It looks as if she were thinking "I'm just going to mark an octave lower, it's just a rehearsal at home anyway". She has an uncanny, and wonderful, control of her voice in her entire range, what a pleasure is to hear her incredible artistry.
She is THE Queen of the Night! No one compares! Still arias like we hear in this video where subtleties are most important, there are better singers such as Dame Joan Sutherland.
Absolutely thrilling. Many many thanks for posting this. What a joy to actually see the great Deutekom making her vocal magic versus listening to strictly just audio.
She's stunniing as always. Love her. I'm new to women's opera and am in heaven with their fabulous use of the human voice. Indescribably perfect Muchas gracias for uploading this.
I just love this interpretation. Sutherland was great in this role of course, but it's fantastic to hear this refreshing and stunning performance. She was one of the greats and not a diva by all accounts.
Hat man je eine brillantere Lucia gehört? Unmöglich!!!! Wo immer sie diese Rolle gesungen hatte, brachte sie ihr Publikum zur Raserei! Und siei hat diese Partie auf allen Kontinenten und allen grossen Häsern gesungen.
Hearing her “live” was a monumental thrill. Her voice was effortless, shimmering, and full. Saw her in Vespri, Lucia, and Macbeth. She was sensational.
@@ChezFeroce The technique is called coup de glotte. Please bear in mind, that during the 20th century many singers said that they use coup de glotte, but in fact they didn't. The name "coup de glotte" was introduced by Manuel Garcia, but the technique itself is much older. It was used (and taught) especially by castratos. Isabella Colbran, Rossini's first wife and the first Armida, was renowned for the use of this technique. She learned it from her teachers, who were castratos. Elvira de Hidalgo (Callas's teacher) prepared Deutekom for the role of Armida. When Hidalgo heard Deutekom for the first time, she said, that she won't change anything on Deutekom's already perfect technique. Hidalgo was clearly aware, that Deutekom used glottal technique highly valued up to the 19th century - technique which was used by Colbran, the first Armida. So please ignore those half-cooked "experts" calling Deutekom's technique terrible, out of style etc. This technique is not only historically correct, but it was the technique of the first generation of Bel Canto singers.
Deutekom was truly brilliant! She could sing coloratura the "standard" way, or with her Deutekom touch to it ^_^. Would have loved a chance to ask her "ok...HOW do u do that!?" :D Brava. RIP.
@@jmiller05 Her technique brought out a coo-coo clock tone between the head tones but I would hardly call that a massive failure. It made her distinctive and unusual. Besides it was all accurate literally note to note which is more than many.
Callas a dit un jour : si j'avais la voix de Deutekom, je serais la plus grande chanteuse du monde. Oui. Bien sûr. Callas était un génie musical phénoménal . Et Deutekom était un monstre vocal stratosphérique. Toutes les deux au service unique et absolu de la musique. Tant de bonheur et tant de joie ! RESPECT !
Nonsense, I do not believe that she said this. She had a three octave voice, why did she need a Deutekom voice? Not to mention that she was already the greatest singer in the world.
Callas avait un talent et un orgueil demesure.Je suis pas Callassiste ,mais pas anti-Callas ,non plus.J'ai un long parcours de connaissance ,qui me permet l'objectivite. Pour moi le probleme est base completement d'une autre facon. Si Maria savait attendre ,comme Cristina ,Birgit ,Joan....L' etendue vocale etait plus ou moins la meme.(Deutecom avait le Fa aigu ,et Hidalgo disait que le limite de Maria etait le Mi.) Pour Callas la technique de base etait bonne.Mais Maria chantait tout a 24ans,et Cristina a 35ans. Hidalgo lui envoyait de lettres ,pour la convaicre d'arreter les choses drammatiques.Mais ,on va toujours payer par rapport de ce qu'on a dans sa tete et son ame
When Deutekom called on Hidalgo to study Armida with her (as she was the first singer after Callas to endeavor this role), Hidalgo told Deutekom after hearing her sing: "You are welcome to use my piano and studio but I am not going to touch an already perfect technique."
There are a couple really odd posts under this video. One is about Deutekom’s need to sing coloratura slowly because of her vocal approach. Yet the writer of that comment mentions loving her since hearing her Queen of the Night, which is anything but slow. The more egregious one is a poster who drags Sutherland into the conversation to complain about her bad high notes. That’s one of the more bizarre comments I’ve seen on RUclips.
REINAVA NO SILÊNCIO Lucia di Lammermoor - Regnava nell silenzio, a linda cavatina De Donizetti, narra o cenário à noite em que aparece a lua alta E escura, com a presença de um homem, cumprindo a sina, Chega a uma fonte e a lembrança de um terno amor em falta. Na lembrança, uma sombra se aproxima dela, e ela comovida Vê os lábios dele, em silêncio, e pediu-lhe uma comunicação. Os planos distintos, físico e extrafísico, estavam numa só vida. Ela sente algo sublime e a sua dor está em fase de erradicação. Ela começa a chorar, sentindo que ao lado dele, o céu aberto, O céu, aqui revelado, é mais do que um lugar, é um horizonte. Um belo sonho realizado, o enigma de sua vida foi descoberto. Nos tempos da pandemia, esses amores mal consagrados vem Se juntar nos sonhos, pois é a presença da lembrança da fonte Onde se irradia a luz dos amores eternos que juntos convivem. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - REINAVA O SILÊNCIO (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
She was amazing but stood and pretty much just sang her hear out but never tried to act. She sang so easily wonder why acting escaped her ? One reviewer said it was like hearing glorious singing from a statue!
I bet Cristina Deutekom is what Maria Kalogeropoulos wishes she sounded like....*such* fluidity, facility and evenness of ea register (don't get me started on Maria in this are) For what she seems to lack in outward emotion or acting beauty is triplely compensated-for with the sheer beauty. skill, technique, and *inner* emotion she portrays with her peerless vocal instrument! If I had 10% of her talent, I could have made a decent regional career IN tHE oPERA... oh god: Cristina is a supple flute, a commanding wind, a nightengale, a sotta voce tour-de-force, from sotta voce to full open chest voice... I could go on... I am babbling, because there is so much to speak of her. Better yet, just close your eyes and *listen-to* and hear her!
I have adored Cristina ever since Flute. But the one thing I have noticed is that this remarkable voice has a problem finding coloratura roles that she can sing artistically ... due to the tempi constraint that she can sing them with her vocal approach. She seems to need to take things very slowly and with very strange tempi and ornamentation. Don't misunderstand me. It is a fantastic voice. But there are few coloratura roles she can sing to showcase this unusual instrument. Her dramatic roles are really wonderful ... but also few and far between. But no matter what, I adore the sound and the range.
@@MariadaPenhaRothschild why is this directed at me and not the commenter? He voiced an opinion and I gave a reason (the voice is not naturally agile). Calm down
@@mugrad25 Coloratura just means she was a high soprano. Spinto soprano is lower fach then dramatic coloratura. It has nothing to do with agility. Agility is learned. While her technique was overall really good, her fioraturas were not greatest.
@@mislavhilc yes and no. While coloraturas are expected to sing in a higher tessitura, agility really defines the coloratura. In fact, all voices can have coloratura. But there are very fine but big differences between a natural coloratura soprano and a spinto or lyric soprano who make sing coloratura roles. To me its the attack of the note. Regardless of where she is in her range, a good coloratura soprano will always hit the note precisely whereas the former will either scoop to reach the note or dodge it completely. The runs or the ornamentations are not always smooth either. just my opinion
@@mugrad25 No, you are just confusing the terms coloratura and fioritura. And spinto or dramatic sopranos shouldn't really sing coloratura stuff because they don't have the range for it. Southerland is a perfect example of how to do it wrong, she was a dramatic soprano trying to sing coloratura roles, and thats why her high notes were as bad as they were.
I love her voice. I was fortunate enough to see her in an Edmonton Opera production of Irving Guttman's - I think she stood in for another diva at the last minute - memory fades but I think it might have been Lucia . She brought the house down. Does anyone know the name for the technique she uses when doing rapid runs in the upper registers? I've noticed that Anna Netrebko uses the same technique. It's quite distinct from the technique used by other singers. For example it sounds to me as if every staccato note sung by Sutherland is sung on it's own breath, each note produced by the air expelled in rapid succession via the diaphragm. Netrebko and Deutekom sound as if they are sliding from one note to another on one breath (almost like a kazoo). It's not at all an unpleasant sound, just different (ALL of the notes are there). Or are my ears imagining things? Thanks for any advice/information you can provide. (It could simply be my imagination - hey, I'm getting old.)
singing like this, is not easy. Requires years of training and good guidance. Today, singers have to earn money ASAP. So techniques of today are aimed to hit the notes and not to fail. Volume, consistency, beauty and in general good singing is not necessary. And on top of that, conductors and directors don't have any idea what operatic singing is. I am afraid that what was called operatic singing is lost for now. A question : you never mention singers like Bastianini or Kraus. Any reason?
Luckily Stijntje did not train at all fir years...so no pedagogue managed to destroy her voice...instead she was regarded as the plump housewife who could not compete with the overrated singers of her day...now we know better of course
@@RositsaPetrovarjp7 I didn't know she did not train in years, but my comment was that this kind of singing requires training with somebody or by yourself. In other words, you have to know your voice well and how to use it at maximum, what some may call, technique. I am just in profound admiration of her singing.
Really love her singing, but, and this is just my opinion, I don't think her Baroque style coloratura can convey a variety of emotions. Other than that, she's really special!
I have been fascinated with her for a long time. I still don't know how she did that clucking coloratura, as if she were gargling with marbles. It's not pleasant to hear, but it's endlessly fascinating.
Cristina Deutekom - The best of the best!!!
Eine Jahrhundertsängerin, einzigartig ihre Koloraturen, bravo👏👏👏💐
And her higher range is stunning. Super brilliant and piercing. No wobble, but a free, spinning vibrato. She is very special.
Maravilhosa!!! Não conhecia tão magnífica soprano... Gratidão por compartilhar.
It looks as if she were thinking "I'm just going to mark an octave lower, it's just a rehearsal at home anyway". She has an uncanny, and wonderful, control of her voice in her entire range, what a pleasure is to hear her incredible artistry.
the best queen of the night ever
She is THE Queen of the Night! No one compares!
Still arias like we hear in this video where subtleties are most important, there are better singers such as Dame Joan Sutherland.
Yeah, but she’s singing Lucia.
@@thiemokucharczyk Sutherland was much worse than Deutekom. She had no chest voice, much worse high notes, and mushy incomprehensible diction.
Che meraviglia della natura , uno strumento divino
She was EXCEPTIONAL ❤🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥
Absolutely divine.
Fantastic singer. I admire her singing since i was a boy. Greetings from Brasil.
incredible coloratura her singing makes me emotional it is the pinnacle of perfect gorgeous singing
She makes high notes sound so easy! R.I.P.
Absolutely thrilling. Many many thanks for posting this. What a joy to actually see the great Deutekom making her vocal magic versus listening to strictly just audio.
eccezionale...il grave mai ingrossato e gli acuti senza temer nulla. Composta come nessuno
Fantastica! Meravigliosa!
Juste Ciel ! Quelle voix, quelle technique, quelle artiste, quelle phénoménale artiste ! R I P
She's stunniing as always. Love her. I'm new to women's opera and am in heaven with their fabulous use of the human voice. Indescribably perfect Muchas gracias for uploading this.
womens opera...is that a thing? never heard of it..
Not a women’s opera lol. Music written by a man, with libretto written by a man based on a novel written by a man.
@@brunoantony3218 hahaa:) made me laugh first thing in the morning. thanks for that!
@@RositsaPetrovarjp7 I believe they mean female operatic singers.
Glorious, absolutely spectacular ~ Brava!!
This is the very deffinition of greatness.
grandissima cristina!!!!!!
I just love this interpretation. Sutherland was great in this role of course, but it's fantastic to hear this refreshing and stunning performance. She was one of the greats and not a diva by all accounts.
I'm in love ❤
Me to
Her vocal registers are very even in strength.
Gorgeous work here. Big , flutey and effortless free in alt register.
Hat man je eine brillantere Lucia gehört? Unmöglich!!!! Wo immer sie diese Rolle gesungen hatte, brachte sie ihr Publikum zur Raserei! Und siei hat diese Partie auf allen Kontinenten und allen grossen Häsern gesungen.
I love how she bows to the orchestra
She is not bowing to the orchestra, the Concertgebouw has audience seats behind the orchestra, she is bowing to the attendees seated there.
Love her. Certainly a beautiful, musical singer....and a wildly interesting voice.
Una voz que merece ser inmortalizada. Espectacular la soprano un talento que no se debe olvidar. 👏👏👏👏
Her voice IS immortalized by her recordings, and she certainly is not forgotten.
Hearing her “live” was a monumental thrill. Her voice was effortless, shimmering, and full. Saw her in Vespri, Lucia, and Macbeth. She was sensational.
απίστευτη φωνή
Cristina Deutekom, la Reine des reines ! Elle sur scène, même le soleil s'obscurcit et tout s'arrête. C'est terrifiant de bonheur.
MERCI eelco67 !
Que maravilla y que notas más claras! Brava!!!
Really love her a lot!! Glad I am bumping into videos of her.
my floor shakes when she sings
I agree that her sound is vibrating my phone as I listen
The unmistakable Deutekom trademark at 2:42 😍
For those two short bits it sounds like she's scat singing.
Hahahahhahahahaha terryble coloratura and a great voice
Sooooooo weird and out of style. But I love her. Her Odabella was excellent.
how does she do that!?!?! What're her vocal folds actually doing -- ive tried to recreate it and cannot
@@ChezFeroce The technique is called coup de glotte. Please bear in mind, that during the 20th century many singers said that they use coup de glotte, but in fact they didn't. The name "coup de glotte" was introduced by Manuel Garcia, but the technique itself is much older. It was used (and taught) especially by castratos. Isabella Colbran, Rossini's first wife and the first Armida, was renowned for the use of this technique. She learned it from her teachers, who were castratos. Elvira de Hidalgo (Callas's teacher) prepared Deutekom for the role of Armida. When Hidalgo heard Deutekom for the first time, she said, that she won't change anything on Deutekom's already perfect technique. Hidalgo was clearly aware, that Deutekom used glottal technique highly valued up to the 19th century - technique which was used by Colbran, the first Armida. So please ignore those half-cooked "experts" calling Deutekom's technique terrible, out of style etc. This technique is not only historically correct, but it was the technique of the first generation of Bel Canto singers.
Бисерное,ювелирное пение!!!! Бриллиант!!!!!!! БРААААВООООО!!!!!!!!!💗💗💗💗💗
So true
Excepcional , humildemente grandeeee, brava!!!!!!!
So exquisite, thank you so much for uploading this.
Beautiful!
Tecnica eccezionale legata ad una voce splendida di soprano lirico spinto difficile egualiarla
Fenomenaal!
Che meraviglia ! grazie tantissimo per la pubblicazione
Spectacular!
Her thrill is out of this world
Although I'll never get used to the say she runs the coloratura scales
That was spectacular! She almost forgot to take a bow, but bowed to the orchestra twice in the end.
actually she bows to the public sitting on both sides on the stage.
Deutekom was truly brilliant! She could sing coloratura the "standard" way, or with her Deutekom touch to it ^_^. Would have loved a chance to ask her "ok...HOW do u do that!?" :D Brava. RIP.
Aan de Leie wrong.
Fantastic!
Brawississimo ! Wundere Damme !
Se echaba de menos tanta naturalidad. Brava
Eso se llama mounsteocidad vocal, con todo bello color, técnica , intensidad, extensión, Dios mío que voz!,,,,,
I love her ❤
I have recently 'discovered' her. Beyond amazing; what technique. Who can do this today??
There is no one else ~ she has no peers.
NO ONE UNFORTUNATELY!
Nobody
Sad to say but NOBODY!
These are once-in-a-century voices
I believe her top register is the easiest there ever was. She had unique ability to sing high notes without any effort at all.
She’d be the unquestionable mega star of today without equal.
But her coloratura technique was a massive fail, especially for a singer of her calibre.
@@jmiller05 Really
@@jmiller05 Her technique brought out a coo-coo clock tone between the head tones but I would hardly call that a massive failure. It made her distinctive and unusual. Besides it was all accurate literally note to note which is more than many.
@@jmiller05 nah, you just met the word "coloratura".
acuti di cristallo
Какая она здесь красивая!! А поёт феноменально!!!
Asombrosa belleza de canto!
A soprano assoluta! She could go from Lucia to Nabucco with ease. A near impossible feat.
bravissimmma!!!!!!!!
This is exceptional singing!
Her coloratura are so unique. I cannot decide between fascination and irritation.
What's coloratura actually?
Callas a dit un jour : si j'avais la voix de Deutekom, je serais la plus grande chanteuse du monde. Oui. Bien sûr. Callas était un génie musical phénoménal . Et Deutekom était un monstre vocal stratosphérique. Toutes les deux au service unique et absolu de la musique. Tant de bonheur et tant de joie ! RESPECT !
Nonsense, I do not believe that she said this. She had a three octave voice, why did she need a Deutekom voice? Not to mention that she was already the greatest singer in the world.
Callas avait un talent et un orgueil demesure.Je suis pas Callassiste ,mais pas anti-Callas ,non plus.J'ai un long parcours de connaissance ,qui me permet l'objectivite.
Pour moi le probleme est base completement d'une autre facon.
Si Maria savait attendre ,comme Cristina ,Birgit ,Joan....L' etendue vocale etait plus ou moins la meme.(Deutecom avait le Fa aigu ,et Hidalgo disait que le limite de Maria etait le Mi.)
Pour Callas la technique de base etait bonne.Mais Maria chantait tout a 24ans,et Cristina a 35ans.
Hidalgo lui envoyait de lettres ,pour la convaicre d'arreter les choses drammatiques.Mais ,on va toujours payer par rapport de ce qu'on a dans sa tete et son ame
When Deutekom called on Hidalgo to study Armida with her (as she was the first singer after Callas to endeavor this role), Hidalgo told Deutekom after hearing her sing: "You are welcome to use my piano and studio but I am not going to touch an already perfect technique."
@@3uHo4ka Callas was actually on record saying that if she had the voice of Deutekom, she'd be the only opera singer in the world
@@AussieClogWog1955 Oh, these fairy tales, oh, these storytellers. I do not believe that.
Unica
Adoro...Bravissima.Come si fa a paragonare alla Callas? Due donne diverse ed ognuna è magnifica.
Любуюсь этим голосом.
No tension
I love my Stinche!!!!!!
Que legatos, portamento, fíato, es una Diva de verdad.
ha, ces vocalises en "typing machine", j'adore....
There are a couple really odd posts under this video. One is about Deutekom’s need to sing coloratura slowly because of her vocal approach. Yet the writer of that comment mentions loving her since hearing her Queen of the Night, which is anything but slow.
The more egregious one is a poster who drags Sutherland into the conversation to complain about her bad high notes. That’s one of the more bizarre comments I’ve seen on RUclips.
REINAVA NO SILÊNCIO
Lucia di Lammermoor - Regnava nell silenzio, a linda cavatina
De Donizetti, narra o cenário à noite em que aparece a lua alta
E escura, com a presença de um homem, cumprindo a sina,
Chega a uma fonte e a lembrança de um terno amor em falta.
Na lembrança, uma sombra se aproxima dela, e ela comovida
Vê os lábios dele, em silêncio, e pediu-lhe uma comunicação.
Os planos distintos, físico e extrafísico, estavam numa só vida.
Ela sente algo sublime e a sua dor está em fase de erradicação.
Ela começa a chorar, sentindo que ao lado dele, o céu aberto,
O céu, aqui revelado, é mais do que um lugar, é um horizonte.
Um belo sonho realizado, o enigma de sua vida foi descoberto.
Nos tempos da pandemia, esses amores mal consagrados vem
Se juntar nos sonhos, pois é a presença da lembrança da fonte
Onde se irradia a luz dos amores eternos que juntos convivem. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - REINAVA O SILÊNCIO (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
È splendida meglio di molte atre cosiddette Lucie,
Si, la Pavarotti de las sopranas
they sang a LUCIA ensemble en 1976 dans l'arène de Verona. (cd available)
She was amazing but stood and pretty much just sang her hear out but never tried to act. She sang so easily wonder why acting escaped her ? One reviewer said it was like hearing glorious singing from a statue!
Wer kann das heutzutage SOO! singen?.....und diese HÖHE!(kraftvoll und doch so anstrengungslos!!)
I bet Cristina Deutekom is what Maria Kalogeropoulos wishes she sounded like....*such* fluidity, facility and evenness of ea register (don't get me started on Maria in this are) For what she seems to lack in outward emotion or acting beauty is triplely compensated-for with the sheer beauty. skill, technique, and *inner* emotion she portrays with her peerless vocal instrument! If I had 10% of her talent, I could have made a decent regional career IN tHE oPERA... oh god: Cristina is a supple flute, a commanding wind, a nightengale, a sotta voce tour-de-force, from sotta voce to full open chest voice... I could go on... I am babbling, because there is so much to speak of her. Better yet, just close your eyes and *listen-to* and hear her!
I have adored Cristina ever since Flute. But the one thing I have noticed is that this remarkable voice has a problem finding coloratura roles that she can sing artistically ... due to the tempi constraint that she can sing them with her vocal approach. She seems to need to take things very slowly and with very strange tempi and ornamentation. Don't misunderstand me. It is a fantastic voice. But there are few coloratura roles she can sing to showcase this unusual instrument. Her dramatic roles are really wonderful ... but also few and far between. But no matter what, I adore the sound and the range.
George Pendill read that she's really a spinto soprano with coloratura ability
@@MariadaPenhaRothschild why is this directed at me and not the commenter? He voiced an opinion and I gave a reason (the voice is not naturally agile). Calm down
@@mugrad25 Coloratura just means she was a high soprano. Spinto soprano is lower fach then dramatic coloratura. It has nothing to do with agility. Agility is learned. While her technique was overall really good, her fioraturas were not greatest.
@@mislavhilc yes and no. While coloraturas are expected to sing in a higher tessitura, agility really defines the coloratura. In fact, all voices can have coloratura. But there are very fine but big differences between a natural coloratura soprano and a spinto or lyric soprano who make sing coloratura roles. To me its the attack of the note. Regardless of where she is in her range, a good coloratura soprano will always hit the note precisely whereas the former will either scoop to reach the note or dodge it completely. The runs or the ornamentations are not always smooth either. just my opinion
@@mugrad25 No, you are just confusing the terms coloratura and fioritura. And spinto or dramatic sopranos shouldn't really sing coloratura stuff because they don't have the range for it. Southerland is a perfect example of how to do it wrong, she was a dramatic soprano trying to sing coloratura roles, and thats why her high notes were as bad as they were.
Zelfs met de mindere opname capaciteiten van die tijd klinkt het gewoon goed.
I love her voice. I was fortunate enough to see her in an Edmonton Opera production of Irving Guttman's - I think she stood in for another diva at the last minute - memory fades but I think it might have been Lucia . She brought the house down.
Does anyone know the name for the technique she uses when doing rapid runs in the upper registers? I've noticed that Anna Netrebko uses the same technique. It's quite distinct from the technique used by other singers. For example it sounds to me as if every staccato note sung by Sutherland is sung on it's own breath, each note produced by the air expelled in rapid succession via the diaphragm. Netrebko and Deutekom sound as if they are sliding from one note to another on one breath (almost like a kazoo). It's not at all an unpleasant sound, just different (ALL of the notes are there).
Or are my ears imagining things? Thanks for any advice/information you can provide. (It could simply be my imagination - hey, I'm getting old.)
Anna Netrebko could only dream of sounding like La Deutekom! Actually, I've never heard another singer with that facet to their voice ... truly unique
Ole Nielson
Her Abigaille in Nabucco was a thrill of a lifetime. From 3’ away, those trills were mesmerizing.
This HUGHE TRUCK drives these serpentines down the Hill like a Fiat 500 👍👍👍👍👍👍👍
Gloriosa tabadabadabada
singing like this, is not easy. Requires years of training and good guidance. Today, singers have to earn money ASAP. So techniques of today are aimed to hit the notes and not to fail. Volume, consistency, beauty and in general good singing is not necessary. And on top of that, conductors and directors don't have any idea what operatic singing is. I am afraid that what was called operatic singing is lost for now.
A question : you never mention singers like Bastianini or Kraus. Any reason?
I thought the opera was over, until I heard "Suicidio) of La Gioconda, by Saioa Hernández ruclips.net/video/dUjUlUbQaEI/видео.html
Luckily Stijntje did not train at all fir years...so no pedagogue managed to destroy her voice...instead she was regarded as the plump housewife who could not compete with the overrated singers of her day...now we know better of course
@@RositsaPetrovarjp7 I didn't know she did not train in years, but my comment was that this kind of singing requires training with somebody or by yourself. In other words, you have to know your voice well and how to use it at maximum, what some may call, technique.
I am just in profound admiration of her singing.
Fonte! not Fronte! Lol. Gorgeous as usual anyway.
5:48 a 6:00
Colpia la fronte, ahr ahr ahr. Sublime, comunque.
Really love her singing, but, and this is just my opinion, I don't think her Baroque style coloratura can convey a variety of emotions. Other than that, she's really special!
I have been fascinated with her for a long time. I still don't know how she did that clucking coloratura, as if she were gargling with marbles. It's not pleasant to hear, but it's endlessly fascinating.
Splendida voce ed emissione. Però il testo :-/
A brilliant performance. The voice is ravishing. But i don't care for the cluckatora. What is she DOING to actually accomplish this strange feat????
It sounds to me that she re-phonates the vowel quickly on each pitch rather than connecting with legato. Just my opinion...
@@glgree1 Yes. But even so it is connected. The legatoline is not connected, but her diaphragm supports every note. Unique and marvellous.
Un registre suraigu très brillant et facile .Mais des vocalises assez mécaniques et un manque d'expression.