I didn't hear him losing his voice. it is always great as it always used to be. this is just the critics' s---t that he lost his voice, or another tenor's enviness/false news. karajan did know whom to work with. heil araiza!
@musicboy403 During the era Bach wrote this tuning set A to 415 instead of 440 (which we use now). A lot of good recordings of this piece use period instruments which still use the A:415 tuning. This is being played in A:440 tuning so it sounds a half-step higher than recordings using A:415 tuning. Hope it helps!
--- > devastati, You are not really insinuating that Araiza cant sing coloratura or doesnt know what he does or why?? dont make me laugh!! Considering that this is a very dramatic aria and that von Karajan was committed to create pure emotion as a result of perfection, obviously they decided to feed this interpretation from the dramatic content (translate: Deposuit potentes de sede). That is the reason of this martellato in the runs. How would you do them without H`s? I am all ears!!!
L'Incoronazione di Poppea is on YT, starring the great Eric Tappy as Nero. You can see Araiza as one of Seneca's students, when they beg him not to die.
You know, we have here a great pianist called Alain Lefèvre (he played all over the world) and he also hosts a fantastic radio show on (French) Canadian national radio (CBC/Radio-Canada). He was telling a story about Karajan versus Leonard Bernstein, how the former, unlike the latter, was NOT liked at all by his musicians. Bernstein, on the other hand, was pretty beloved by both his musicians and students (like Araiza in a way, hehe!).
Alguien tiene esta versión completa??? La he buscado y no la encuentro :( Has someone this complete version??? I've been looking for it, but I didn't found it... Help! Pls!
When you don't sing baroque repertoire as you're singing a Verdi aria. That's when you don't use martellato. It's a manner of understanding what needs each music style. In this case, the runs are not sung martellato, but portato. there has to be a relation between the first and the last note of the run. And the ho ho ho doesn't let it sound as a whole. That way of "strenght-singing" is perfect for Wagner.
Are you talking about 415 pitch or 440 pitch? This is an F#minor in 440 tuning (a G minor in 415), Karajan (in what i've heard) didn't used instruments with A=415, because his interpretations didn't mean to be "historical" like Koopman or Herreweghe or Harnoncourt.
I guess it's a matter of taste to say whether this interpretation is slow or not. To me it is a bit slow, but as far as to the vocal interpretation, style and energy, it is magnificent.
Just watch and learn people! It is very amusing to read comments of people who think they know better than either Araiza or Karajan, just watch and learn.
I completely agree, inthe part is said 'Appasionato , ma no troppo allegro".... full of passion, but not too alegro.... in this rendition it´s almost andante! well a great rendition by great artists, in a different concept of performance. Really, Karl Bhön coud do this in other way...more properly Bach style
Do you know why they had a falling out? I'm curious about this because I know he was one of his protégés but Karajan biographies talk all the time about the others - Domingo, Anna Tomowa-Sintow, Agnes Baltsa, etc, etc.
Think I heard that interview as well, was referring more to some long-winded tenor analysis of his. I was told he's a freak more than anything...it just reeked of ill-will.
Realize what some put in here. Do you think Karajan would allow to a unsuitabble tenor. Hey men you are very bad critics, lousy minds, Maestro Karajan who is one of the most perfectionist conductors directed Araiza to these beautiful piece. Those who try to realize what Bach did want, are krazy, did he tell you what to sing and how. I doub it. Precise like to try to understand a genious. Truly you make me laugh. ARAIZA ONE OF THE BEST
@dgviktorplease look at what is written in the score (in case you are able to read it). The part you refer to is indicated as „marcato" and Araiza is using the "martellato" coloratura technique to achieve the required expression. If you don't know what "martellato" is, you can attend a music school to learn it and next time you write a comment please inform yourself properly before and avoid writing such nonsense. You can be sure Karajan knew better than you what they were doing.
+Cullen Gandy Oh, please don't impale yourself! It would be a tragic loss, and over such a trivial thing! I learned the Bach Magnificat as a youngster on one of my Dad's old 10" records (Great Masters Series or something like that) and the first time I heard a different version was on the radio, probably twenty-five years later. Today, I have listened to three different versions. I would say that all five versions I recall hearing were fairly similar in tempo to this one, sung by Francisco Araiza. For the life of me, I can't imagine how you were so disappointed with this version and I wonder - too slow? too fast? I'd love it if you'd tell me. Usually when someone has "issues" with a different version of a piece of Classical music, it is because they have gotten used to a particular version which becomes, for them, the one by which all others must be compared. If it's too different from the one you know and love, it can sound "wrong". I'm just guessing that that is the case here, as all the versions I know are similar in tempo to this one. I see that your post was written three months ago, and I trust that you overcame your irritation and did not deny your beautiful wife of the comforts of your presence - or if you tried, I hope it was only a flesh wound. Anyone who loves music like this deserves a long life, and is a person that I consider a friend and fellow music lover. Have a merry Christmas!
+Christopher Bryce when it's too slow it stagnates the phrase and you have to rearticulate each note this way to give it the illusion of motion. Usually you want to aspirate every three or four notes in groups when singing fioratura.
Cullen Gandy, thank you for taking the time to reply to my (mostly) humorous post. Reading your brief reply, it is obvious that you know more about these things than I, and suspect you are in some way a professional in the music industry. I'm listening again to Araiza and trying to understand what you said, as well as listening to several more "deposuits". I'm thinking that perhaps the version by Persi Vignola might be more satisfactory, and more in line with what you said. If you could recommend your favorite, or most perfect version, I would listen to that with interest. That might help me to advance my listening skills, which I am always eager to do. Many thanks. Regards, Christopher
i certainly doubt that bach did write himself "appassionato, ma non troppo allegro" composer in baroque usually didnt write the tempo and less in such romantic terms, may be simply allegro, or adagio and so on, they did not write neighter the variations for a A B A piece, or the musical dynamics such crescendo diminuendo etc, may be just a "P" or "F" those kind of descripitives tempos and dynamics we find now because of editor now day, you must have looked on the schrimers edition
Completely false that "appassionato, ma non troppo allegro". Bach didn't wrote any tempo indications for this aria. The "appassionato, ma non troppo allegro" is an Edition Peters' "help" to the singer or the conductor. But how in the world Johann Sebastian Bach was going to write "appassionato, ma non troppo allegro"!!! That's XIX century speaking. And Bach died in 1750.
When Bernstein died, the family did something really nice: he had a collection of Rolexes and they gave a Rolex to some of the closest musicians/students...Really nice gesture and the way the guy is remembered and liked, it is NOT the case with Karajan at all.
Are you angry? Oh i'm sorry. Please don't allow me to hurt you because our aestethics and thoughts are different. Or are you gonna say that Karajan was a Bach specialist?
That is the most moronic, ill-informed, self-important, comment I have ever read about one of the greatest bel canto tenor voices alive. Please keep to yourself the negative comments about singers and artists who know and share infinitely more than you.
sagarzon ....the answer to your "then?" is already in your comment (however you seem not even to notice it) spare me such boring questions please! Being "intelligent" and being "informed" are two different matters. Your comments reflect you belong to the "informed" ones....do you get the clue? .. . I reccommend you to reflect for another hallf a year on your comment and if still necessary, then come back but with a better question..
In any case, Karajan seemed too grand and wealthy to mingle with his musicians, preferring to mingle with rich society people...I have read a bio of his by this guy from L'Académie Française and it was basically a drool-fest - you get the impression the author wants to get into Madame Karajan's pants. But...the author made a point: he mentioned how Karajan became a Fuhrer of sorts for classical music, his obsession to be the First in everything...Not sure he's someone I would have liked to know.
I don't think Bach uses such a thing as "marcato" or "martellato". Do you? Insulting without complete information....Karajan sure knew what he was doing, but it doesn't mean he's not following a score edited by someone who, somehow, has put indications according to his aestitics, and NOT Bach's, on the score. (Let's remember Bach barely wrote tempo indications, and in the case of Deposuit, Bach writes: "Tenore solo e violini in unisono"). No marcato, not anything. Are you absolute right, then?
OK. That doesn't answer my question, but it's Ok. Different ways of seeing music, which are defended passionately. I deeply expected to learn something from the romantic interpretations, but i've only found anger and nonsense, the typical reaction when an idol is "hurt". Karajan can't be hurt, he's what he was, no matter what do I (ir we) say about it. And I'm no musician. And I never said I was. I just disagreed with something, that's what debate is for, isn't it?
Truly you make me laugh if you don't understand what documents from the time of Bach can help to know how this kind of works were sung. Or you're just lazy, prefer not to investigate, and choose the easiest: to sing in the Romantic Opera style, something that was written 100 years before it. Sounds easy and fun!
g4thz ... Please take notice that Bach style is not belcanto and easy singing oes not apply for this dramatic aria. This rendition honors in the most perfect manner the text (translate: Deposuit potentes de sede). That is also the reason of this martellato in the runs (H's). Too bad von Karajan is not alive anymore; perhaps he could learn from you how to do it better! jejeje
--> sagarzon, Here you write something which is well known just wasting space and again you keep on missing the point. A conductor with a strong personality like Karajan reflects here how he perceives the music. It is well known Karajans emphasis on sound and perfection. If you prefer to hear how Bach might have sounded in his time you should be listening to somebody like Harnocourt but not Karajan.
--> sagarzon, it seems you have troubles not only in writing but also in reading English. You didnt get the point. Your comment reads like a pre-recorded message from somebody trying to attract attention insinuating he knows something better than Karajan and Araiza. Please dont be ridiculous!
great artist let shit slide from other performers all the time. just because keen audience members call them on their shit doesnt mean we dont also think the world of them. the only problem i have with this one is all the H's so this particular job there's little to learn from. NO H'S more legato please
This Bach is very dramatic and it needs a strong voice,Araiza is perfect for that.What Araiza did wrong was to sing Wagner!! That is why he lost his voice.
Sin duda Araiza fue un grande y seguramente por ser un grande puede cantar lo que se le antoje y a su manera, pero para los puristas del estilo Barroco, en especial el de Bach, esto esta totalmente fuera de estilo, la fluidez de la coloratura esta totalmente dedibujada por la correcta afinacion y colocacion de las notas,a consecuencia de esto el aria deja de tener agilidad y frescura. no me considero un purista pero definitivamente creo que este repertorio no es para semejante tenor.
and of course you make me laugh too, sure you think you know better than Karajan how to play this work. And maybe he is lazy too, and of course Araiza is lazy because he did not consult documents from that time to sing Bach right? and nice.
I was at that concert and remember it well... probably one of the 10 most memorable music experiences in my life.
How lucky for you! Was it Karajan's last public performance at the harpsichord?
Fabulous voice for this dramatic aria!
I love this tempo. Some people take it much faster and this feels much smoother.
So do I !
I agree, actually (:
tengo este dvd y no me canso de ver a este maravilloso cantante en este despliegue de agilidades y fuerza .Bravissimo Araiza, inigualable, por siempre
Amazing tenor, amazing piece!!
Grande maestro Araiza...!
Magnífico.
Sublime
I didn't hear him losing his voice. it is always great as it always used to be. this is just the critics' s---t that he lost his voice, or another tenor's enviness/false news. karajan did know whom to work with. heil araiza!
Indiscutible Maestro del Canto.
Bravissimo Tenore!!!
Such excellent technique and dramatic impact!
I simply dont understand such infinite criticism... it sounds marvelous to me, orchestra, tempo, excelent singer...
The best interpretation! Bravo Maestro Araiza!
L'engagement d'Araiza est total. Il est musique ! Absolument fascinant.
One of the best versions on here!
bravo araiza!!!!, his voice suites perfecto for this music, mozart, bach, donizetti, bellini, suites his voice!
GREAT! Ingenious!
Whish Karajan were still around to teach all those "verdamte Taktgeber" a lesson.
And Araiza at his best! Super!
Se nota la diferencia abismal entre estas y las de ahora , que sincronización que se tenía en ese tiempo. Ya nunca va a ser lo mismo
Why disappeared from youtube the complete version? This version of Bach by Karajan is so magnificent and intense
I sound the same ❤ Christopher Adam araiza thank you for everything
Maestría y excelencia total
that's tha best version of the tube… selon moi
The whole point of arias was for each singer to perform them in their own style
But I Love Karajan and Araiza!
great sounds!
Hasta ahora me vengo a enterar que es Mexicano. Wow que potente voz tiene.
@musicboy403 During the era Bach wrote this tuning set A to 415 instead of 440 (which we use now). A lot of good recordings of this piece use period instruments which still use the A:415 tuning. This is being played in A:440 tuning so it sounds a half-step higher than recordings using A:415 tuning. Hope it helps!
OMG - Bernstein at the keyboard! A true embarrassment of riches in this exceptional performance.
uncd2000 actually thats H.Von Karajan !
Grandios!
Oh my god , Maestro Karajan cunducts and plays without any musics sheet, how can it be, how great was his self confidentialness!!!
Ave cor meu.
I enjoy those little exchanges btw! ;)
VERY GOOD!
gracias, manuelnc! tell him, we love him and trust him!
Excel·lent!
Is the same Karl Richter tempo, sublime.
depó-ho-ho-ho-ho-ho-ho-ho-ho-ho-ho-suit.
Great!
Más fragmentos de este concierto?
I would say it is! I don`t know a better interpretation!
--- > devastati, You are not really insinuating that Araiza cant sing coloratura or doesnt know what he does or why?? dont make me laugh!! Considering that this is a very dramatic aria and that von Karajan was committed to create pure emotion as a result of perfection, obviously they decided to feed this interpretation from the dramatic content (translate: Deposuit potentes de sede). That is the reason of this martellato in the runs. How would you do them without H`s? I am all ears!!!
L'Incoronazione di Poppea is on YT, starring the great Eric Tappy as Nero. You can see Araiza as one of Seneca's students, when they beg him not to die.
You know, we have here a great pianist called Alain Lefèvre (he played all over the world) and he also hosts a fantastic radio show on (French) Canadian national radio (CBC/Radio-Canada). He was telling a story about Karajan versus Leonard Bernstein, how the former, unlike the latter, was NOT liked at all by his musicians. Bernstein, on the other hand, was pretty beloved by both his musicians and students (like Araiza in a way, hehe!).
Alguien tiene esta versión completa??? La he buscado y no la encuentro :(
Has someone this complete version??? I've been looking for it, but I didn't found it... Help! Pls!
great concertmaster
Araiza y Von Karajan!!!!!!
good!! I want sing.
Francisco araisa
When you don't sing baroque repertoire as you're singing a Verdi aria. That's when you don't use martellato. It's a manner of understanding what needs each music style. In this case, the runs are not sung martellato, but portato. there has to be a relation between the first and the last note of the run. And the ho ho ho doesn't let it sound as a whole. That way of "strenght-singing" is perfect for Wagner.
Are you talking about 415 pitch or 440 pitch?
This is an F#minor in 440 tuning (a G minor in 415), Karajan (in what i've heard) didn't used instruments with A=415, because his interpretations didn't mean to be "historical" like Koopman or Herreweghe or Harnoncourt.
I guess it's a matter of taste to say whether this interpretation is slow or not. To me it is a bit slow, but as far as to the vocal interpretation, style and energy, it is magnificent.
Just watch and learn people! It is very amusing to read comments of people who think they know better than either Araiza or Karajan, just watch and learn.
Who are the conductor, orchestra, singers, etc., please?
So you're right.
Karajan!
even kaufmann could learn a couple of things of him
HEAVY handed!! like a "panzer unit" advancing....slowly!
Wow, I actually have that CD box...That's pretty bad though. And I already had pretty mixed thoughts about Karajan, now this...
wonderful voice and great performance but strange to aspirate all the runs...
I completely agree, inthe part is said 'Appasionato , ma no troppo allegro"....
full of passion, but not too alegro....
in this rendition it´s almost andante!
well
a great rendition by great artists, in a different concept of performance.
Really, Karl Bhön coud do this in other way...more properly Bach style
depo-HO-HO-HO-HO-HO Santa is coming! :D
Do you know why they had a falling out? I'm curious about this because I know he was one of his protégés but Karajan biographies talk all the time about the others - Domingo, Anna Tomowa-Sintow, Agnes Baltsa, etc, etc.
Think I heard that interview as well, was referring more to some long-winded tenor analysis of his. I was told he's a freak more than anything...it just reeked of ill-will.
what's up with the bottom lip thing?
jairo baronet despues de krauss la mejor version de la danza linda voz
A little lack of style...Araiza is great. But Is this really the way this Bach work has to be sung?
!soberbia interpretacion de araiza que es digna de aplausos!😊
Are there wrong notes on the second set of "Deposuit"s? I'll have to go home and check my score. Maybe I've been singing wrong notes all these years.
probably for the low notes ?
obiamente sos argentino,cantante?
Realize what some put in here. Do you think Karajan would allow to a unsuitabble tenor. Hey men you are very bad critics, lousy minds, Maestro Karajan who is one of the most perfectionist conductors directed Araiza to these beautiful piece. Those who try to realize what Bach did want, are krazy, did he tell you what to sing and how. I doub it. Precise like to try to understand a genious. Truly you make me laugh. ARAIZA ONE OF THE BEST
@dgviktor
Thats how it is done when singing BACH (it is not Mozart, or Belini)
I'm amazed Karajan was casual about it and not acknowledging the whole gaffe- or maybe I shouldn't... :/
karajan begreep het wel
@dgviktorplease look at what is written in the score (in case you are able to read it). The part you refer to is indicated as „marcato" and Araiza is using the "martellato" coloratura technique to achieve the required expression. If you don't know what "martellato" is, you can attend a music school to learn it and next time you write a comment please inform yourself properly before and avoid writing such nonsense. You can be sure Karajan knew better than you what they were doing.
sorry i meant long live araiza!
This tempo makes me want to impale myself.
+Cullen Gandy
Oh, please don't impale yourself! It would be a tragic loss, and over such a trivial thing! I learned the Bach Magnificat as a youngster on one of my Dad's old 10" records (Great Masters Series or something like that) and the first time I heard a different version was on the radio, probably twenty-five years later. Today, I have listened to three different versions. I would say that all five versions I recall hearing were fairly similar in tempo to this one, sung by Francisco Araiza. For the life of me, I can't imagine how you were so disappointed with this version and I wonder - too slow? too fast? I'd love it if you'd tell me.
Usually when someone has "issues" with a different version of a piece of Classical music, it is because they have gotten used to a particular version which becomes, for them, the one by which all others must be compared. If it's too different from the one you know and love, it can sound "wrong". I'm just guessing that that is the case here, as all the versions I know are similar in tempo to this one. I see that your post was written three months ago, and I trust that you overcame your irritation and did not deny your beautiful wife of the comforts of your presence - or if you tried, I hope it was only a flesh wound. Anyone who loves music like this deserves a long life, and is a person that I consider a friend and fellow music lover. Have a merry Christmas!
+Christopher Bryce it's really slow. It's so slow that he can actually rearticulate each note with an aspirate consonant. Ho Ho Ho Ho ha ha ha ha
+Christopher Bryce when it's too slow it stagnates the phrase and you have to rearticulate each note this way to give it the illusion of motion. Usually you want to aspirate every three or four notes in groups when singing fioratura.
Cullen Gandy, thank you for taking the time to reply to my (mostly) humorous post. Reading your brief reply, it is obvious that you know more about these things than I, and suspect you are in some way a professional in the music industry. I'm listening again to Araiza and trying to understand what you said, as well as listening to several more "deposuits". I'm thinking that perhaps the version by Persi Vignola might be more satisfactory, and more in line with what you said. If you could recommend your favorite, or most perfect version, I would listen to that with interest. That might help me to advance my listening skills, which I am always eager to do. Many thanks.
Regards,
Christopher
Agree!
i certainly doubt that bach did write himself "appassionato, ma non troppo allegro" composer in baroque usually didnt write the tempo and less in such romantic terms, may be simply allegro, or adagio and so on, they did not write neighter the variations for a A B A piece, or the musical dynamics such crescendo diminuendo etc, may be just a "P" or "F" those kind of descripitives tempos and dynamics we find now because of editor now day, you must have looked on the schrimers edition
Completely false that "appassionato, ma non troppo allegro". Bach didn't wrote any tempo indications for this aria. The "appassionato, ma non troppo allegro" is an Edition Peters' "help" to the singer or the conductor. But how in the world Johann Sebastian Bach was going to write "appassionato, ma non troppo allegro"!!! That's XIX century speaking. And Bach died in 1750.
When Bernstein died, the family did something really nice: he had a collection of Rolexes and they gave a Rolex to some of the closest musicians/students...Really nice gesture and the way the guy is remembered and liked, it is NOT the case with Karajan at all.
Agreed, a bit slow for my taste.
Are you angry?
Oh i'm sorry. Please don't allow me to hurt you because our aestethics and thoughts are different. Or are you gonna say that Karajan was a Bach specialist?
I do agree. It's too slow.
That is the most moronic, ill-informed, self-important, comment I have ever read about one of the greatest bel canto tenor voices alive. Please keep to yourself the negative comments about singers and artists who know and share infinitely more than you.
sagarzon ....the answer to your "then?" is already in your comment (however you seem not even to notice it) spare me such boring questions please! Being "intelligent" and being "informed" are two different matters. Your comments reflect you belong to the "informed" ones....do you get the clue? .. . I reccommend you to reflect for another hallf a year on your comment and if still necessary, then come back but with a better question..
In any case, Karajan seemed too grand and wealthy to mingle with his musicians, preferring to mingle with rich society people...I have read a bio of his by this guy from L'Académie Française and it was basically a drool-fest - you get the impression the author wants to get into Madame Karajan's pants. But...the author made a point: he mentioned how Karajan became a Fuhrer of sorts for classical music, his obsession to be the First in everything...Not sure he's someone I would have liked to know.
I don't think Bach uses such a thing as "marcato" or "martellato". Do you? Insulting without complete information....Karajan sure knew what he was doing, but it doesn't mean he's not following a score edited by someone who, somehow, has put indications according to his aestitics, and NOT Bach's, on the score. (Let's remember Bach barely wrote tempo indications, and in the case of Deposuit, Bach writes: "Tenore solo e violini in unisono").
No marcato, not anything. Are you absolute right, then?
OK. That doesn't answer my question, but it's Ok.
Different ways of seeing music, which are defended passionately. I deeply expected to learn something from the romantic interpretations, but i've only found anger and nonsense, the typical reaction when an idol is "hurt". Karajan can't be hurt, he's what he was, no matter what do I (ir we) say about it. And I'm no musician. And I never said I was. I just disagreed with something, that's what debate is for, isn't it?
LoL
Truly you make me laugh if you don't understand what documents from the time of Bach can help to know how this kind of works were sung. Or you're just lazy, prefer not to investigate, and choose the easiest: to sing in the Romantic Opera style, something that was written 100 years before it. Sounds easy and fun!
really like the voice....but to me it seems like this drags a lil and the runs are too choppy...this piece should be faster IMHO
g4thz ... Please take notice that Bach style is not belcanto and easy singing oes not apply for this dramatic aria. This rendition honors in the most perfect manner the text (translate: Deposuit potentes de sede). That is also the reason of this martellato in the runs (H's). Too bad von Karajan is not alive anymore; perhaps he could learn from you how to do it better! jejeje
--> sagarzon, Here you write something which is well known just wasting space and again you keep on missing the point. A conductor with a strong personality like Karajan reflects here how he perceives the music. It is well known Karajans emphasis on sound and perfection. If you prefer to hear how Bach might have sounded in his time you should be listening to somebody like Harnocourt but not Karajan.
It could go a little faster
--> sagarzon, it seems you have troubles not only in writing but also in reading English. You didnt get the point. Your comment reads like a pre-recorded message from somebody trying to attract attention insinuating he knows something better than Karajan and Araiza. Please dont be ridiculous!
Chambrer version :)
m.ruclips.net/video/juX-1P_K8us/видео.html
great artist let shit slide from other performers all the time. just because keen audience members call them on their shit doesnt mean we dont also think the world of them. the only problem i have with this one is all the H's so this particular job there's little to learn from. NO H'S
more legato please
---> sagarzon I dont want to repeat again about these silly ho-ho-ho comments. Please read one of the comments I have posted.
This Bach is very dramatic and it needs a strong voice,Araiza is perfect for that.What Araiza did wrong was to sing Wagner!! That is why he lost his voice.
Sin duda Araiza fue un grande y seguramente por ser un grande puede cantar lo que se le antoje y a su manera, pero para los puristas del estilo Barroco, en especial el de Bach, esto esta totalmente fuera de estilo, la fluidez de la coloratura esta totalmente dedibujada por la correcta afinacion y colocacion de las notas,a consecuencia de esto el aria deja de tener agilidad y frescura.
no me considero un purista pero definitivamente creo que este repertorio no es para semejante tenor.
and of course you make me laugh too, sure you think you know better than Karajan how to play this work. And maybe he is lazy too, and of course Araiza is lazy because he did not consult documents from that time to sing Bach right? and nice.
Where's the fire!? Too slow. Also, not a huge fan of the articulation with the melismas. Regardless, Araiza and Karajan are both ballers.