These opera critics will kill opera. I wonder why they are critics instead of performers. Opera is art, not “idealism”. It’s the so-called imperfections that make it beautiful and compelling. How is it possible for there to one way of doing something that is art. Harteros like many of the current crop of leading voices are at the top of their game because they are good.
There might be two kind of reflections we can make on evaluating this performance. The one based on the previous renditions of this role,and so starting mentioning Price,Tebaldi or any other who have put their strong imprint on Verdi's heavy roles, thus constructing a kind of "mentality" to us, on how this roles should be executed . But we also can make an evaluation based on the score, the technical and emotional assets, and all singing elements required. I would rather prefer the second way of evaluation. Harteros impeccable technique gives her the chance to deliver her voice easily through the orchestra, without screaming or emitting unpleasable sounds. She has a military voice control that never allows any scratch or noise slide out of the "God's path". She has a well elaborated phrasing and diction even though she could have worked a little bit more on the word endings especially where they finish with consonants. Sometimes they look merged and without space on her way of pronouncing them. Her exceptional "game" between forte fortissimo piano pianissimo includes also a lot of vocal colors poured on a single line. In the case of this aria I would have to say that this is a very good rendition, though it lacks a bit of expressiveness which I hope she will get it during time, since this time was her role debut. And if I could add something more, maybe I would have preferred a less clean rendition, in return of some passionate vocal-emissions
She has a really wonderfull technique, and she sings wonderfully. But I hope she improves her tendency to sing slowly than the orchestra.... Brava Anja.
I liked her, better than other new singers that sing the role. It's a pity they never finished that building they were building on stage so they had to pile all that together and she only had 2 square feet to sing.
This ridiculous setting is a tragedy on its own. Why set directors are so arrogant nowadays? They seem to have a desire of competition with the compositor, a wish of showing that they can make things better than the "old men". The result is a disaster, as usual.
What a trouper this soprano is to give us great singing while managing to have amazing professional patience in dealing with the idiotic staging surrounding so much of her fine work. Euro trash productions can not fortunately compromise her wonderful singing.
She's above average in places, but never really memorable, though I especially admire her ability to sing around a landfill of crosses. The whole wheat bread was a remarkably unremarkable prop.
It would have been really realistic and better that she cralwed step by step the "CROCE" decor and loose step by step her clothes with blood ... there is not enough passion in this staging ..
She sounds very tired. Forza's a killer. Why can't sopranos realise that it's a dramatic soprano role similar to Lady Macbeth, Abigaile and Odabella. It's the Verdi role that links Santuzza and Tosca to Norma and the early Verdi beasts. Me Pellegrina ed Orfana is a beast of an Aria for a soprano to start fresh with. Singing over the choruses of act two, Madre Pieta and La Vergine leaves any robust dramatic desperate for a break. The opera generally heavily and badly written for the soprano. Very much a prelude to La Gioconda
Vous me semblez être quelqu'un de très compliqué. Pour moi, A. Harteros est la meilleure verdienne d'aujourd'hui, Elle n'est ni Ponselle, ni Price, mais c'est une magnifique interprète qui compte et qui joue mieux que ses devancières (du moins Price, que j'ai vue).. Lorsqu'elle est en duo avec J. Kaufmann, le résultat est tout simplement "historique".
Une mise en scène toujours aussi minable et stupide et des costumes anachroniques. Cela devient de plus en plus dramatique de bêtise. Confiez la mise en scène à des gens qui aiment la beauté et n'ont pas un ego démesuré comme tous ces metteurs en scène névrosés!!!!!
I don´t know why people - who usually haven´t seen the whole thing - are so nasty about such productions. What is wrong here? We see the inside of a monastery, we see many crosses and Leonora breaking a loaf of bread. Start thinking, people instead of constantly ranting.
She certainly has got a voice and her pronunciation is good. But there too many things missing to call this a faboulous perfomance: intonation is not perfect, the high B is too "open", and her vibrato is too large here in there. It's a professional performance that deserves respect. That's it, IMHO of course.
Geez, what happened here? This is toward the end of the opera but she sounds like she didn't have enough warmup. The voice is juddering and the vibrato is too pronounced. The diction is very unitalianate
@@callastoujours I am a Lyric Singer and I know about I Speaking. It's Verdi, not Verismo.Also Maledizione is just "Legato". This is a routine singer. Not very nice. Mediocre
@@callastoujours It has nothing to do if it is Verdi or Donizetti. The screamed notes are the result of singing with high lyrinx (incorrect). And look at her neck. There is too much tension. This singing is constricted.
Why does she scream so badly ? She does not have sense of Verdi' rhythm. She does not sing the third " maledizione " before the final note. Well it's not so good. Miss Harteros must probably sing better lyric soprano roles than dramatical ones.
angalafan actually in the house (this past May) it didn't sound like screaming at all. She filled the space with ease. But I will give you her sound isn't italianate.
***** In my country I have been learnt to express myself freely. If you do not stand any controversy, stay away from youtube. Now I maintain that Miss Harteros does not feel at ease in this repertoire, short breath, lacking of rhythm, badly defined melodic architecture and no dramatic presence. She seems to me much more convincing in germanic repertoire, Wagner or Strauss who are the only musicians in whom I heard her on stage. Proof if it is that singing Verdi operas is not within the reach of all singers. Seems to be the case here.
***** I am afraid you have to go back school to know how to read and write. I just told you I saw her twice on stage and appreciated her much more in germanic operas. Your comment is besides the point.
I listen to this every evening. It is how I sort things out.
Magnifica Aria , grande Anja Harteros
Brava,Anja! You're (still) my favorite.
Beautiful woman, beautiful singing and musicianship. I saw her first many years ago in Cardiff singer of the world. Wish she made more recordings.
These opera critics will kill opera. I wonder why they are critics instead of performers. Opera is art, not “idealism”. It’s the so-called imperfections that make it beautiful and compelling. How is it possible for there to one way of doing something that is art. Harteros like many of the current crop of leading voices are at the top of their game because they are good.
Thank you!!!!!! I loved her performance, it would be fantastic to see her Madre Pietosa Vergine!!!
Bellísima Aria
Wonderful done! Brava 👏🏻👏🏻👏🏻👏🏻❤️💯( impressive breathing)
I love her.
Romanza meravigliosa! Brava Anja. Verdi orgoglio italiano!!
Beautiful!!!!!!!!!!
Bravo, Bravo, so wundervoll!
OH MY GOD......... she is so wonderful.... really amazing voice.....
Grande soprano direi sublime per la sua giovane età le auguro una lunga carriera di successo meritato" sono pochi i soprano alla sua altezza-
BRAVO :))))))))))))))))))))))))))
Merveilleuse artiste
Ecoutez Caballé et après vous pourrez voir la différence
Anja est sublime !! 💕💕💕
このDivaが大好きです。美声で情熱的で演技も素晴らしい！アンドレア・シェニエのマッダレーナなど情熱的な役柄も似合うけど、ヴェルディアーナですね。
Thanks
Sounds just the way a Verdi soprano should sound!
But should she be wearing heels after five years in solitude in a hermitage?
There might be two kind of reflections we can make on evaluating this performance. The one based on the previous renditions of this role,and so starting mentioning Price,Tebaldi or any other who have put their strong imprint on Verdi's heavy roles, thus constructing a kind of "mentality" to us, on how this roles should be executed . But we also can make an evaluation based on the score, the technical and emotional assets, and all singing elements required. I would rather prefer the second way of evaluation. Harteros impeccable technique gives her the chance to deliver her voice easily through the orchestra, without screaming or emitting unpleasable sounds. She has a military voice control that never allows any scratch or noise slide out of the "God's path". She has a well elaborated phrasing and diction even though she could have worked a little bit more on the word endings especially where they finish with consonants. Sometimes they look merged and without space on her way of pronouncing them. Her exceptional "game" between forte fortissimo piano pianissimo includes also a lot of vocal colors poured on a single line. In the case of this aria I would have to say that this is a very good rendition, though it lacks a bit of expressiveness which I hope she will get it during time, since this time was her role debut. And if I could add something more, maybe I would have preferred a less clean rendition, in return of some passionate vocal-emissions
She's better than Sondra Radvanovsky (who could be worse) but still she is far from Price, Marton, Tebaldi and Dimitrova
operaclassicc well said!!
Queste croci bianche sono un dejà vue, come la solito la scenografia di questo teatro fa c.....are
Bravissima
The timbre of her voice always reminds me of Milanov
Lol no
She has a really wonderfull technique, and she sings wonderfully. But I hope she improves her tendency to sing slowly than the orchestra.... Brava Anja.
I liked her, better than other new singers that sing the role. It's a pity they never finished that building they were building on stage so they had to pile all that together and she only had 2 square feet to sing.
Brava.
This ridiculous setting is a tragedy on its own. Why set directors are so arrogant nowadays? They seem to have a desire of competition with the compositor, a wish of showing that they can make things better than the "old men". The result is a disaster, as usual.
What a trouper this soprano is to give us great singing while managing to have amazing professional patience in dealing with the idiotic staging surrounding so much of her fine work. Euro trash productions can not fortunately compromise her wonderful singing.
I consider her ability to sing against the established tempo to be one of her greatest strengths.
lol ty
staging is done without any understanding of time or taste.....
le fette di pane tedesco sono il massimo!!!!
Goditi la voce spettacolare di Anja e stai zitta
Nice piece of bread
lol
Straight from the supermarket.
Creo que es tan fácil criticar desde tu silla...
RODRIGUEZ
permite que se de su aviso? criticar puede ser positivo. Escucha otras versiones y podra tambien criticar!!
She's above average in places, but never really memorable, though I especially admire her ability to sing around a landfill of crosses. The whole wheat bread was a remarkably unremarkable prop.
For this aria,(and most others) there is only Ponselle. Then, you've heard the best. Period. End of story.
I prefer tebaldi. I love ponselle though fyi
bela interpretação;mas há vibratos em certos momentos que não me agradaram.
MUCH better than Netrebko at La Scala!
Terrible staging damn! Last Maledizione meeeeh
It would have been really realistic and better that she cralwed step by step the "CROCE" decor and loose step by step her clothes with blood ... there is not enough passion in this staging ..
She sounds very tired. Forza's a killer. Why can't sopranos realise that it's a dramatic soprano role similar to Lady Macbeth, Abigaile and Odabella. It's the Verdi role that links Santuzza and Tosca to Norma and the early Verdi beasts. Me Pellegrina ed Orfana is a beast of an Aria for a soprano to start fresh with. Singing over the choruses of act two, Madre Pieta and La Vergine leaves any robust dramatic desperate for a break. The opera generally heavily and badly written for the soprano. Very much a prelude to La Gioconda
Vous me semblez être quelqu'un de très compliqué. Pour moi, A. Harteros est la meilleure verdienne d'aujourd'hui, Elle n'est ni Ponselle, ni Price, mais c'est une magnifique interprète qui compte et qui joue mieux que ses devancières (du moins Price, que j'ai vue).. Lorsqu'elle est en duo avec J. Kaufmann, le résultat est tout simplement "historique".
+Thierry Genoud tu reves
+Thierry Genoud
non capisci niente della lirica.
studia,impara... se arrivi...
Thierry Genoud English please. I don't understand you.
Alex Thomas i like what you said
About. Forza!! Ponselle was always terrified of this opera
And the role of. Leonora di
Vargas!!
Great voice. Tempo slightly on the slow side. HORRIBLE production!
Ужасная постановка. Хартерос спела ноты, но никак не арию. Да и то, к этим нотам есть претензии.
Meh
Une mise en scène toujours aussi minable et stupide et des costumes anachroniques. Cela devient de plus en plus dramatique de bêtise. Confiez la mise en scène à des gens qui aiment la beauté et n'ont pas un ego démesuré comme tous ces metteurs en scène névrosés!!!!!
Very good! She always has difficulties with the B-flat pianissimo though.
Anja Harteros...mah..croce piu' croce meno….
I don´t know why people - who usually haven´t seen the whole thing - are so nasty about such productions. What is wrong here? We see the inside of a monastery, we see many crosses and Leonora breaking a loaf of bread. Start thinking, people instead of constantly ranting.
She certainly has got a voice and her pronunciation is good. But there too many things missing to call this a faboulous perfomance: intonation is not perfect, the high B is too "open", and her vibrato is too large here in there. It's a professional performance that deserves respect. That's it, IMHO of course.
Good, but her Italian isn't that good and in my opinion it is so important to have an impeccable pronunciation!
Most listeners don't have impeccable Italian, so outside Italy, who cares?
If you want to be considered as a great singer, diction is important.
Interesting. Which word did you find it difficult to understand?
Show me one Italian who manages another language without mangling it. I know none...
@@janm.c.munich3513 Good one. That´s why they usually sing Italian opera only ;-)
Une jolie petite voix, mais qui ne laissera pas de traces dans les annales. On est loin des Price, Caballé, Millo et j'en passe.
Horrible production! Nice voice much nicer than Sondra on this particular Aria......
Geez, what happened here? This is toward the end of the opera but she sounds like she didn't have enough warmup. The voice is juddering and the vibrato is too pronounced. The diction is very unitalianate
I don't know why you're surprised. Modern opera singers are mediocre at best. Stop expecting too much.
Acuto finale gridato
Oh, really? It’s Verdi, not bel canto; besides, she is saying four times “maledizione!!” What do you expect??
@@callastoujours I am a Lyric Singer and I know about I Speaking. It's Verdi, not Verismo.Also Maledizione is just "Legato". This is a routine singer. Not very nice. Mediocre
@@callastoujours It has nothing to do if it is Verdi or Donizetti. The screamed notes are the result of singing with high lyrinx (incorrect). And look at her neck. There is too much tension. This singing is constricted.
non mi piace affatto.
Ahahahah ecco qua figuratiii
@@marcorossi9541 bodiloto, intendi?
Horrible set. Ridiculous vibrato and throaty singing. Verdi is rolling in his grave.
The only ridiculous thing here is your horribly stupid comment
Listening to your pupils you should retire immediately and have your ears checked. Atrocious singers.
This not worthy of Verdi life and insipration... And also Catholic and Protestant .. The Opera is also political voice
You make no f***ing sense. What the he’ll do you mean?
Why does she scream so badly ? She does not have sense of Verdi' rhythm. She does not sing the third " maledizione " before the final note. Well it's not so good. Miss Harteros must probably sing better lyric soprano roles than dramatical ones.
angalafan actually in the house (this past May) it didn't sound like screaming at all. She filled the space with ease. But I will give you her sound isn't italianate.
***** In my country I have been learnt to express myself freely. If you do not stand any controversy, stay away from youtube. Now I maintain that Miss Harteros does not feel at ease in this repertoire, short breath, lacking of rhythm, badly defined melodic architecture and no dramatic presence. She seems to me much more convincing in germanic repertoire, Wagner or Strauss who are the only musicians in whom I heard her on stage. Proof if it is that singing Verdi operas is not within the reach of all singers. Seems to be the case here.
***** I am afraid you have to go back school to know how to read and write. I just told you I saw her twice on stage and appreciated her much more in germanic operas. Your comment is besides the point.