La traviata - Giuseppe Verdi - Act II O mio rimorso! - Rolando Villazón as Alfredo Germont
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- Опубликовано: 6 сен 2024
- O mio rimorso, sung by mexican lyric tenor Rolando Villazón. He's got great histrionic skills IMO.
La traviata - Giuseppe Verdi - Act II
Alfredo and Violetta are living in a country house near Paris, where he praises their contentment ("De' miei bollenti spiriti"). But when the maid, Annina, reveals that Violetta has pawned her jewels to keep the house, Alfredo sings O mio rimorso and then leaves for the city to settle matters at his own cost.
O mio rimorso!
O infamia!
Io vissi in tale errore!
Ma il turpe sono a frangere
Il ver mi balenò.
Per poco in seno acquetati,
O grido dell' onore;
M'avrai securo vindice;
Quest' onta laverò.
O mio rossor!
O infamia!
Ah, sì, quest'onta laverò.
Rolando is one of those cases in which the interpretation of the entire aria is so rich that it would not require the high C at the end, and it is not a note that was not originally written.
Simplemente requiere cantarla bien sin su histrionismo.
I agree! I don't think the C is necessary as long as the rest of the proceeding aria and cabaletta are delivered at a certain level of drama. The tessitura of this whole section is quite high and even the best tenors are usually sounding a little ragged by the time the C comes around.
@@JacquelineLanceTenorEntonces que no la grabe en estudio. Eso hacen muchos tenores como este y Domingo que trucan los agudos en estudio. Pongo dos ejemplos de tenores que cantan la cabaletta con el Do sin despeinarse, Kraus y Pavarotti.
Precisamente Villazón está acabado Precisamente por su técnica forzada.
Cantante maravilloso . Gran actor y dueño de la voz mas hermosa de todos los tenores habidos y por haber en mi humilde opinion
¡¡¡ Bellisimas voces bravo maestro!!!❤❤❤
Tenor MARAVILHOSO, cada dia melhor!
Bravo!!!!! Bravo!!! Bravo!!!
Totalement d'accord avec le commentaire de Huhas1.
Rolando the best!!!!!!!!!!!!!!!!!!!!
Me cautiva la capacidad actoral de Villazón. ! Qué ímpetu !
Y aquí tenemos a Villazon que termina la interpretación una octava abajo de la nota total.
Salvando y quedando como una de las mejores interpretaciones
Mi favoritas interpretaciones de esta aria son
1.Rolando
2.Pavarotti
3.Kraus
5.Domingo
Te falta ver más Bax. El único decente de esa lista es Pavarotti, pero el resto para el olvido.
Sofía este tenor tenía una técnica horrible y exagerada. En cuanto al comentario de Alberto demuestra que es un ignorante. Kraus es una referencia en este papel junto a Bergonzi, Pavarotti no, además las agilidades no sabía hacerla. Si no sabe de una cosa mejor no opine
Can somebody expert help me? Why so much discussion about the last note? I can see Rolando sings the last note at a lower pitch than other interpretations like the ones mentioned by Kraus or by Juan Diego Florez in his 2018-2019 performance at the Met (video on youtube). However, when the high note is sung at the end, they seem to skip the last 2 scores before the last "la vero", which Rolando does sing. I checked the score by Verdi and the score seems to match the version sung by Rolando. Why he then should be judge by sticking to the score? How come singers have so much lea way to omitt 2 scores?
@ Victor
You asked me what is it charisma. THAT (this video) is CHARISMA at it's best.
Bravo!
@jaketaz: not really, as Verdi both did not write a high C (it's a middle C in the score) and hated such unnecessary notes.
Trust me on this one, this cabaletta is already VERY hard to sing the way it was written, leave alone with the high C (ALL tenors that sing the high ending omit pretty much all the final lines).
Personally, I enjoy both ways, if well sang.
@ozzcasale
It comes down to personal taste, no one can tell you what to like. Villazon's fans really love him. People picture Kraus in Rossini roles because of his vocal timbre, but he has done far more Verdi, Donizetti, and French things. Over the course of a professional career lasting more than thirty years, including many recordings, he has done around 45 different roles and only ONE Rossini role. Since he lasted so long singing other music, obviously his voice was suited for that music.
If you want to know how this aria is actually supposed to end, simply type two words into the RUclips search bar: "kraus" and "rimorso".
What a voice!!!!
My favorite interpretations are:
1.Villazon
2.Pavarotti
3.Kraus
4.Domingo
I expected the high end, but still he is amazing and he doesn't have to prove anything in a final note.
To the critics of Villazon: opera is as much about emotions as about good singing. His faults (guttural-nasal, whatever, see comment below) may be noticed by other singers or specialists but not by ordinary opera-lovers. But his acting is wonderful and always touches the heart whatever he sings which is what is required from a singer-actor. Alfredo Kraus may be better vocally but who cares if as an actor he is zero, doesn't even try to convey the emotional state of his character. And the high c at the end just shows his poor taste
@AntalyaSamborzec Thanks!
when was this record made?
Can he still talk?
Questo tenore he un caso che non capisco, forse un lirico leggero corto ? Sarebbe dunque un caso o sbaglio? En général les ténors légers ou légers lyriques sont à l'aise dans la quinte aiguë ce qui ne parait pas être son cas, mais il fait a priori une carrière internationale ...grâce sans doute au star system.
Pavarotti no la canta completa como lo hace Villazón, siempre con voz llena, y mostrando gran compromiso, lamentable eso fue el motivo de su temprana claudicación.
Quando il temperamento diventa sguaiatezza
@ozzcasale
You are correct, but despite the two different fachs, these two have sung many of the same roles. I don't believe this version is worse just because of the ending, I believe the entire thing is worse due to his inferior technique. Villazon has had vocal nodes and canceled many performances, while Kraus sang well up until age 70, while never having nodes or other vocal problems. Every high note here is flat, and neck veins bulge to compensate for bad technique. Vocal nodes don't lie.
Description say lyric tenor, but I do not think that's lyric. Kraus was definitely more lyric, but I'm pretty sure Villazon is at least a spinto.
+Luis Montes He's not a spinto.
+Luis Montes Kraus lyric? what? Kraus was clearly a leggiero! lol
You're right
a spinto that so damaged his voice he is left to sing Ottavio
Luis Montes m
He was f**king his voice, instead of singing
this isnot a perfect but good
Todos aquí disculpando que no de el Do 5 final, pero en fin, lo queda a deber.
Pobre güey .
@maferreira1984
Agreed on the c, & the aria does seem incredibly difficult to sing.
This version isn't worse because of the ending, it's worse due to his inferior technique. Villazon had vocal nodes & canceled many performances, while Kraus sang in tune, supported, & with consistent vibrato up until age 70, never having nodes or other vocal problems. Every high note here is flat, & neck veins bulge to compensate for bad technique. Vocal nodes don't lie, & neither does his persistent flatness.
premetto che non mi piace non mi è mai piaciuto,mai mi piacerà....mah questo non và,per quanto mi riguarda, a distorcere la mia critica fondata su un ascolto imparziale e tecnico.
mi spiegate come si fà a dire che è bravo!?!? tecnicamente è carente a livelli allucinanti......la voce ha un mix,orribile,di gutturalità e nasalità incredibile....visto che quando è gutturale rimane arretrata la posizione, che è l'esatto opposto della nasalità....beh lui riesce ad avere due difetti vocali enorm,ed opposti,i in contemporanea......sembra abbia una patata lessa in gola quando canta!!
Vero... vorrei sapere se veramente non c’è di meglio nel mondo, considerando che è nello star system
Carente... a livelli "allucinanti"?
Anche lo sport abbonda di aggettivi quali "eroismo", "abnegazione"...
sì da impicciolir Orazio al ponte!
Credo amico che ci sono molte intinditori mediocri. In fate questo tenorino gioca bene la comedia ma dimentica sempre gli acuti .....saluti.
Totalmente de acuerdo. Su canto como el de Domingo es histrionico y falto de estilo. La referencias en este papel son Bergonzi y Kraus.
@@Mariano-ge6de Exactamente.... el maestro kraus es incomparable ninguno como el...su técnica perfecta, la palabra perfectamente cincelada, los planos confiados y chispeantes, el fiato y las notas altas....una verdadera alegría para los oídos.....
Sí no puede con el agudo final, no lo vuelvo a ver, me dió curiosidad y una muy mala voz y peor final.