Absolument magistral. Il n’y a pas la moindre faiblesse ni dans sa voix ni dans l’interprétation artistique. Une bombe pour les spectateurs qui ont eu le bonheur d’y être.
Never heard her singing with such heavy chest voice. Didn’t know she had it in her! Fantastic stuff. More dramatically involved than I’ve ever seen her too. And it’s rare to get a genuinely beautiful Eboli!
Suggestion: look up her rendition of Jane Seymour in Anna Bolena here on YT, Vienna 2011. In their confrontation scene, Garanca squarely outshines Netrebko in the title role. Simply breathtaking.
I still don't think it's enough, though it's better than it used to be. The heavy and slower vibrato worries me, though. Incidentally, what a hideous production.
Great moments of opera it’s actually not true, developed chest voice. It s a constricted collapsed sounds...exaggerated Val salva maneuver. I can’t believe she is a mezzo, with no chest voice!
Beautiful presence and interpretation. What a charming Eboli ❤️ too bad her planned Munich and ROH performances had to be canceled due to current situation. Really wish to see her playing this role in near future again. 💗
I can't help but miss the barn burning pyrotechnics that heavier mezzos bring to this role, but I thought she managed it really well. Much better than I was expecting. I'm not hearing a wobble that others are mentioning and it doesn't 'feel' like she's out of her depth. I just read that she intends to do Amneris and Kundry(!) in the next couple of years. I feel like the latter will be good for her, considering she's coming from specializing in the sort of sensual french seductress roles
Comment fait elle pour avoir une tessiture aussi étendue sans détimbrer c'est juste magnifique tellement virtuose comme morceau et ça paraît si simple pour elle ❤
This is quite good!! I saw her sing this in an outdoor concert and it was laboured and forced or contrived I’m not sure what was going on but this is so much better!!
Is she really a mezzo? She goes soooo high! How is it that mezzo are singing high B, when that's supposedly the realm of sopranos? This is a general question.
mezzos can go up to high C too! it's just less accesible than a soprano's which means it's harder to pull it off and make it sound good. elina's top is a bit constricted though
Bellissima e potente voce in una romanza dove la Verrett rimane insuperabile ma questa volta la Garanca si avvicina a quei livelli anche grazie ad una interpretazione più approfondita.
A fine performance, but the acting is way over the top. Can someone who's seen this production tell me how the director justifies an auto-da-fe in a modern setting?
MANTO REAL Vivendo os últimos anos de sua vida na solidão, no seu canto Na bela propriedade Svnta-Agat, o compositor Giuseppe Verdi Cantarolava: "Vou dormir para sempre sozinho em meu manto Real", a ária do rei Filipe, da ópera Don Carlos. Pensar no verde Da bandeira, o manto real dos brasileiros, em momento ligeiro, Na solidão das matas virgens, hoje morrendo à derrubada, que Antes a região amazônica possuía, lenda da raposa e galinheiro Que está hoje, na pandemia, aos exploradores sendo entregue. O manto real é a aura luminosa que construímos com o pensar Nos momentos felizes em doarmos amor aos necessitados sem Pensar em ser lembrados em nossa vida fluindo bem devagar. Um novo manto está sendo construído no planeta que ascende Uma oitava a mais em consciência planetária, compreendessem Todos a necessidade de ser feliz para sempre na luz que acende. (*) (*) FERNANDO PINHEIRO, presidente do Academia de Letras dos Funcionários do Banco do Brasil. - MANTO REAL (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
I beg to differ. Whilst I love TT, and I actually find her Carmen at the same level of EG’s, not so for this aria. Instead try Shirley Verrett. I think that SV and EG are up there, alone (in the recorded age)
not old enough to having heard these ladies live; old enough to have listened to all of them (except Ebe Stignani) in recordings. Now, out of curiosity old man (as- sadly - few yearspast 40 ... i am a boy...i wish), were yo at Bastille hearing EG live? ...because...you see..i was there, twice. But yes i understand ..the good old days huh? always better...lol
Soprano . Vocalità gonfiata . Canto moderno che può impressionare solo gli intenditori poco preparati nella materia. Registro acuto e vocalità simili e quelli della Netrebko … no comment. PS Alla fine aspetto la versione senza microfono 🎤… il vecchio
@@gm2709 Questa è la voce del soprano drammatico, e ancora . Accanto ai mezzosoprani che facevano parte del passato glorioso La Garanca sembra a uno soprano lirico pieno gonfiato. Il medium e la voce di petto poco convincenti . Se mi ricordo bene Eboli la interpretavano anche i contralti veri, da anni spariti dalla circolazione. O tempora o mores … il vecchio
I have been waiting for Garanca to sing Eboli since I first became aware of Garanca a couple ofyears ago. I thought her musical and extra-musical intelligence and her having the looks that are dealt with in Ebolis aria would give a unique combination. Similarly to her Carmen, what is available on the internet does not justify this expectation. Not only does she not really project the repetitive and varied "don fatale" and "maledico", she is quite far from understanding the changes in tempi as what they are likely intended to be, namely spontaneity and changes in immediate plans "un di mi resta").Verdi (or Schiller) gave Eboli audacity, but also boundaries of faith, unanswered love for Carlos, disappointment by a humbling rejection, being embedded in an autoritarian system and presumably genuinely respecting Elisabeth are what Verdi tried to bring to life. Maybe that a person as successful as Garanca can only with difficulties understand the boundaries of circumstances, and requires a producer to take a bigger role. Maybe stagings that, like suggested by another clip of the Paris staging, allowing her to project cynicism will make a difference, lets hope she will excel again with the "older" roles like Klytemnästra or the Hexe of Hänsel und Gretel, or maybe the life she has given to Mozart and baroque roles will remain her best - the musicality she has sometimes helps but not always, and some careers in modern times show more promises than realizations.
You did notice she was singing in French, right? Even though that is the original libretto, I strongly prefer the later Italian version. Either way, it wouldn't be fair to hold the undramatic effects of the French language against any singer. For the rest, I think Garanca artfully overstepped the staging - and the audience felt it.
Современный театр вызывает у меня отвращение. Он унижает благородство, искажает красоту актера. Верди при взгляде на интерьеры и мизансцены модных спектаклей наложил бы на себя руки. Верните на сцену волшебство, чтобы такие, как Элина, могли в нем участвовать!
C'erano migliore di lei, ci sono peggiore di lei. In ogni caso si tratta di una cantante molto intelligente, che sa come utilizzare la voce, anche se il ripertorio non e totalmente adatto.
Senti piccolino. Io parlo sloveno, croato, italiano, francese, tedesco, inglese e abbastanza bene spagnolo, russo e ceco. Se non credi, vedi miei altri commenti. Quando tu potrai lo stesso, fammi sapere.
per me puoi parlare anche Sanscrito, the point stands, mon ami, porque si haces errores en una lengua, je pense que tu debria ser un poquito mas prudent in crtiticizing others. (I spared you from ancient Greek and Latin...that i do know...by the by).
If she sang the "schwa" vowel the sound would be weaker. It's a technical matter, and a vocal coach, rather than a vocal teacher, probably advised he to do this.
Music and phonetics are not always good friends and some vowels can't be sung in very high or very low notes or make it impossible to be heard over the orchestra.
Escenografías y vestuarios anacrónicos para libretos basados en hechos históricos y personajes reales, pobre Elina que no parece una noble del siglo XVI y tiene que hacer ver que lo es cantando porque nada más lo indica 😖😖😖
All wrong. No force, no intensity in her chest voice, the high tones don't project or have the required squillo. It's a beautiful voice, but Eboli requires a dramatic weight that she simply doesn't have. And the production- what the fuck? This is supposed to be the court of the King of Spain in the 16th century, not some yuppie apartment for a middle class woman.
I actually think that she pulled off the role a lot better than I'd thought she would. It seems that more lyrical voices fare better in the French version; while the Italian version definitely requires voices with more bite.
Absolument magistral. Il n’y a pas la moindre faiblesse ni dans sa voix ni dans l’interprétation artistique. Une bombe pour les spectateurs qui ont eu le bonheur d’y être.
I love her acting and singing equally. She throws her entire self into each role, and is just one of the best ever.
Wow! Amazing~
Très beau! Bravissima! Merci
I really like this interpretation and what a beautiful timbre.
Una de las mejores mezzosoprano de ahora y de cualquier tiempo.
Perfection 👑
Increíble y maravillosa Elina!
Amazing singing and acting
Grandiosa!!!!.....
Magnífica !
HUGE OVATION for ELINA. Her interpretation and singing was just outstanding.
I love this! Fantastic interpretation. Beautiful voice.
Splendide, sublime. Comme d’habitude
Amazing performence 💛💜💙🎵
Never heard her singing with such heavy chest voice. Didn’t know she had it in her! Fantastic stuff. More dramatically involved than I’ve ever seen her too. And it’s rare to get a genuinely beautiful Eboli!
Suggestion: look up her rendition of Jane Seymour in Anna Bolena here on YT, Vienna 2011. In their confrontation scene, Garanca squarely outshines Netrebko in the title role. Simply breathtaking.
Great moments of opera b
heavy chest voice? 😱
I still don't think it's enough, though it's better than it used to be. The heavy and slower vibrato worries me, though. Incidentally, what a hideous production.
Great moments of opera it’s actually not true, developed chest voice. It s a constricted collapsed sounds...exaggerated Val salva maneuver. I can’t believe she is a mezzo, with no chest voice!
ELINA LA MAGNIFICA
Together with Verrett, definitely among my top favourite renditions!
Beautiful presence and interpretation. What a charming Eboli ❤️ too bad her planned Munich and ROH performances had to be canceled due to current situation. Really wish to see her playing this role in near future again. 💗
Mais quelle merveille !
Brava, Elina! The audience certainly loves it!
I can't help but miss the barn burning pyrotechnics that heavier mezzos bring to this role, but I thought she managed it really well. Much better than I was expecting. I'm not hearing a wobble that others are mentioning and it doesn't 'feel' like she's out of her depth. I just read that she intends to do Amneris and Kundry(!) in the next couple of years. I feel like the latter will be good for her, considering she's coming from specializing in the sort of sensual french seductress roles
She also didn't break her leg.
@@n.g.h.calmarena7013 Not sure what that's in reference to
Comment fait elle pour avoir une tessiture aussi étendue sans détimbrer c'est juste magnifique tellement virtuose comme morceau et ça paraît si simple pour elle ❤
Beaucoup beaucoup de travail sans jamais céder à la facilité.
Beautiful voice but fortunately with subtitles (and I'm french).
I thought the role would be too heavy, but she sings it in a lyrical manner. Beautiful.
So wonderful to hear the French version sung so well. Can’t sing covered in French.
You definitely can sing covered in French
Straordinaria voce fantastica attrice direi unica e bellissima
This is quite good!! I saw her sing this in an outdoor concert and it was laboured and forced or contrived I’m not sure what was going on but this is so much better!!
She has a teacher who helps her. Duh.
El nivel actoral e interpretativo de Elina es muy grande. Qué decir de su maravillosa voz. Única.
La mejor Eboli 💯
👏🏼👏🏼👏🏼👏🏼Brava!!!
Is she really a mezzo? She goes soooo high! How is it that mezzo are singing high B, when that's supposedly the realm of sopranos? This is a general question.
mezzos can go up to high C too! it's just less accesible than a soprano's which means it's harder to pull it off and make it sound good. elina's top is a bit constricted though
Bravo Elina
👍🏽🌹
Dov'è la voce di petto?
Bellissima e potente voce in una romanza dove la Verrett rimane insuperabile ma questa volta la Garanca si avvicina a quei livelli anche grazie ad una interpretazione più approfondita.
Spot on. Garanca and Verrett are by quite some margin the strongest interpreters of this aria. Personally I concluded I cannot choose. Both majestic
A fine performance, but the acting is way over the top. Can someone who's seen this production tell me how the director justifies an auto-da-fe in a modern setting?
MANTO REAL
Vivendo os últimos anos de sua vida na solidão, no seu canto
Na bela propriedade Svnta-Agat, o compositor Giuseppe Verdi
Cantarolava: "Vou dormir para sempre sozinho em meu manto
Real", a ária do rei Filipe, da ópera Don Carlos. Pensar no verde
Da bandeira, o manto real dos brasileiros, em momento ligeiro,
Na solidão das matas virgens, hoje morrendo à derrubada, que
Antes a região amazônica possuía, lenda da raposa e galinheiro
Que está hoje, na pandemia, aos exploradores sendo entregue.
O manto real é a aura luminosa que construímos com o pensar
Nos momentos felizes em doarmos amor aos necessitados sem
Pensar em ser lembrados em nossa vida fluindo bem devagar.
Um novo manto está sendo construído no planeta que ascende
Uma oitava a mais em consciência planetária, compreendessem
Todos a necessidade de ser feliz para sempre na luz que acende. (*)
(*) FERNANDO PINHEIRO, presidente do Academia de Letras dos Funcionários do Banco do Brasil. - MANTO REAL (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Aaaaaaa !!! Ça c’est un aigu lol 😅😅😅😅😅😅😅💗
The best rendition of this splendid aria ever!!!
Robin Middleton listen Tatiana Troyanos
I beg to differ. Whilst I love TT, and I actually find her Carmen at the same level of EG’s, not so for this aria. Instead try Shirley Verrett. I think that SV and EG are up there, alone (in the recorded age)
How old are you boy? Elina is very good, but did you ever hear of Fiorenza Cosotto? Elena Obraztsova? Elena Cernei? Ebe Stignani? Dolora Zajick?????
And oh yes. Almost forgotten. BISERKA CVEJIĆ!
not old enough to having heard these ladies live; old enough to have listened to all of them (except Ebe Stignani) in recordings. Now, out of curiosity old man (as- sadly - few yearspast 40 ... i am a boy...i wish), were yo at Bastille hearing EG live? ...because...you see..i was there, twice. But yes i understand ..the good old days huh? always better...lol
For once Eboli really is a beauty that can turn the head of a king. And her singing is nearly as good.
-- Très grande voix. --
Tu sais quoi ca veut dire TRES GRAND???????? Ta femme a tres mauvaise chance!
pas en fait, elle n'est pas capable de chanter l'air sans l'effort d'une vrai mezzo dramatique.
On dirait un peu Nicole kidman comme ça
Soprano .
Vocalità gonfiata .
Canto moderno che può impressionare solo gli intenditori poco preparati nella materia.
Registro acuto e vocalità simili e quelli della Netrebko …
no comment.
PS
Alla fine aspetto la versione senza microfono 🎤…
il vecchio
Wow….quattro fesserie in due righe, non male …non male davvero
@@gm2709
Questa è la voce del soprano drammatico, e ancora .
Accanto ai mezzosoprani che facevano parte del passato glorioso
La Garanca sembra a uno soprano lirico pieno gonfiato.
Il medium e la voce di petto poco convincenti .
Se mi ricordo bene Eboli la interpretavano anche i contralti veri, da anni spariti dalla circolazione.
O tempora o mores …
il vecchio
I have been waiting for Garanca to sing Eboli since I first became aware of Garanca a couple ofyears ago. I thought her musical and extra-musical intelligence and her having the looks that are dealt with in Ebolis aria would give a
unique combination.
Similarly to her Carmen, what is available on the internet does not justify this expectation. Not only does she not really project the repetitive and varied "don fatale" and "maledico", she is quite far from understanding the changes in tempi as what they are likely intended to be, namely spontaneity and changes in immediate plans "un di mi resta").Verdi (or Schiller) gave Eboli audacity, but also boundaries of faith, unanswered love for Carlos, disappointment by a humbling rejection, being embedded in an autoritarian system and presumably genuinely respecting Elisabeth are what Verdi tried to bring to life. Maybe that a person as successful as Garanca can only with difficulties understand the boundaries of circumstances, and requires a producer to take a bigger role. Maybe stagings that, like suggested by another clip of the Paris staging, allowing her to project cynicism will make a difference, lets hope she will excel
again with the "older" roles like Klytemnästra or the Hexe of Hänsel und Gretel, or maybe the life she has given to Mozart and baroque roles will remain her best - the musicality she has sometimes helps but not always, and some careers in modern times show more promises than realizations.
You did notice she was singing in French, right? Even though that is the original libretto, I strongly prefer the later Italian version. Either way, it wouldn't be fair to hold the undramatic effects of the French language against any singer. For the rest, I think Garanca artfully overstepped the staging - and the audience felt it.
Современный театр вызывает у меня отвращение. Он унижает благородство, искажает красоту актера.
Верди при взгляде на интерьеры и мизансцены модных спектаклей наложил бы на себя руки.
Верните на сцену волшебство, чтобы такие, как Элина, могли в нем участвовать!
c'est un peu de la bouillie quand même . La prise de son semble très flatteuse aussi
Che schifezza questi allestimenti impersonali e privi di estro, tolgono atmosfera alla musica!
C'erano migliore di lei, ci sono peggiore di lei. In ogni caso si tratta di una cantante molto intelligente, che sa come utilizzare la voce, anche se il ripertorio non e totalmente adatto.
Critichi il francese di quello sopra...ma il tuo Italiano non va nemmeno tanto bene eh? :)
Senti piccolino. Io parlo sloveno, croato, italiano, francese, tedesco, inglese e abbastanza bene spagnolo, russo e ceco. Se non credi, vedi miei altri commenti. Quando tu potrai lo stesso, fammi sapere.
per me puoi parlare anche Sanscrito, the point stands, mon ami, porque si haces errores en una lengua, je pense que tu debria ser un poquito mas prudent in crtiticizing others. (I spared you from ancient Greek and Latin...that i do know...by the by).
Jé té maudis????? Why can’t she say Je te?
If she sang the "schwa" vowel the sound would be weaker. It's a technical matter, and a vocal coach, rather than a vocal teacher, probably advised he to do this.
Her french is awfull.
Music and phonetics are not always good friends and some vowels can't be sung in very high or very low notes or make it impossible to be heard over the orchestra.
Escenografías y vestuarios anacrónicos para libretos basados en hechos históricos y personajes reales, pobre Elina que no parece una noble del siglo XVI y tiene que hacer ver que lo es cantando porque nada más lo indica 😖😖😖
All wrong. No force, no intensity in her chest voice, the high tones don't project or have the required squillo. It's a beautiful voice, but Eboli requires a dramatic weight that she simply doesn't have.
And the production- what the fuck? This is supposed to be the court of the King of Spain in the 16th century, not some yuppie apartment for a middle class woman.
I actually think that she pulled off the role a lot better than I'd thought she would. It seems that more lyrical voices fare better in the French version; while the Italian version definitely requires voices with more bite.
What a wobble in the centre of her voice. This is not good singing. And she spreads the top. Too much metal.
I feel this has become some kind of new ideal in classical singing nowdays. It's really hard to find any singers with good technique nowadays.
The weakest chest voice ever and don fatale. This is modern opera and it's a joke Obraztsova demonstrates how its Done.
"The weakest chest voice ever..."??? Get serious. If you really think modern opera is a joke, then you must be a miserable SOB and it sucks to be you!
French version isn't so good as italian one...
Don Carlo In francese, terribile! Anche la regia, terribile!