Oh please. Marton, Nilsson and Dimitrova all singing In questra reggia in unison couldn't make one-tenth the sound Grob-Prandl made on her worst day. Amateurs, all of them. Grob-Prandl was the Turandot for the ages.
@@jasonhurd4379 Frau Grob-Prandl war die schlechteste Turandot aller Zeiten. Selbst Choristinnen eines Stadttheaters haben mehr Stimme als diese Dame jemals hatte. Frau Jenkins klingt gegen sie wie eine Nachtigall!
Goerke has done a stunning job in expressing both the sensitive side of Turandot and her inner struggle of refusing to love again- her tone might be warmer than in other loved interpretations of the role, but the way she sings and the expression she puts in the music is powerful and royal. She has captured the human side of Turandot more, than showing her as a distant and cold princess, which she does not have to be. There are several way to interpret a role, and every artist has his/ her creative freedom to create his/ her own individual interpretation, which will be distinctive and show new sides of the character portrayed to the audience.
I wish you hadn't cut off the two repeats of those final bars where she gets higher and higher and lands on some incredible high note halfway to the International Space Station. I was looking forward to those.
It seems like a lot of people don't see opera as an expression of art and music anymore. I realize that there are standards that have to be met when singing such difficult repertoire, but ''*blank* did it better'' is just idiotic. I'm sorry, most of these people who you say ''did it better'' are dead and you need to get over that. Opera is only a competition until you get the role, and then you do your best to express and make art. And all of you pessimists with nothing good to say are driving the young people AWAY from the art form. Stop being ridiculous. I hope to God that Christine never sees your comments, because she is a wonderful person who doesn't deserve this. Have a good day.
I believe that Nico was just trying to open the minds, eyes and ears of those of us who hear a singer sing something and love it (perfectly natural) but thereafter compare every other instance of the piece unfavorably with that singer instead of trying to gain something new from the new experience. Whether it's "better" or "worse" than the original one heard is neither here nor there, really. The important thing is that it's different and part of our present experience. To carry one paragon (or even a set of them) around all the time is like putting blinders on a horse. Nico's other laudable intent is to mitigate the gratuitous denigration of the present singer just to elevate the status of the paragon. Opera is very hard work and deserves all our respect.
Completely agree, Chiaro. As a millennial, frankly what initially drove me away from opera was the cloud of pretentiousness surrounding the art form, including the snobbery exhibited by those supposedly in the know (and that includes one of the people who responded to you). Music is meant to be enjoyed. If one derives joy in listening to something, that piece of music has achieved its purpose. If you like it, great. If you don't, listen to something else. So simple! To tell others to ignore this or that is ludicrous. Let people listen, judge for themselves, and form their own preferences.
Why should we ignore her obvious shortcomings in themselves or by comparison? It's precisely because opera is an expression of art and music that it matters that she is miscast in this role and that people point out that she sings flat, wobbles, has a problematic technique, and doesn't have the thrust and ease that the role calls for. Your complaint is essentially that some people treat opera as if there were something at stake. Connoisseurship is one of the elements in the relationship between audience and performer that sustains quality, which benefits audience and performer alike. The alternative is that people act as if they don't care if she (or anyone else) is good, or bad or somewhere in between. What is wrong with the lively parry and thrust of legitimate criticism, including comparing performers to gold standards? There is nothing inappropriate about comparing the singers of today to the singers of the past. Indeed some of the people who did it better are indeed dead -- and this performance is hardly going to erase anyone's memory of them -- and a few are not. Opera is a tradition, and you can bet that a dedicated singing artist understands his or her place in the chain of succession. To reiterate +metropolitan1966, her top just does not shine and bloom.
Agreed...but what astounds me is that this is that I genuinely love this performance! I've heard Marton, Nilsson and Jones- they had large voices but frankly, Turandot is a VERY taxing role. Joan Sutherland STRUGGLED to put her seal on it!! I actually like her voice- it's full and rich and I do love a nice vibrato, which she has- it's not a wobble. For me, this is not just an individual performance for the lovely Ms Goerke but also a beautiful one! I came here because I saw her lined up to sing Ortrud in Covent Garden this season- guess what, I'm going to try and get a ticket!
I have yet to see/hear a Turandot who doesn't make me want to insert earplugs. Was truly looking forward to the Met broadcast today but Ms. Stemme sounded so harsh and wobbly and Berti's voice was so harsh and whiney, I couldn't bear it. That's too bad, because the staging is absolutely magnificent. Anita Hartig sounded beautiful in the role of Liu, but sadly Liu dies early on in the opera. ;) Can someone recommend a good video of this opera? Is the Domingo/Marton performance of years ago worth my while (even if its not an HD broadcast?) I saw it many years ago, but do not remember whether it is worth pruchasing particularly since its video/audio quality is likely to be inferior to more modern recordings. I love the Zefferelli production, so I'd want something similarly splendiferous. Many say the production is too busy/gaudy/distracting, but like MANY Met subscribers, I just LOVE it!
@@whovian1591 Thank you for taking the time to reply! I actually do have the Sutherland recording and was indeed referring to a video performanc. Since I posted my inquiry, I chose to buy the Met production with Marton. A good performance, but not HD, although I'd rather poor video than a Turandot whose voice sounds like nails on a chalkboard. ;) I actually didn't mind Goerke's performance, but Marton was certainly superior. Sutherland is breathtaking as usual.
In my opinion, Birgit Nilsson and Ghena Dimitrova (Dimitrova's performance as Turandot from the arena di Verona is breathtaking) are the pinnacle of this role. Sadly, for some reason, I haven't heard any soprano recently who has the chops or vocal beauty to do justice to this role...
I'm pretty sure there a Corelli/Udovich video on RUclips in black and white, and Domingo-Marton is pretty good. I'm a bit of a Corelli fan, so I'm partial to the first one.
Le texte EST compréhensible. Je ne croix pas que la voix a besoin de focus. Mais, oui, il y a des problèmes d’intonation. Cependant, Turandot est un opéra TRÈS difficile. Je pense qu’il n’y pas de soprano maintenant qui le peut chanter comme une Nilsson ou une Cigna. Turandot n’est pas un rôle très bon pour la voix.
Yes, and therefore always under pitch. Listen to Nilsson who was always spot on with pitch above the staff. If a singer cannot sing in tune, I simply cannot get past it. Even a little sharp would be a million times better than riding a quarter or half time below the pitch on every single note above the staff. The only thing I can say is that she’s better than Stemme, but that’s an extremely low standard. What is with the Met’s casting and all the huge wobbly voices? Is it just to fill the hall with squall?!
I like Christine Goerke‘s voice for certain roles, but I honestly don’t think Eva Marton can be beaten in the role of Turandot anytime soon. I have seen Marton live in the mid-1990s at the Bayerische Staatsoper in Munich. She was spectacular.
Turandot is the icy cruel princess and the role calls for a glacial timbre. Too many dark or muffled voices are singing it. Check Lise Lindstrom or Erika Sunnegårdh, their voices easily project in the higher tessitura. So did Birgit Nilsson’s for example. It’s maybe a matter of taste but too many struggle singing this role. They are either flat, too darkened, too small or have a wobble. Goerke has high notes but are often flat and never icy. There are much more suitable roles for her than this one.
I find it hard to believe that Ms Goerke received any favorable reviews for her performance as Turandot. Under pitch, no legato, each note is pushed, and the words are not pronounced with pure Italian vowels. The Met is in trouble if this is the best Turandot they can engage. I knew Lucilla Udovich, the Turandot of the 60's, and she sang this role with power and lyricism and she sang what Puccini wrote. She did not change the music to accommodate her poor technique. Listen to Udovich's performance with Corelli also on RUclips.
Lise Lindstrom is *outstanding* in this role, and while she was engaged by the Met in this role, it was quite minimally. There are definitely sopranos who can do justice to the role, but the Met is not exactly known for diverse casting. They feature the same singers over and over and over each season, not necessarily because they're good, but because they're popular. And if this were the Christine Goerke from 2013 and earlier, this would have been a knock-out of a Turandot. She was absolutely solid as the Dyer's Wife in Die Frau Ohne Schatten, in the Met's 2013 run. Goerke seems to lose more and more support with each passing year, which is why she's singing flat and struggling so much. I hope she can find her technique again, because she really is awesome when she's on.
ENGRAMAS DA ANCESTRALIDADE Na ária In questa reggia, da ópera Turandot, de Puccini, o grito Desesperador soou na ressonância magnética que veio passar, De geração a geração e ancorou na alma da mulher em atrito, Vida da princesa Lou Ling que o rei dos tártaros veio devassar. Engramas do passado são forças coercitivas que recrudescem Situações que delineiam dificuldades do infrator se beneficiar, Interlocutor carrega os pensamentos de cargas que crescem Sempre na dificuldade remota que o faz sucumbir ou elevar. As amarras, em que o coração foi retido, é algo em remessa À reflexão que dê luz na expectativa de um novo caminhar. Somente ser profundo, que todos nós somos, pode ter essa Visão da realidade da existência, o que temos são os indícios Que podem nos levar a esse caminho, numa decisão de amar Que nos dê o paraíso, no sentido de horizonte, sem vícios. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ENGRAMAS DA ANCESTRALIDADE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Americans (and especially the American school and marketing) stupidly think that vibrato caprino and wobble is a good thing when it is not. Vibrato is a bad thing, actually
you are out of your mind, in fact Americans ruined Italian cuisine and now they are ruining Opera. Real opera is something that most americans will never understand, except for the old school (Leontyne Price, Jessie Norman etc). Today, Americans have distorted perceptions of reality and think they can sing when they cannot and have horrible vibratos which would be laughed at at La Scala, for example
I have tried and tried to like Ms. Goerke's voice and just can't. The timbre is unpleasant and tires my ear; the vibrato is wide enough to drive a Hummer through; the vaunted low range is uniformly "dark" without interest. The whole performance feels much more like screaming than singing. Like so many singers, she's forced to "grow" her voice to reach the top balcony over a heavy orchestration, so all other values of beauty, subtlety, coloration get sacrificed. Like the roses at the grocery - cultivated to survive shipment and look good, but without any gorgeous rose scent which is kinda the whole point of a rose (at least for me).
Once again, I stated that Miss Nillson once said that Wagner made her famous, but Turandot made her rich. Was this said by the other so-called "great" Turandots?
Just saw the broadcast and have to say, this Turandot was disappointing. Surely there must be another dramatic soprano in the world? And the banal, awkward commentary/ interviews during the interminable intermission break.
Oh please. It's not a good role for either but at least Stemme manages a modicum of nuance above the stave. Goerke has only one setting: loud and flat.
Agreed, but that is a very low standard. There is a point where "loud" simply is insufficient, and the opera shouldn't be staged. I'd rather listen to a jackhammer than hear Stemme "sing" just about anything. Ughhhhhh.
flicfan416 STEMME WAS TERRIBLE. This is worlds better than Stemme in this role. Stemme’s made uncomfortable it was so difficult for here, and SUCH a wobble. This is not a wobble, Goerke’s is a strong, tightly spun vibrato that I think catch people by surprise prompting them to label it such. She’s great here, this role is impossible and she’s more than managing.
I going to hear her sing Turandot in Philadelphia soon. I do hope she will be better than this. Maybe Puccini is not right for her. Philadelphia seldom has anyone famous in its operas, so I go to the Met.
Olá Gabriel: Será que você não se refere à dicção dela? Qual a palavra que ela pronuciou errada? Alguns "doppios" que não foram suficientemente exagerados para o seu gosto, talvez? Não suficientes para sucitar um comentário deste, né?
"Nessul" "L'orror di chi egli..." "Vivo nel dor(?)..." "Di tanto purità". Ora, esses não são poucos erros, sem contar algumas diferenças articulatórias de certas vogais. São mais do que suficientes pra gerar um comentário deste, sim.
É meio ridículo persistir nisso, mas já que você insiste ... 1. "Nessun" è uma palavra q ela diz muitas vezes. Se alguma vez você entendeu "nessul" obviamente è questão de dicção (como disse). Foi quando ela estava cantando grave e a língua entortou, não foi? 2. A frase correta è "L'orror di chi l'uccise" o q ela pronuncia bem. 3. È "vivo nel cuor me stà" 4. "Di tanto purità" é erro de gramática não de pronúncia. Enfim, para mim, erro de pronúncia è quando, por exemplo, se coloca um R inglês ou alemão, ou se pronuncia um vogal errado, etc. Para mim a pronúncia dela é bem razoavel. O problema é a tessitura da peça q não permite uma diccão perfeita. Até q ela se sai bem. Você conhece alguma outra soprano não italiana q "pronuncia" melhor este trecho? Enfim ela canta na MET há muitos anos. Neste teatro há um professor nativo em cada língua q pula em cima de cada erro de pronúnicia e traz à atenção da artista.
She does sound a little flat in a few places. I'm a big fan of hers, but not sure this is the best role for her or if it might compromise her down the road. Still looking forward to seeing this next next Saturday.
She is not a dramatic soprano, I don't like her. I would rather have a huge and heavy Spinto soprano like Sondra Radvamovky singing this role. Why is there such a lack of real dramatic voices today?
+chosentenore Then you have not heard her in a house. She has always maintained a lyric quality (which is how it should be) and the instrument is huge.
I will say this, she started out singing Mozart. Her bread and butter in her early days were those dramatic Mozart roles. To sing those roles you had to have impeccable technique. Now as for this, the top is flat. Interestingly the clip cuts off before she has to belt out that famous high C. I would have liked to have heard that. The middle and the bottom are pretty good. Does this compare to Callas, no. However, it is a nice attempt, aside from the flat top.
+Dave Glo She's got a huge voice. I heard her sing Elektra in Chicago and London and heard her magnificent Dyer's wife at the Met. The voice fills the largest theatres in the world. I'd never heard Elektra sung like and I mean sung, not wobbled like Eva Marton or Gwyneth Jones.
I suppose they cut out the C because she couldn’t sing it. All of her voice is out of tune, and she has one sound above the staff you must take for whatever is notated.
This is actually unbearable, the Met's production is absolutely incredible but they need to stop casting someone like her. Sutherland and Caballe still is the golden standard for this title.
Awful. The wobble is a third, practically on every note. Something like that belongs in the Rocky Horror Picture Show, not the MET. Although, it's almost the RHP show itself.
One cannot but miss the legendary voices of Marton, Nilson and Dimitrova in this rol title!!!
Oh please. Marton, Nilsson and Dimitrova all singing In questra reggia in unison couldn't make one-tenth the sound Grob-Prandl made on her worst day. Amateurs, all of them. Grob-Prandl was the Turandot for the ages.
Dimitrova is head and shoulders above all those mentioned, period.
Jason Hurd they were way better than anyone I’ve heard a generation after them.
@@mannail888 Dimitrova was decent but had little characterization other than frightening cold killer.
@@jasonhurd4379 Frau Grob-Prandl war die schlechteste Turandot aller Zeiten. Selbst Choristinnen eines Stadttheaters haben mehr Stimme als diese Dame jemals hatte. Frau Jenkins klingt gegen sie wie eine Nachtigall!
Amazing. I love the beautiful ARTIST SHE is.
Goerke has done a stunning job in expressing both the sensitive side of Turandot and her inner struggle of refusing to love again- her tone might be warmer than in other loved interpretations of the role, but the way she sings and the expression she puts in the music is powerful and royal. She has captured the human side of Turandot more, than showing her as a distant and cold princess, which she does not have to be. There are several way to interpret a role, and every artist has his/ her creative freedom to create his/ her own individual interpretation, which will be distinctive and show new sides of the character portrayed to the audience.
I love the way she moves her hands.
I wish you hadn't cut off the two repeats of those final bars where she gets higher and higher and lands on some incredible high note halfway to the International Space Station. I was looking forward to those.
I love when the met says that so and so's portrayl of whoever stunned audiences and I'm like "yeah they never heard someone sound so bad"
Reyna Zagal and it is difficult to imagine a beautiful desirable princess,sorry!
Almost, I said almost made me want to see this opera.!
Glorious! How I adore Goerke.
I saw her in Die Walküre as Brunhilde, and that is a very dramatic role. She was terrific! Love you Christine!
Guerrace01 Not the same tessitura as Turandot
the voice-the voice! - and the comedic performance - still the voice!!!
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
I hope some day I get to see Turandot at the Met.... it’s my absolute favorite.
Wonderful
Amazing powerful voice, amazing low register ❤️
Constricted
FLAT
FLAT
FLAT
What happened with her voice?
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
It’s almost dead
Wow! Such criticism from peers. I am no expert - but I am impressed. She makes it her own and still does justice to the original. Brava.
+Debra Dwyer It's because these people are sad and have nothing better to do than criticize the successful singers.
Beg to differ. I'm happy and have lots to do. She's not good here. Not at all.
Excuse me, but what do you mean with “original”?
It seems like a lot of people don't see opera as an expression of art and music anymore. I realize that there are standards that have to be met when singing such difficult repertoire, but ''*blank* did it better'' is just idiotic. I'm sorry, most of these people who you say ''did it better'' are dead and you need to get over that. Opera is only a competition until you get the role, and then you do your best to express and make art. And all of you pessimists with nothing good to say are driving the young people AWAY from the art form. Stop being ridiculous. I hope to God that Christine never sees your comments, because she is a wonderful person who doesn't deserve this. Have a good day.
Oh Dear. God forbid Opera fans express their opinions in a public forum. What a travesty.
I believe that Nico was just trying to open the minds, eyes and ears of those of us who hear a singer sing something and love it (perfectly natural) but thereafter compare every other instance of the piece unfavorably with that singer instead of trying to gain something new from the new experience. Whether it's "better" or "worse" than the original one heard is neither here nor there, really. The important thing is that it's different and part of our present experience. To carry one paragon (or even a set of them) around all the time is like putting blinders on a horse.
Nico's other laudable intent is to mitigate the gratuitous denigration of the present singer just to elevate the status of the paragon. Opera is very hard work and deserves all our respect.
Completely agree, Chiaro. As a millennial, frankly what initially drove me away from opera was the cloud of pretentiousness surrounding the art form, including the snobbery exhibited by those supposedly in the know (and that includes one of the people who responded to you). Music is meant to be enjoyed. If one derives joy in listening to something, that piece of music has achieved its purpose. If you like it, great. If you don't, listen to something else. So simple! To tell others to ignore this or that is ludicrous. Let people listen, judge for themselves, and form their own preferences.
Why should we ignore her obvious shortcomings in themselves or by comparison? It's precisely because opera is an expression of art and music that it matters that she is miscast in this role and that people point out that she sings flat, wobbles, has a problematic technique, and doesn't have the thrust and ease that the role calls for. Your complaint is essentially that some people treat opera as if there were something at stake. Connoisseurship is one of the elements in the relationship between audience and performer that sustains quality, which benefits audience and performer alike. The alternative is that people act as if they don't care if she (or anyone else) is good, or bad or somewhere in between. What is wrong with the lively parry and thrust of legitimate criticism, including comparing performers to gold standards?
There is nothing inappropriate about comparing the singers of today to the singers of the past. Indeed some of the people who did it better are indeed dead -- and this performance is hardly going to erase anyone's memory of them -- and a few are not. Opera is a tradition, and you can bet that a dedicated singing artist understands his or her place in the chain of succession.
To reiterate +metropolitan1966, her top just does not shine and bloom.
Agreed...but what astounds me is that this is that I genuinely love this performance! I've heard Marton, Nilsson and Jones- they had large voices but frankly, Turandot is a VERY taxing role. Joan Sutherland STRUGGLED to put her seal on it!! I actually like her voice- it's full and rich and I do love a nice vibrato, which she has- it's not a wobble. For me, this is not just an individual performance for the lovely Ms Goerke but also a beautiful one! I came here because I saw her lined up to sing Ortrud in Covent Garden this season- guess what, I'm going to try and get a ticket!
Her phrasing though!!!! So many rush this particular section and that drives me crazy! I think musically, this is one of the best out there.
Perfection!! Hairs stand on my arms and nape of the neck!!! Sublime rendition!!!! Brought me to tears
You need a voice for this.
That little detail…
I have yet to see/hear a Turandot who doesn't make me want to insert earplugs. Was truly looking forward to the Met broadcast today but Ms. Stemme sounded so harsh and wobbly and Berti's voice was so harsh and whiney, I couldn't bear it.
That's too bad, because the staging is absolutely magnificent. Anita Hartig sounded beautiful in the role of Liu, but sadly Liu dies early on in the opera. ;) Can someone recommend a good video of this opera? Is the Domingo/Marton performance of years ago worth my while (even if its not an HD broadcast?) I saw it many years ago, but do not remember whether it is worth pruchasing particularly since its video/audio quality is likely to be inferior to more modern recordings. I love the Zefferelli production, so I'd want something similarly splendiferous. Many say the production is too busy/gaudy/distracting, but like MANY Met subscribers, I just LOVE it!
Joan Sutherland is a good turandot, if you are fine with listening to only audio
@@whovian1591 Thank you for taking the time to reply! I actually do have the Sutherland recording and was indeed referring to a video performanc. Since I posted my inquiry, I chose to buy the Met production with Marton. A good performance, but not HD, although I'd rather poor video than a Turandot whose voice sounds like nails on a chalkboard. ;) I actually didn't mind Goerke's performance, but Marton was certainly superior. Sutherland is breathtaking as usual.
In my opinion, Birgit Nilsson and Ghena Dimitrova (Dimitrova's performance as Turandot from the arena di Verona is breathtaking) are the pinnacle of this role. Sadly, for some reason, I haven't heard any soprano recently who has the chops or vocal beauty to do justice to this role...
I'm pretty sure there a Corelli/Udovich video on RUclips in black and white, and Domingo-Marton is pretty good. I'm a bit of a Corelli fan, so I'm partial to the first one.
ruclips.net/video/-vQgDmULFq0/видео.html Maybe she is the sweetest Turandot
no way
My first opera at the met was Turandot w/Eva Marton and Placido Domingo
Pas de focus , pas de ligne de chant , texte incompréhensible, la voix bouge et le son est constamment trop bas .... que se passe-t-il au Met ?
Il testo è comprensibilissimo.Sei tu che non capisci e quindi dici il falso
Le texte EST compréhensible. Je ne croix pas que la voix a besoin de focus. Mais, oui, il y a des problèmes d’intonation. Cependant, Turandot est un opéra TRÈS difficile. Je pense qu’il n’y pas de soprano maintenant qui le peut chanter comme une Nilsson ou une Cigna. Turandot n’est pas un rôle très bon pour la voix.
Christine Goerke, you are amazing! BRAVA!!!!
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
@@vincec8218 I will if you watch AND COMMENT-ruclips.net/video/sEwGQvn3lLA/видео.html
Always heavy heavy heavy. Your casting is off. Go listen to Roselle, Scacciati, Turner, Takács and get a clue.
AfroPoli exactly
Yes, and therefore always under pitch. Listen to Nilsson who was always spot on with pitch above the staff. If a singer cannot sing in tune, I simply cannot get past it. Even a little sharp would be a million times better than riding a quarter or half time below the pitch on every single note above the staff. The only thing I can say is that she’s better than Stemme, but that’s an extremely low standard. What is with the Met’s casting and all the huge wobbly voices? Is it just to fill the hall with squall?!
I like Christine Goerke‘s voice for certain roles, but I honestly don’t think Eva Marton can be beaten in the role of Turandot anytime soon. I have seen Marton live in the mid-1990s at the Bayerische Staatsoper in Munich. She was spectacular.
Turandot is the icy cruel princess and the role calls for a glacial timbre.
Too many dark or muffled voices are singing it.
Check Lise Lindstrom or Erika Sunnegårdh, their voices easily project in the higher tessitura.
So did Birgit Nilsson’s for example.
It’s maybe a matter of taste but too many struggle singing this role.
They are either flat, too darkened, too small or have a wobble.
Goerke has high notes but are often flat and never icy. There are much more suitable roles for her than this one.
The Queen of Tongue tension
I find it hard to believe that Ms Goerke received any favorable reviews for her performance as Turandot. Under pitch, no legato, each note is pushed, and the words are not pronounced with pure Italian vowels. The Met is in trouble if this is the best Turandot they can engage. I knew Lucilla Udovich, the Turandot of the 60's, and she sang this role with power and lyricism and she sang what Puccini wrote. She did not change the music to accommodate her poor technique. Listen to Udovich's performance with Corelli also on RUclips.
Lise Lindstrom is *outstanding* in this role, and while she was engaged by the Met in this role, it was quite minimally. There are definitely sopranos who can do justice to the role, but the Met is not exactly known for diverse casting. They feature the same singers over and over and over each season, not necessarily because they're good, but because they're popular.
And if this were the Christine Goerke from 2013 and earlier, this would have been a knock-out of a Turandot. She was absolutely solid as the Dyer's Wife in Die Frau Ohne Schatten, in the Met's 2013 run. Goerke seems to lose more and more support with each passing year, which is why she's singing flat and struggling so much. I hope she can find her technique again, because she really is awesome when she's on.
SHE HAS NO BUSINESS SINGING TURANDOT. She is over-parted. THE CONSISTANT flat singing is the proof.
Would you prefer Eva Turner.
@@scott12061972 I would!
It’s the Met. If Netrebko can be a coloratura then Goerke can be anyone. Even Alfredo to her Violetta 😂
FANTASTIC !!!!!!!!!!
Horror! Horror!
ENGRAMAS DA ANCESTRALIDADE
Na ária In questa reggia, da ópera Turandot, de Puccini, o grito
Desesperador soou na ressonância magnética que veio passar,
De geração a geração e ancorou na alma da mulher em atrito,
Vida da princesa Lou Ling que o rei dos tártaros veio devassar.
Engramas do passado são forças coercitivas que recrudescem
Situações que delineiam dificuldades do infrator se beneficiar,
Interlocutor carrega os pensamentos de cargas que crescem
Sempre na dificuldade remota que o faz sucumbir ou elevar.
As amarras, em que o coração foi retido, é algo em remessa
À reflexão que dê luz na expectativa de um novo caminhar.
Somente ser profundo, que todos nós somos, pode ter essa
Visão da realidade da existência, o que temos são os indícios
Que podem nos levar a esse caminho, numa decisão de amar
Que nos dê o paraíso, no sentido de horizonte, sem vícios. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ENGRAMAS DA ANCESTRALIDADE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Christine Goerke, as much as i like your voice, Turandot is not for you.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
I have see this recently, just couple of months ago, with the same singers. Interesting.
And she's singing Brunhilde in Chicago AND San Francisco? Maybe she does better with Wagner, because this is not good.
As a Wagner singer, she reminds me of Astrid Varnay, which ain’t a bad thing at all. She certainly ain’t no Nilsson though!
Hardly
Those masks are everything
I am the Biggest critic on vibratos and I have No problem what so ever with hers!
Gene Leonard thank you!! I agree. So much power in this voice. I think it's beautiful!
Chase Davidson will you please subscribe to my channel
Americans (and especially the American school and marketing) stupidly think that vibrato caprino and wobble is a good thing when it is not. Vibrato is a bad thing, actually
Denya Gantenbein American schools are better than the rest of the world. That's a fact.
you are out of your mind, in fact Americans ruined Italian cuisine and now they are ruining Opera. Real opera is something that most americans will never understand, except for the old school (Leontyne Price, Jessie Norman etc). Today, Americans have distorted perceptions of reality and think they can sing when they cannot and have horrible vibratos which would be laughed at at La Scala, for example
Pitch problems throughout, heavy and flat around the passagio.... Is this really the best the Met has to offer?
That singing of In Questa Reggia is appalling!
Yes yes yes!!
Please explain how it is "appalling"
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
@@vincec8218 Mediocre at best, no hopes of singing outside of poorly attended churches.
Her tongue is about to fly out of her head and land in the audience during those high notes.
That ain't a pretty sound.....
+flicfan416 No, it ain't.
SCREEEEEECH
You made me laugh so much! I attended the live HD performance with my sister, and at the time, she whispered in my ear "her tongue scares me".
I have tried and tried to like Ms. Goerke's voice and just can't. The timbre is unpleasant and tires my ear; the vibrato is wide enough to drive a Hummer through; the vaunted low range is uniformly "dark" without interest. The whole performance feels much more like screaming than singing. Like so many singers, she's forced to "grow" her voice to reach the top balcony over a heavy orchestration, so all other values of beauty, subtlety, coloration get sacrificed. Like the roses at the grocery - cultivated to survive shipment and look good, but without any gorgeous rose scent which is kinda the whole point of a rose (at least for me).
Seems to be some sort of forcing going on. Painful in places.
Wonderful production coming to hi def Met broadcast
Once again, I stated that Miss Nillson once said that Wagner made her famous, but Turandot made her rich. Was this said by the other so-called "great" Turandots?
No. Most of them just lost their voices.
Gorgeous
The Met should be ashamed.
Yes!!
The finest dramatic soprano on the stage.
😂😂😂😂😂
La voz es buena pero ...ese canto horrible y esta poca clase en el Met???? Qué está pasando?
Terrible! Did something major go wrong with the top C that made them cut the ending? But I'm spoiled - heard Nilsson sing it in her prime.
Just saw the broadcast and have to say, this Turandot was disappointing. Surely there must be another dramatic soprano in the world?
And the banal, awkward commentary/ interviews during the interminable intermission break.
OMG, Marton Rulez. I hated this performance. Marton looks more convincing as Turandot in this scene.
She is Neitehr Marton nor Dimitrova....BUT much BETTER than Oksana Dyka!!!
wow Christine i had no idea , that was beautiful.
A hell of a lot better than Stemme.
Oh please. It's not a good role for either but at least Stemme manages a modicum of nuance above the stave. Goerke has only one setting: loud and flat.
Agreed, but that is a very low standard. There is a point where "loud" simply is insufficient, and the opera shouldn't be staged. I'd rather listen to a jackhammer than hear Stemme "sing" just about anything. Ughhhhhh.
Better than Guleghina either
flicfan416 STEMME WAS TERRIBLE. This is worlds better than Stemme in this role. Stemme’s made uncomfortable it was so difficult for here, and SUCH a wobble. This is not a wobble, Goerke’s is a strong, tightly spun vibrato that I think catch people by surprise prompting them to label it such. She’s great here, this role is impossible and she’s more than managing.
hummm ... ok
She sounds so great, except for how she's always under the center of the tone on the high notes, very frustrating.
Qué divina!!!
Che brutta
This horrible singer in the Met what a disappointment.
What a trainwreck! It's remarkable that the Met chose this very fragment for promotion. Supposedly the rest of her singing was even worse.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
@@vincec8218 HAHAHAHAHAHAHA. what a pathetic fool you are.
A voice that´s only focused on the wobbly high register. Sad.
Opera singing is getting worse and worse. What's wrong with her tongue? Is it alive? Ohhh.... IT'S ALIVE!
Christine has a wobble problem!
She's awful. And she NEVER reached the top notes. It's flat. Always
I going to hear her sing Turandot in Philadelphia soon. I do hope she will be better than this. Maybe Puccini is not right for her. Philadelphia seldom has anyone famous in its operas, so I go to the Met.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
It was bad here but today it's even worse
Kristian Poon really ? I’ve missed that HD livestream .
Absolument horrible !!
BAD AND WRONG ROLE FOR THIS SINGER
A pronúncia não é boa mas a Turandot dela é melhor que a da outra...
Olá Gabriel: Será que você não se refere à dicção dela? Qual a palavra que ela pronuciou errada? Alguns "doppios" que não foram suficientemente exagerados para o seu gosto, talvez? Não suficientes para sucitar um comentário deste, né?
"Nessul" "L'orror di chi egli..." "Vivo nel dor(?)..." "Di tanto purità". Ora, esses não são poucos erros, sem contar algumas diferenças articulatórias de certas vogais. São mais do que suficientes pra gerar um comentário deste, sim.
É meio ridículo persistir nisso, mas já que você insiste ...
1. "Nessun" è uma palavra q ela diz muitas vezes. Se alguma vez você entendeu "nessul" obviamente è questão de dicção (como disse). Foi quando ela estava cantando grave e a língua entortou, não foi?
2. A frase correta è "L'orror di chi l'uccise" o q ela pronuncia bem.
3. È "vivo nel cuor me stà"
4. "Di tanto purità" é erro de gramática não de pronúncia.
Enfim, para mim, erro de pronúncia è quando, por exemplo, se coloca um R inglês ou alemão, ou se pronuncia um vogal errado, etc. Para mim a pronúncia dela é bem razoavel. O problema é a tessitura da peça q não permite uma diccão perfeita. Até q ela se sai bem. Você conhece alguma outra soprano não italiana q "pronuncia" melhor este trecho?
Enfim ela canta na MET há muitos anos. Neste teatro há um professor nativo em cada língua q pula em cima de cada erro de pronúnicia e traz à atenção da artista.
Wow, compared to poor Nina Stemme at La Scala Christine's instrument is far better suited to this scream fest.
Equally bad actually
She does sound a little flat in a few places. I'm a big fan of hers, but not sure this is the best role for her or if it might compromise her down the road. Still looking forward to seeing this next next Saturday.
Wrong preparation from the singer.
The horror
She is not a dramatic soprano, I don't like her. I would rather have a huge and heavy Spinto soprano like Sondra Radvamovky singing this role. Why is there such a lack of real dramatic voices today?
she sang it beautifully....sometimes things dont have to be super dramatic.....i like the change
Really? I've heard her sing Elektra and the Dyer's Wife in the theater. She sounded pretty dramatic to me.
+chosentenore Then you have not heard her in a house. She has always maintained a lyric quality (which is how it should be) and the instrument is huge.
I will say this, she started out singing Mozart. Her bread and butter in her early days were those dramatic Mozart roles. To sing those roles you had to have impeccable technique.
Now as for this, the top is flat. Interestingly the clip cuts off before she has to belt out that famous high C. I would have liked to have heard that. The middle and the bottom are pretty good. Does this compare to Callas, no. However, it is a nice attempt, aside from the flat top.
+Dave Glo She's got a huge voice. I heard her sing Elektra in Chicago and London and heard her magnificent Dyer's wife at the Met. The voice fills the largest theatres in the world. I'd never heard Elektra sung like and I mean sung, not wobbled like Eva Marton or Gwyneth Jones.
She is no bad, but I'm afraid she is not enough good for the met
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
This aria is incomplete. It should be an 7 or 8 minuts aria.She sings well.
Voce non adatta al ruolo. È troppo vibrante e senza consistenza, ed è anche inespressiva. La Nilsson e la Marton sono mooolto meglio.
she was so disinterested in her role. Vocally she was so uninteresting. It's difficult to sit through an opera when the leading role is tiresome.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
sorry the wobble is irritating
She's the best today for sure.
and that ain't saying much, unfortunately :(
Sooooooooooo slow it's feels like it's going backward.
This is TENSION.
How does she sound now? 😢
Not only an inverted vibrato, it’s even big as a wobble. Horrifying…
And flat. Very FLAT.
I suppose they cut out the C because she couldn’t sing it. All of her voice is out of tune, and she has one sound above the staff you must take for whatever is notated.
This is actually unbearable, the Met's production is absolutely incredible but they need to stop casting someone like her. Sutherland and Caballe still is the golden standard for this title.
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
So much out-of-tune singing.
So Slow
Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice
Christine's voice reminds me a great deal of Varnays huge voice!
Awful. The wobble is a third, practically on every note. Something like that belongs in the Rocky Horror Picture Show, not the MET. Although, it's almost the RHP show itself.
This is MUCH MUCH BETTER! ruclips.net/video/04y2O8g0nHI/видео.htmlsi=3HVfydZoKzwZZz0E