The technique!!! The way she gradually yet freely drops the jaw as she ascends the scale in the melismatic passages at the end of the piece, TEXT BOOK!
Oh she was such a delight to listen to. This is absolutely magical. The perfect technique, exceptional good breath control. Perfect diction and overall perfect musicality combined with a very, very beautiful voice. She really was a force to be reconned with. Bravaaa.
The coloratura bits at the end are beyond compare. No aspiration, just a clean, beautiful line throughout. Baltsa sounds TERRIFIC here, and looks sensational to boot.
Now there are many outstading clips/arias on RUclips,but this has to come in top 5. I had never heard her in what might termed Mozart "Opera Seria"before. She uses her amazing vocally instrument and controls it to the benfit of Mozarts music.Strength without harshness ,feeling without distortion and flexibilty without ugliness. Not many singers could convey this aria in the way she does. I cannot find a complete recording of Clemenza with her,is there one anyhwere?
Unfortunally 9 years later I tell you that Baltsa did not recorded this opera. By Mozart, only Idomeneo, Cosi, Mitridate, Ascanio in Alba and parts of Don Giovani. Best regards!
I second Manoli S.' recommendation of Baltsa's Farnace in Mitridate, re di Ponto. It dates from 1977, when she was in the first flush of her powers, and she is magnificent. One of her greatest recordings.
@@manolis.799 Yes, totally agree. She rocks as Farnace. 4 arias is so few to her imense talent!!! I still have he LP in my collection. Amazing opera in its 27 arias. Crazy brilliant Mozart!!!
The clarinettist is playing all of the arpeggios totally wrong - he arrives at the final note of each one far too early - he's supposed to be landing on a certain beat, and he's just rushing through them and then landing too early, which totally screws up the harmony.
she is a short soprano with a streched up chest voice. which caused big holes in her voice in later years. she has no low notes at all. But she made the best possible of a short ranged voice.
@@contraltissima Could you give me an example, according to you, of an authentic mezzo, with a correct voice emission, who has sung or who sings the role of Sesto from Mozart's Clemenza di Tito? For me, short sopranos or, rather, undeveloped sopranos, due to not having an adequate singing technique, with a form of emission that does not respect the natural mechanism of the human voice (low and relaxed larynx, etc....), it's too long to explain here) are Teresa Berganza, Frederica von Stade, Anne Sophie von Otter, Lucia Valentini-Terrani, Marilyn Horne, Cecilia Bartoli, Vesselina Kasarova, Joyce di Donato, Elina Garança, etc..., that is, the misnamed ones "lyrical mezzos." Unlike all of them, Agnes Baltsa is a true mezzo, with a natural, physiological emission, only with a medium-sized instrument (I remind you that there are also mezzos in the choirs) and with a very intense artistic and personal temperament, which led her to sing a repertoire not always adequate, and which caused a deterioration in his voice at the end of his career. Listen to it in this aria on the studio album (ORFEO), with better sound than in the video we discussed. Kind regards.
The technique!!! The way she gradually yet freely drops the jaw as she ascends the scale in the melismatic passages at the end of the piece, TEXT BOOK!
Oh she was such a delight to listen to. This is absolutely magical. The perfect technique, exceptional good breath control. Perfect diction and overall perfect musicality combined with a very, very beautiful voice. She really was a force to be reconned with. Bravaaa.
This is just the best of all versions and interpreters. SPECTACULAR!
The coloratura bits at the end are beyond compare. No aspiration, just a clean, beautiful line throughout. Baltsa sounds TERRIFIC here, and looks sensational to boot.
A trick: watch series at Flixzone. I've been using them for watching loads of movies lately.
@Augustine Jay definitely, I've been using Flixzone for years myself :D
@Augustine Jay Definitely, have been watching on Flixzone for since december myself :)
PERFECT TECHNIQUE!!!! ❤️
Fantástica !!!!!!!!la mejor versión que he escuchado.
oublions tout le mal que l'on dit d'elle, son timbre est MERVEILLEUX!
Wonderful rendition! Sublime but powerful and rich characterisation. And what a voice! Final part of aria...just...ah! Fantastic!
I love her. The best!
Fabulous technique.
Merci Parsifalito! This is such a rare clip! She made very few appearances in Paris. More please!
she is fantastic,prefect
goodness, the coloratura is stunning!
Wow ! La Baltsza at high level as always !
Love her
blimey, that`s amazing, she is fantastic.
Thank you! This is amazing!
nice, so beautiful
thanks a lot for sharing =D
Now there are many outstading clips/arias on RUclips,but this has to come in top 5.
I had never heard her in what might termed Mozart "Opera Seria"before.
She uses her amazing vocally instrument and controls it to the benfit of Mozarts music.Strength without harshness ,feeling without distortion and flexibilty without ugliness.
Not many singers could convey this aria in the way she does.
I cannot find a complete recording of Clemenza with her,is there one anyhwere?
Unfortunally 9 years later I tell you that Baltsa did not recorded this opera. By Mozart, only Idomeneo, Cosi, Mitridate, Ascanio in Alba and parts of Don Giovani. Best regards!
If you’ve never heard her as Farnace in Mitridate you should listen ASAP. One of her greatest roles
I second Manoli S.' recommendation of Baltsa's Farnace in Mitridate, re di Ponto. It dates from 1977, when she was in the first flush of her powers, and she is magnificent. One of her greatest recordings.
@@manolis.799 Yes, totally agree. She rocks as Farnace. 4 arias is so few to her imense talent!!! I still have he LP in my collection. Amazing opera in its 27 arias. Crazy brilliant Mozart!!!
❤❤❤❤Muchas gracias. Por favor , podrían subir el concierto completo. Lo agradecería de corazón. Saludos cordiales
Very Elegant Agnes one of my favorite singers besides Monserrat Caballe
Precioso
the best
A great singer … and faultlessly dressed.
I agree!
와우 멋져요. 아름다운 보이스
I noticed there are no comments on the clarinetist, who is her partner in this piece.
In the music.
subliem
But just listen to the clarinetist in the Kasarova version - she is perfect, and Kasarova is too!
The clarinettist is playing all of the arpeggios totally wrong - he arrives at the final note of each one far too early - he's supposed to be landing on a certain beat, and he's just rushing through them and then landing too early, which totally screws up the harmony.
Bella nn è bella , ma la voce è meravigliosa ...
This is way too much sound to handle
SO WHAT??????
Πολύ αυστηρός! 😉🌹
perfect(ly emotionless)!
This is a concert not an opera '-'
but where are the emotions?
Why are sopranos cross-eyed. Especially on the right eye?
She's a mezzo
she is a short soprano with a streched up chest voice. which caused big holes in her voice in later years. she has no low notes at all. But she made the best possible of a short ranged voice.
@@contraltissima Could you give me an example, according to you, of an authentic mezzo, with a correct voice emission, who has sung or who sings the role of Sesto from Mozart's Clemenza di Tito?
For me, short sopranos or, rather, undeveloped sopranos, due to not having an adequate singing technique, with a form of emission that does not respect the natural mechanism of the human voice (low and relaxed larynx, etc....), it's too long to explain here) are Teresa Berganza, Frederica von Stade, Anne Sophie von Otter, Lucia Valentini-Terrani, Marilyn Horne, Cecilia Bartoli, Vesselina Kasarova, Joyce di Donato, Elina Garança, etc..., that is, the misnamed ones "lyrical mezzos."
Unlike all of them,
Agnes Baltsa is a true mezzo, with a natural, physiological emission, only with a medium-sized instrument (I remind you that there are also mezzos in the choirs) and with a very intense artistic and personal temperament, which led her to sing a repertoire not always adequate, and which caused a deterioration in his voice at the end of his career.
Listen to it in this aria on the studio album (ORFEO), with better sound than in the video we discussed.
Kind regards.