are not well received because we are so fanatic of the opera, that we are square and we refuse new visions.
In case of the singer, I don't like her either, but we should listen to her live! Many voices sound awful in recordings, some others sound beautiful, but yo don't hear them in the actual theatre.
Voices are supposed to be criticized in the theatre!
Greetings
regisseurdutch this is your normal everyday soprano but she sort of hides it.
That's her interpretation. Don't be so close minded.
Great Comment Pe Callahan !!!!
That is not a romance aria! It is her trying to avoid the possibility of a real love!
I am sick of people who bases their knowledge of opera in youtube videos!
Take a moment and read the libretto once on a while! Have a little respect for lyricists! Opera is not music only, is drama told in music! first drama! Happy New year!
와
После Нетребко сложно слушать кого-либо
The voice is very good! Netrebko’s acting was much better though.
Prefiero Netrebko mil veces.
Could you explain why ?
@@claudineshafa5546 Yeah, I want to hear this too!!🙄😬
She's doing everything right, and its a little boring...
It’s due completely to the horrid staging and “updating” of the production. The whole opera is ludicrous in a world with today’s viewpoints where it really doesn’t matter who you are and doesn’t prevent you from being with the person you love. It certainly isn’t going to ruin a family members chances at a wedding if you fall in love with a hooker. And that is exactly why it should be performed with traditional staging.
They are pushing the wrong atmosphere which is getting rid of core opera goers in favour of being trendy and “modern”. Opera isn’t modern. No one expects casinos and red leather sofas in an opera.
I hate this production. It's simply AWFUL! And a great disappointment that the soprano doesn't sing the trills written by Verdi as an important part of the characterization of Violetta. Rebeka has been lauded as a new star and by some even compared to Callas. Fine as her voice is, to compare her to Callas when she can't trill, is a sad sign of how much vocal and technical standards have deteriorated on the operatic scene.
Some singers have no trill (or not enough). Caballe had no trill! This is genetic. Should she leave singing because of this! Why not pointing out other aspects of her singing...magnificent indeed.
@@claudineshafa5546 Genetic? LOL That is pure nonsense. Do you think Callas, Sutherland, Moffo, Fleming and all the other sopranos who CAN (or could) actually trill were born with it? No, it was a skill that they mastered, just like any other technical part of singing is.
@@kbhprinsesse If it could be mastered Marina Rebeka would have DONE it. Obviously you do not know her, her willing power.
@@claudineshafa5546 that is just nonsense. The trills are in the score, other sopranos have mastered them, Rebeka doesn't. Your comment makes no sense.
I wonder if this woman knows the story of "La Traviata", has ever read the libretto or seen the opera in a decent production. She might also consider studying some Italian and stop looking like she wants to kill everyone when she is singing
What else ?!!! "This woman" as you call her vulgarly is one of the finest and most acclaimed sopranos on stage nowadays and your comment won't change it. About the staging and her acting why don't you blame the stage director!!! Poor you with all this anger in your heart...
She is losing her breath while singing this part. This is not one of her best moments.
You are kidding! Were is she loosing her breath !!!
Hahaha....oh, sweet Jesus. She seems to have had some troubles in properly understing the role.
P.S her high notes are really problematic
You must be joking!!
The high E is a pity.
Nice voice, acting, good diction, however, lack of polished musicality, of a satisfactory set design or a met-standard tenor
Some people just go on RUclips and scream “I HAVE NO IDEA WHAT IM TALKING ABOUT” without actually saying it
@@willjohnson7873 Shush
🤮
Puglieee
Horrifying! So much dramatic art, so much movement. Marina does not control breathing. She's drowning. Doesn't reach to the high notes. Opera is about singing, not pole vaulting!
Well, I see her as passionate, expressive, delightfully dramatic, emotional, distraught and aggressive. If you don't like that then watch Anna Netrebko's wooden, unexpressive, emotionless, and dull rendition from the Aria of the same name ...
@@PurpleShaman121 First: Thank you very much for your comments. Second: I defend harmony in opera, it is necessary to use the instruments of dramatic art but always without harming the singing. I think that Marina has enormous talent, and an excellent taste but she should work more on her vocal potential, not replace it with theatrical extravagance.
Third: Netrebko does not know how to sing opera. A good presence and nothing more has lost all her potential.