Transcript for those who don't understand Russian: 3:59 Obraztsova: Not bad. The only thing is that the higher - the wider in terms of resonance. You sing narrowly. Pupil: Little space. Obraztsova: Little space. Little space. And further from yourself. And now let's try "da da ri da da ra..." Pupil: After the second one? Obraztsova: Well, however you want. 4:57 Obraztsova: Not "mio" but "meau". I've sung "meau" all my life. 5:11 Obraztsova: With your chest. 5:25 Obraztsova: Lower it. Straightaway. Right there straightaway, like into a well. 5:40 Pupil: I've never had enough strength... Obraztsova: Because you keep it here (points to her mouth). But you should lower it and continue lowering. Like into a well. 6:21 Obraztsova: There was a woman named Taisia Syirovatko. A brilliant singer in the Kirov theatre who was also a pupil of my tutor. She was much older than me and already sung in "Ruslan and Ludmila", you know, all those male roles. And I asked her: "Taisia, how do you sing like that?". And she said: "Lena, imagine that here you have a boot and you have to press it down like that". I tried and I managed to do it. And all of this also managed. Like a boot. I remember it clearly. How she explained. Pupil: Made it clear. Obraztsova: Made it clear, right. In the very beginning there was some inaccuracy. The very beginning. Have you got tired? Pupil: No. 7:18 Obraztsova: Lower it. 7:43 Obraztsova: No, no, no. You should take a breath before "il tetto". 7:57 Obraztsova: Now it will be the way Verdi wrote it and not the way your tutor did. 9:05 Obraztsova: Wider. 9:30 Obraztsova: One more thing. The three notes... Pupil: Stronger emphasis. Obraztsova: These together. Got it? Pupil: To connect them. Obraztsova: Got it? Pupil: Yeah. 9:50 Obraztsova: Did you get it or no? Is this my pencil? I don't know. It's better to take than to leave. 10:25 Pupil: Should I continue? Obraztsova: Well, what else is there to do? 10:38 Obraztsova: No. Too close to your face. 11:05 Obraztsova: Say it, say it! 11:29 Obraztsova: Go, go! 11:40 Obraztsova: Let's go! 11:57 Obraztsova: Say it. 12:27 Pupil: Thank you, I got it now. Obraztsova: For you to remember. 12:31 Obraztsova: So, why I was swinging my arm here... We take higher notes inertially, inertially. If there is such a possibility of acceleration, we go up inertially. That way it will be easy. Pupil: To fly. Obraztsova: Huh? Pupil: To fly. Obraztsova: No, that's what I always say. When runners run with these... fences. You can't stop in front of a fence because then you wouldn't be able to raise your leg. Inertially. He is hopping like I don't know what. And doesn't understand how he's doing it because he's doing it inertially. But if he stops then that's it! Pupil: He is not running anymore. Obraztsova: Here we have the same thing. Got it? Pupil: Yes. Obraztsova: Alright, cojob 13:15 Pupil: I also have "(something in Italian)". Obraztsova: Okay. "Accerba volutta"? Pupil: Yes. Obraztsova: Familiar motif. And also "AccerBA Volutta" straightaway! Pupil: And still. I'm always stopped. I learnt by your recording: "(something in Italian)". Obraztsova: Nothing bad. Pupil: They all stop me. Say that, after all, it should be (shows something on the sheet). And every time I don't know how and where to sing. Obraztsova: What? Pupil: Not how it's written but "(sings something in Italian)". And every time I don't know how to sing. Obraztsova: Don't get it... Pupil: When you did that recording you sang: "(sings in Italian)" Obraztsova: Yeah... Pupil: And now all concertmasters pester me... Like it's written... "(sings in Italian)". Everytime I don't know how to sing. Like it's written... Because in the recordings... Obraztsova: While you're singing "che" you won't slip to an "F". It's better to sing "F" flat rather than to squirm on these "A"s and not take an "F" flat. 16:05 Pupil: Not enough, right? Obraztsova: Not enough. Not enough space. Pupil: Can I sing one more time? Obraztsova: We're changing "the power of sound" to "the space of sound", so when we smile we don't have to squirm. Pupil: The space will increase. Obraztsova: You'll have that. It will either be the way you're doing it now: "(makes an imitative sound)" or you'll just smile and there you'll have a wonderful "E". 16:48 Obraztsova: (sarcastically) If only you pushed your lower jaw away that would have been ingenious. 17:25 Obraztsova: Wait. It should be happiness! Finally, he has come! You're singing "(makes an imitation)" as if he were ugly, old and limping. 18:50 Obraztsova: Straightaway! Pupil: I'm done. Obraztsova: Got weary. Pupil: Sleepless night. Obraztsova: Come on... 19:45 Obraztsova: Okay. Go home. Pupil: Now I won't leave here. Obraztsova: Good job, good job.
WHAT A GREAT DOCUMENT ...a true great artist...true full voice...(not these "mosquitos" faking "opera" nowadays as the great Renata Tebaldi said ) ....showing the talented ..rich voiced student how it is done...none of the teaching and resulting singing these past several decades ..with THIN ...wobbly...weak voices...or without weight and core..and FULL tone!! wow!!!
The student is a soprano, but she still sounds better than most modern "mezzos". This is too low for her, but at least there is some level of natural chest voice and the beginnings of some depth
@@Dennissssimo plenty of people sing music from the wrong rep. I can sing a lot of bass rep. It doesn't make me a bass because I don't sound like a bass.
Oh dear! One can't decide to be something just because one sings the repertoire. Marilyn Horne is a case in point since she just wasn't a contralto. Listen in this video how Mme Obraztsova has more power and penetration in her voice in comparison with the pupil. There are many many singers who can't sing opera because they just don't have the physical capability for the required heft.@@Dennissssimo
Ms. Obraztsova is a fantastic talent who made big mark on the world of opera. Et the same time she confuses many young singers with her wrong explanation and comments on singing.
The student’s voice sounds like a soprano Spinto not a mezzo. She sounds like she is imitating Elena but this student also NOT nearly has the low vocal presence that a real mezzo should have in the voice.
Sanja Lukic , Obraztcova has speaking voice of an old women and girl has voice of young woman. Also Elena speaks in microphone, how can you compare? I don't see soprano here. Beyond of all many people suppose that Elena was not natural mezzo but soprano
This has nothing to do with age! It has to do with nature. The student DOES NOT HAVE ANY PRESENCE IN HER LOWER REGISTER. I could agree that sometimes Obraztcova could sound more like a Spinto soprano than a real mezzo. One thing I am sure of, is that the student is not a mezzo soprano! The voice is too light and way too bright to be a mezzo!
The big difference is that the vocal cords of Obraztsova are so healthy and healthy trained over the years that the poor singer can not ever get this sound if she doesn't know how to train the chords and get them clear in the vowel THAT is the most important issue. She can sing as loud as she wants but it will, in this way, never sound healthy, although a beautiful voice. I hear already weakness in the middle voice and she is still so young. God has of course Obraztsova beautiful soul and God bless her but this was not a good lesson.
I love the way Obratzova keeps on blasting the student with her own chest voice notes. But it seems that is the only thing she concentrates on - she doesnt help the poor girl's weak support and flat top notes..........
That's not a very good example ; of course the teacher sounds better on that part than her student ; she's much older and her voice much deeper ! Though it's true we can still feel she does it better...
Only a STRONGE CHEST can bild a STRON TOP! That's the ONLY WAY TO SING (Not my quote, that's Callas sayng in the julliard masterclasses in the 70's). The mezzos are all dead, Fassbender and Ludwig are alive, but they are too old to sing anything... I'm pretty sure the future os the low mezzo/contralto voices are in the hands of the new generation of countertenor... Yep, countertenor... The female sings are so terryble in chest voice now days that the countertenores will take they places (And i'm not talking about the white blond cute looking ones).
WHAT!? COUNTERTENORS ARE SO AFFRAID OF USING CHEST VOICE SAME AS MODERN SOPRANOS! listen to Scholl. he's low notes sound like mumbling. improper mask singing. it's all wrong about modern countertenors. there is Jarousky and Orliński. ok. but they just don't mumble, yet they also do not have appropriately developed muscles' sets. for a male with a nice head voice it's possible to sing the same way that women are singing, yet now even the women are singing wrong. ok- this ladies (ach my beloved Elena...) are fine. yet... ehhh... modern opera is dead 🥲
@@kin-no-choo , non possiamo paragonare Elena con Orlinsky e Jarussky che sono nulla nella storia del canto. Tra 10 anni non se ne sentira' piu' parlare ( come pure la Bartoli), ma pochi anni sono stati sufficienti a creare un disastro musicale, vocale e storico. Un controtenore/falsettista che canta il duetto della Lakme' non mi pare normale prassi esecutiva.
@@kin-no-choo You mean, famous white countertenors ares afraid of chest, cause in south american and south africa i saw some really cheasty countertenors!
@@theoperatripleaxel5417 well, that could be true. recently in some opera drag show on yt i have seen a black guy singing in countertenore. he was sounding literally like a woman from 50s. so now i can believe you
3:59 Obraztsova: Not bad. The only thing is that the higher - the wider in terms of resonance. You sing narrowly. Pupil: Little space. Obraztsova: Little space. Little space. And further from yourself. And now let's try "da da ri da da ra..." Pupil: After the second one? Obraztsova: Well, however you want. 4:57 Obraztsova: Not "mio" but "meau". I've sung "meau" all my life. 5:11 Obraztsova: With your chest. 5:25 Obraztsova: Lower it. Straightaway. Right there straightaway, like into a well. 5:40 Pupil: I've never had enough strength... Obraztsova: Because you keep it here (points to her mouth). But you should lower it and continue lowering. Like into a well. 6:21 Obraztsova: There was a woman named Taisia Syirovatko. A brilliant singer in the Kirov theatre who was also a pupil of my tutor. She was much older than me and already sung in "Ruslan and Ludmila", you know, all those male roles. And I asked her: "Taisia, how do you sing like that?". And she said: "Lena, imagine that here you have a boot and you have to press it down like that". I tried and I managed to do it. And all of this also managed. Like a boot. I remember it clearly. How she explained. Pupil: Made it clear. Obraztsova: Made it clear, right. In the very beginning there was some inaccuracy. The very beginning. Have you got tired? Pupil: No. 7:18 Obraztsova: Lower it. 7:43 Obraztsova: No, no, no. You should take a breath before "(something in Italian)". 7:57 Obraztsova: Now it will be the way Verdi wrote it and not the way your tutor did. 9:05 Obraztsova: Wider. 9:30 Obraztsova: One more thing. The three notes... Pupil: Stronger emphasis. Obraztsova: These together. Got it? Got it? Pupil: Yeah. 9:50 Obraztsova: Did you get it or no? Is this my pencil? I don't know. It's better to take than to leave. 10:25 Pupil: Should I continue? Obraztsova: Well, what else is there to do? 10:38 Obraztsova: No. Too close to your face. 11:05 Obraztsova: Say it, say it! 11:29 Obraztsova: Go, go! 11:40 Obraztsova: Let's go! 11:57 Obraztsova: Say it. 12:27 Pupil: Thank you, I got it now. Obraztsova: For you to remember. 12:31 Obraztsova: So, why I was swinging my arm here... We take higher notes inertially, inertially. If there is such a possibility of acceleration, we go up inertially. That way it will be easy. Pupil: To fly. Obraztsova: Huh? Pupil: To fly. Obraztsova: No, that's what I always say. When runners run with these... fences. You can't stop in front of a fence because then you wouldn't be able to raise your leg. Inertially. He is hopping like I don't know what. And doesn't understand how he's doing it because he's doing it inertially. But if he stops then that's it! Pupil: He is not running anymore. Obraztsova: Here we have the same thing. Got it? Pupil: Yes. Obraztsova: Alright, cool. Pupil: I also have "(something in Italian)". Obraztsova: Okay. (Asks something in Italian). Pupil: Yes. Obraztsova: Familiar motif. And also "(something in Italian)" straightaway! Pupil: And still. I'm always stopped. I learnt by your recording: "(something in Italian)". Obraztsova: Nothing bad. Pupil: They all stop me. Say that, after all, it should be (shows something on the sheet). And every time I don't know how and where to sing. Obraztsova: What? Pupil: Not how it's written but "(sings something in Italian)". And every time I don't know how to sing. Obraztsova: Don't get it... Pupil: When you did that recording you sang: "(sings in Italian)" Obraztsova: Yeah... Pupil: And now all concertmasters pester me... Like it's written... "(sings in Italian)". Everytime I don't know how to sing. Like it's written... Because in the recordings... Obraztsova: While you're singing "che" you won't slip to an "F". It's better to sing "F" flat rather than to squirm on these "A"s and not take an "F" flat. 16:05 Pupil: Not enough, right? Obraztsova: Not enough. Not enough space. Pupil: Can I sing one more time? Obraztsova: We're changing "the power of sound" to "the space of sound", so when we smile we don't have to squirm. Pupil: The space will increase. Obraztsova: You'll have that. It will either be the way you're doing it now: "(makes an imitative sound)" or you'll just smile and there you'll have a wonderful "E". 16:48 Obraztsova: (sarcastically) If only you would push your lower jaw away that would have been ingenious. 17:25 Obraztsova: Wait. It should be happiness! Finally, he has come! You're singing "(makes an imitation)" as if he were ugly, old and limping. 18:50 Obraztsova: Straightaway! Pupil: I'm done. Obraztsova: Got weary. Pupil: Sleepless night. Obraztsova: Come on, immediately night... 19:45 Obraztsova: Okay. Go home. Pupil: Now I won't leave here. Obraztsova: Good job, good job.
this singer does use chest voice though, and it is real chest voice. She doesn’t carry it up well, that’s the problem. I was quite impressed with her personally
Student is soprano for sure, she has a pretty high speaking voice, and that's why her low notes are incomparable to Elena's... This is obviously a soprano, no way that she is a true mezzo no way!
Интересно, а у тебя хоть один есть? Вынь банаши из ушей и услышишь текст. Удивительно, когда неудачники с грудной жабой льют помои на всех, кто стремится чего-то достичь.
Предположите, что то без злого умысла, а по недоразуменью. Да, моя ошибка: если больше времени потратил, постарался б -- мягче и приятней сказал бы то, что все и так мы понимаем. Вам неприятна форма. Причина только в этом.
![[DRAGON BALL LEGENDS REVEALS ＆ STUFF] LEGENDS FESTIVAL 2024 Special Edition Part 1](http://i.ytimg.com/vi/mV5bGIswTtQ/mqdefault.jpg)
Transcript for those who don't understand Russian:
3:59
Obraztsova: Not bad. The only thing is that the higher - the wider in terms of resonance. You sing narrowly.
Pupil: Little space.
Obraztsova: Little space. Little space. And further from yourself. And now let's try "da da ri da da ra..."
Pupil: After the second one?
Obraztsova: Well, however you want.
4:57
Obraztsova: Not "mio" but "meau". I've sung "meau" all my life.
5:11
Obraztsova: With your chest.
5:25
Obraztsova: Lower it. Straightaway. Right there straightaway, like into a well.
5:40
Pupil: I've never had enough strength...
Obraztsova: Because you keep it here (points to her mouth). But you should lower it and continue lowering. Like into a well.
6:21
Obraztsova: There was a woman named Taisia Syirovatko. A brilliant singer in the Kirov theatre who was also a pupil of my tutor. She was much older than me and already sung in "Ruslan and Ludmila", you know, all those male roles. And I asked her: "Taisia, how do you sing like that?". And she said: "Lena, imagine that here you have a boot and you have to press it down like that". I tried and I managed to do it. And all of this also managed. Like a boot. I remember it clearly. How she explained.
Pupil: Made it clear.
Obraztsova: Made it clear, right. In the very beginning there was some inaccuracy. The very beginning. Have you got tired?
Pupil: No.
7:18
Obraztsova: Lower it.
7:43
Obraztsova: No, no, no. You should take a breath before "il tetto".
7:57
Obraztsova: Now it will be the way Verdi wrote it and not the way your tutor did.
9:05
Obraztsova: Wider.
9:30
Obraztsova: One more thing. The three notes...
Pupil: Stronger emphasis.
Obraztsova: These together. Got it?
Pupil: To connect them.
Obraztsova: Got it?
Pupil: Yeah.
9:50
Obraztsova: Did you get it or no? Is this my pencil? I don't know. It's better to take than to leave.
10:25
Pupil: Should I continue?
Obraztsova: Well, what else is there to do?
10:38
Obraztsova: No. Too close to your face.
11:05
Obraztsova: Say it, say it!
11:29
Obraztsova: Go, go!
11:40
Obraztsova: Let's go!
11:57
Obraztsova: Say it.
12:27
Pupil: Thank you, I got it now.
Obraztsova: For you to remember.
12:31
Obraztsova: So, why I was swinging my arm here... We take higher notes inertially, inertially. If there is such a possibility of acceleration, we go up inertially. That way it will be easy.
Pupil: To fly.
Obraztsova: Huh?
Pupil: To fly.
Obraztsova: No, that's what I always say. When runners run with these... fences. You can't stop in front of a fence because then you wouldn't be able to raise your leg. Inertially. He is hopping like I don't know what. And doesn't understand how he's doing it because he's doing it inertially. But if he stops then that's it!
Pupil: He is not running anymore.
Obraztsova: Here we have the same thing. Got it?
Pupil: Yes.
Obraztsova: Alright, cojob
13:15
Pupil: I also have "(something in Italian)".
Obraztsova: Okay. "Accerba volutta"?
Pupil: Yes.
Obraztsova: Familiar motif. And also "AccerBA Volutta" straightaway!
Pupil: And still. I'm always stopped. I learnt by your recording: "(something in Italian)".
Obraztsova: Nothing bad.
Pupil: They all stop me. Say that, after all, it should be (shows something on the sheet). And every time I don't know how and where to sing.
Obraztsova: What?
Pupil: Not how it's written but "(sings something in Italian)". And every time I don't know how to sing.
Obraztsova: Don't get it...
Pupil: When you did that recording you sang: "(sings in Italian)"
Obraztsova: Yeah...
Pupil: And now all concertmasters pester me... Like it's written... "(sings in Italian)". Everytime I don't know how to sing. Like it's written... Because in the recordings...
Obraztsova: While you're singing "che" you won't slip to an "F". It's better to sing "F" flat rather than to squirm on these "A"s and not take an "F" flat.
16:05
Pupil: Not enough, right?
Obraztsova: Not enough. Not enough space.
Pupil: Can I sing one more time?
Obraztsova: We're changing "the power of sound" to "the space of sound", so when we smile we don't have to squirm.
Pupil: The space will increase.
Obraztsova: You'll have that. It will either be the way you're doing it now: "(makes an imitative sound)" or you'll just smile and there you'll have a wonderful "E".
16:48
Obraztsova: (sarcastically) If only you pushed your lower jaw away that would have been ingenious.
17:25
Obraztsova: Wait. It should be happiness! Finally, he has come! You're singing "(makes an imitation)" as if he were ugly, old and limping.
18:50
Obraztsova: Straightaway!
Pupil: I'm done.
Obraztsova: Got weary.
Pupil: Sleepless night.
Obraztsova: Come on...
19:45
Obraztsova: Okay. Go home.
Pupil: Now I won't leave here.
Obraztsova: Good job, good job.
Большое спасибо!
Thank you 👏
Grazie ❤
Thank you very much. At 8:00 she says Товарищ? Why?
WHAT A GREAT DOCUMENT ...a true great artist...true full voice...(not these "mosquitos" faking "opera" nowadays
as the great Renata Tebaldi said ) ....showing the talented ..rich voiced student how it is done...none of the teaching and resulting singing these past several decades ..with THIN ...wobbly...weak voices...or without weight and core..and FULL tone!! wow!!!
"вот она радость, он пришёл" - это слышно :) это супер! (Точно, наслушаюсь Елену Васильевну и начну понимать оперу, красота!)
This student sings in collapsed head voice :( .
Елена Васильевна- Прима, Богиня. Очень студентке повезло,что Мастер прослушала ее
Отличный урок мастера достойному ученику
Какая классная Елена Васильевна.. И объясняет понятно
The student is a soprano, but she still sounds better than most modern "mezzos". This is too low for her, but at least there is some level of natural chest voice and the beginnings of some depth
No, she is mezzo. Look the videos on her channel, she sings only mezzo repertoire
@@Dennissssimo plenty of people sing music from the wrong rep. I can sing a lot of bass rep. It doesn't make me a bass because I don't sound like a bass.
@Jason Black yes, but she sounds like a mezzo.. in my opinion. In a few years after this video her voice became bigger and lower
Oh dear! One can't decide to be something just because one sings the repertoire. Marilyn Horne is a case in point since she just wasn't a contralto. Listen in this video how Mme Obraztsova has more power and penetration in her voice in comparison with the pupil. There are many many singers who can't sing opera because they just don't have the physical capability for the required heft.@@Dennissssimo
@@Dennissssimoя учусь у неё, и она может прекрасно петь сопрано.
Es una voz con peso y los agudos son geniales, voz hermosa..
Великая Образцова ,в ее голосе мощи больше, чем мне кажется ,во всей Вселенной 🔥💔
Умничка старайся девочка! Успехов!!!
I wish these were translated to English! Amazing work.
A good talent in a hand of great master.. 😍
Ms. Obraztsova is a fantastic talent who made big mark on the world of opera. Et the same time she confuses many young singers with her wrong explanation and comments on singing.
The student’s voice sounds like a soprano Spinto not a mezzo. She sounds like she is imitating Elena but this student also NOT nearly has the low vocal presence that a real mezzo should have in the voice.
Difference is obvious even in their speaking voice! Student is probably some lyric or spinto soprano, not even a dramatic one!
Sanja Lukic , Obraztcova has speaking voice of an old women and girl has voice of young woman. Also Elena speaks in microphone, how can you compare? I don't see soprano here. Beyond of all many people suppose that Elena was not natural mezzo but soprano
This has nothing to do with age! It has to do with nature. The student DOES NOT HAVE ANY PRESENCE IN HER LOWER REGISTER. I could agree that sometimes Obraztcova could sound more like a Spinto soprano than a real mezzo. One thing I am sure of, is that the student is not a mezzo soprano! The voice is too light and way too bright to be a mezzo!
@@beachfanatic2010 that's obvious if you hear her high G which sounds very easy and sopranish, and her low G on the opposite side which is very weak
Если Боженька дал чарующий голос, то и будет великая певица. Конечно + "школа"
The big difference is that the vocal cords of Obraztsova are so healthy and healthy trained over the years that the poor singer can not ever get this sound if she doesn't know how to train the chords and get them clear in the vowel THAT is the most important issue. She can sing as loud as she wants but it will, in this way, never sound healthy, although a beautiful voice. I hear already weakness in the middle voice and she is still so young. God has of course Obraztsova beautiful soul and God bless her
but
this was not a good lesson.
This student is not a mezzo, she is a soprano. I am astonished that the teacher can’t understand that
Гуардо мяу 🤪❤️
I love the way Obratzova keeps on blasting the student with her own chest voice notes. But it seems that is the only thing she concentrates on - she doesnt help the poor girl's weak support and flat top notes..........
Acacia Bloom actually a strong chest will strengthen the top! This is not work that can be done in a quick master class though :*/
This lesson is not about learning to sing, just to help in interpretation of songs. And this girl has too much problems
5:30 The difference between a goddess and an average singer.
That's not a very good example ; of course the teacher sounds better on that part than her student ; she's much older and her voice much deeper ! Though it's true we can still feel she does it better...
Only a STRONGE CHEST can bild a STRON TOP! That's the ONLY WAY TO SING (Not my quote, that's Callas sayng in the julliard masterclasses in the 70's). The mezzos are all dead, Fassbender and Ludwig are alive, but they are too old to sing anything... I'm pretty sure the future os the low mezzo/contralto voices are in the hands of the new generation of countertenor... Yep, countertenor... The female sings are so terryble in chest voice now days that the countertenores will take they places (And i'm not talking about the white blond cute looking ones).
WHAT!? COUNTERTENORS ARE SO AFFRAID OF USING CHEST VOICE SAME AS MODERN SOPRANOS! listen to Scholl. he's low notes sound like mumbling. improper mask singing. it's all wrong about modern countertenors. there is Jarousky and Orliński. ok. but they just don't mumble, yet they also do not have appropriately developed muscles' sets. for a male with a nice head voice it's possible to sing the same way that women are singing, yet now even the women are singing wrong. ok- this ladies (ach my beloved Elena...) are fine. yet... ehhh... modern opera is dead 🥲
and about that student- she's just better than average singer, 'cuz she uses her chest voice, yet it's still not a finished 'product'.
@@kin-no-choo , non possiamo paragonare Elena con Orlinsky e Jarussky che sono nulla nella storia del canto. Tra 10 anni non se ne sentira' piu' parlare ( come pure la Bartoli), ma pochi anni sono stati sufficienti a creare un disastro musicale, vocale e storico. Un controtenore/falsettista che canta il duetto della Lakme' non mi pare normale prassi esecutiva.
@@kin-no-choo You mean, famous white countertenors ares afraid of chest, cause in south american and south africa i saw some really cheasty countertenors!
@@theoperatripleaxel5417 well, that could be true. recently in some opera drag show on yt i have seen a black guy singing in countertenore. he was sounding literally like a woman from 50s. so now i can believe you
Какой красивый голос у студентки сопрано
дорогая Полина Е.Образцова показала чистьй грудной резонатори корень язька
I wish I understood her comments.
3:59
Obraztsova: Not bad. The only thing is that the higher - the wider in terms of resonance. You sing narrowly.
Pupil: Little space.
Obraztsova: Little space. Little space. And further from yourself. And now let's try "da da ri da da ra..."
Pupil: After the second one?
Obraztsova: Well, however you want.
4:57
Obraztsova: Not "mio" but "meau". I've sung "meau" all my life.
5:11
Obraztsova: With your chest.
5:25
Obraztsova: Lower it. Straightaway. Right there straightaway, like into a well.
5:40
Pupil: I've never had enough strength...
Obraztsova: Because you keep it here (points to her mouth). But you should lower it and continue lowering. Like into a well.
6:21
Obraztsova: There was a woman named Taisia Syirovatko. A brilliant singer in the Kirov theatre who was also a pupil of my tutor. She was much older than me and already sung in "Ruslan and Ludmila", you know, all those male roles. And I asked her: "Taisia, how do you sing like that?". And she said: "Lena, imagine that here you have a boot and you have to press it down like that". I tried and I managed to do it. And all of this also managed. Like a boot. I remember it clearly. How she explained.
Pupil: Made it clear.
Obraztsova: Made it clear, right. In the very beginning there was some inaccuracy. The very beginning. Have you got tired?
Pupil: No.
7:18
Obraztsova: Lower it.
7:43
Obraztsova: No, no, no. You should take a breath before "(something in Italian)".
7:57
Obraztsova: Now it will be the way Verdi wrote it and not the way your tutor did.
9:05
Obraztsova: Wider.
9:30
Obraztsova: One more thing. The three notes...
Pupil: Stronger emphasis.
Obraztsova: These together. Got it? Got it?
Pupil: Yeah.
9:50
Obraztsova: Did you get it or no? Is this my pencil? I don't know. It's better to take than to leave.
10:25
Pupil: Should I continue?
Obraztsova: Well, what else is there to do?
10:38
Obraztsova: No. Too close to your face.
11:05
Obraztsova: Say it, say it!
11:29
Obraztsova: Go, go!
11:40
Obraztsova: Let's go!
11:57
Obraztsova: Say it.
12:27
Pupil: Thank you, I got it now.
Obraztsova: For you to remember.
12:31
Obraztsova: So, why I was swinging my arm here... We take higher notes inertially, inertially. If there is such a possibility of acceleration, we go up inertially. That way it will be easy.
Pupil: To fly.
Obraztsova: Huh?
Pupil: To fly.
Obraztsova: No, that's what I always say. When runners run with these... fences. You can't stop in front of a fence because then you wouldn't be able to raise your leg. Inertially. He is hopping like I don't know what. And doesn't understand how he's doing it because he's doing it inertially. But if he stops then that's it!
Pupil: He is not running anymore.
Obraztsova: Here we have the same thing. Got it?
Pupil: Yes.
Obraztsova: Alright, cool.
Pupil: I also have "(something in Italian)".
Obraztsova: Okay. (Asks something in Italian).
Pupil: Yes.
Obraztsova: Familiar motif. And also "(something in Italian)" straightaway!
Pupil: And still. I'm always stopped. I learnt by your recording: "(something in Italian)".
Obraztsova: Nothing bad.
Pupil: They all stop me. Say that, after all, it should be (shows something on the sheet). And every time I don't know how and where to sing.
Obraztsova: What?
Pupil: Not how it's written but "(sings something in Italian)". And every time I don't know how to sing.
Obraztsova: Don't get it...
Pupil: When you did that recording you sang: "(sings in Italian)"
Obraztsova: Yeah...
Pupil: And now all concertmasters pester me... Like it's written... "(sings in Italian)". Everytime I don't know how to sing. Like it's written... Because in the recordings...
Obraztsova: While you're singing "che" you won't slip to an "F". It's better to sing "F" flat rather than to squirm on these "A"s and not take an "F" flat.
16:05
Pupil: Not enough, right?
Obraztsova: Not enough. Not enough space.
Pupil: Can I sing one more time?
Obraztsova: We're changing "the power of sound" to "the space of sound", so when we smile we don't have to squirm.
Pupil: The space will increase.
Obraztsova: You'll have that. It will either be the way you're doing it now: "(makes an imitative sound)" or you'll just smile and there you'll have a wonderful "E".
16:48
Obraztsova: (sarcastically) If only you would push your lower jaw away that would have been ingenious.
17:25
Obraztsova: Wait. It should be happiness! Finally, he has come! You're singing "(makes an imitation)" as if he were ugly, old and limping.
18:50
Obraztsova: Straightaway!
Pupil: I'm done.
Obraztsova: Got weary.
Pupil: Sleepless night.
Obraztsova: Come on, immediately night...
19:45
Obraztsova: Okay. Go home.
Pupil: Now I won't leave here.
Obraztsova: Good job, good job.
А мне все понравились )
Elena is always wonderful !
And I think the student is talented, but she just has to learn how to sing correctly.
And think that's the case with a lot of modern opera singers
@@xxsaruman82xx87
That’s true.
La ragazza sarebbe un ottimo cherubino, Fenena, Rosina,
Obraztsova moments:
5:24
8:15
9:26
Ottimo il finale e molto incoraggiante
She is a Goddess!
Хороший голос. Но пока многому надо учиться в частности у Е В О.
Классные низы у обоих
обеих..))
@@АннаСычева-г7й главное, что классные, а у обоих или обеих - уже нетак важно.
Подскажите пожалуйста название первой арии
Ну короче, это сцена гадания Ульрики из "Бала-маскарада".
Поёт Образцова и её слышно, а поёт девушка и её слышно с трудом.
И ГДЕ эта девочка сейчас ?
Why is there a human skull on the table?
To be or not to be
Hahahaaa
She was probably explaining cavity, tongue position, soft palate
@@Malawein which is totally useless
I think it was a "franc-maçon"...
Me recuerda a bartoli y netrebko
She should not be singing the rep with such an underdeveloped chest voice! The bottom notes are almost inaudible :^(
Afraid to use the chest voice is just so evident, like at 10:15 where Obrastova and she does not.
this singer does use chest voice though, and it is real chest voice. She doesn’t carry it up well, that’s the problem. I was quite impressed with her personally
Student is soprano for sure, she has a pretty high speaking voice, and that's why her low notes are incomparable to Elena's... This is obviously a soprano, no way that she is a true mezzo no way!
C'est un moment... Alors je ne veux pas me retrouver à la place de cette élève..
Ученица поёт омерзительно и тремя тембрами, хотя очень старается. Не разобрал ни единого слова, кроме всего прочего.
Интересно, а у тебя хоть один есть? Вынь банаши из ушей и услышишь текст. Удивительно, когда неудачники с грудной жабой льют помои на всех, кто стремится чего-то достичь.
Не кто не смее обижать мою мать!!!!! ! Удивлина??? Так не обижай и она поёт по итальянски!! Мама так держать❤️❤️❤️❤️❤️😊
Предположите, что то без злого умысла, а по недоразуменью. Да, моя ошибка: если больше времени потратил, постарался б -- мягче и приятней сказал бы то, что все и так мы понимаем. Вам неприятна форма. Причина только в этом.
@@scary._storieseva._4715 Никто не совершенен, и прекрасно понимаю, что сам во многом небезгрешен. Врать не надо ни себе, ни людям.
@@scary._storieseva._4715 Красивый голос в среднем регистре.
Ha Ha. Great singers reclining on a throne, singing along and waving their arms around is not vocal tuition.
The student should not be singing this.
The student is NOT a mezzo. She is a soprano!!
Мне кажется, что не очень как-то!
Lezione inutile
Obratzova used chest voice which is dangerous
It is not.
@@MrBertramLevaughnit is because then you shout when you go up
какой мастер-класс?.. она сама петь не умеет, голоса нет...
Ну вот так хочется тебя послать по известному адресу,но только святое имя Елены Васильевны и память о ней останавливают!
Какой ужас! Невозможно слушать это пение... Да это и не пение вовсе.
Неподходящий репертуар для ее голоса.
This girl has no talents at all !!!
Shes still learning
She has much talent but no training.
Quanto livore e offesa facile! Sta imparando e il talento ce l’ha, Miss o mister veleno
Of course when she tries to be a mezzo, and by nature is some lyric (at best some spinto voice) :(
Associazione aculturale... This girl has her particular talent...
What is the opening aria?
feeniix6 verdi, un ballo in maschera, Ulrica, Re del abisso....., first act
@@pslogge thank you so much