Fraseggio impeccabile, pronuncia perfetta, morbidezza e sdegno uniti (come chiede il personaggio e l'aria). Veramente una delizia per le orecchie e per la piena comprensione del ruolo..
The discussions below regarding "soprano" and "mezzo-soprano" are actually irrelevant to music prior to Wagner and Verdi. The vocal distinction prior to these composers was Prima Donna [the star role, e.g. Fiodiligi; the Countess; Norma] and the Seconda Donna [Dorabella, Susanna, Adalgisa]. Singers often sang both roles in their careers.
Hmm, she certainly handles the aria beautifully, and I always thought I would prefer the aria in a mezzo voice if I got the chance to hear it. Now that I have, I think I do actually prefer the soprano voice in this. As usual Mozart knows better than me, lol. I like the gutteral way the soprano voice sounds when she descends from a very high note to a very low note; it really works with the character of what she is saying, what she is trying to convince the Albanian suitors of...
...not to mention, herself, lol. Elina's voice blooms so beautifully in the lower register, it doesn't have the emotional bite I'm looking for. Mozart is such a master. He really knows voices and emotions so well, that he marries the voice type to the character and the voice leading perfectly!
She sings it perfectly. Her lyrical tops and fluidity are impeccable. However I had expected more power and bite in the low registers. Sopranos like Vaness and Varady were a lot more exciting
And another "mezzo" sings this aria beautifully as well- Bartoli. Distinctions may be blurred, or at least become so. Mozart never distinguished between degrees of soprano. What we term a mezzo today had no name other than soprano. Suzanne Danco sang both Donna Anna and Cherubino on two of the 20th century's greatest recordings of Mozart operas...go figure
Yes. Sometimes the roles are switched. Dorabella can very easily be sung by a soprano with a warm timbre. Fiordaligi was originally written for a lady that had strong and beautiful upper and lower registers and nothing in the middle. Hence the aria that is always either on top or down under. Mozart wrote a number of roles that can be interpreted by different voice types - so long as one has the notes, the rest is open to interpretation
@MusikPiratCH I meant in this scene, character, and aria specifically, not in music in general. And I didn't say a bad sound, I said a gutteral sound. It's still a beautiful sound in the soprano voice, but there's a touch of farce in it. What I was asking was how do you feel about Fiordiligi? Why do you think a mezzo voice is better suited to her conflict in this piece, meaning the text and subtext, and how does that translate given the tessitura and the range of the piece in your mind?
Una versión muy consegida Elina está muy bien,pero lo que me parece impresionante es la orquesta y el director Están perfectos ¿Alguien sabe quiénes son ?
I've always wanted to hear a talented mezzo do Come Scoglio, because I wanted to hear big, juicy, rich low notes, what fun! To those having the voice type discussion, here's my two cents. Although voice types do define tessitura, (which they do because of where the voice wants to live, and where it blooms, not where it CAN go) voice type doesn't define range. Mezzos and contraltos can sing as high as sopranos, thier music just doesn't tend to live in the stratosphere for the reasons above.
All the nonsense about her being a mezzo. Mozart did not distinguish between sopranos and mezzos when he wrote this. Both Dorabella and Fiordiligi were assigned to "sopranos" in the original score. The distinction was made in posterity.
@italianoameta Elina è un mezzo soprano; per aiutarti a distinguere meglio, visto che non è facile effettivamente, confronta con Netrebko, Bartoli, Ciofi etc etc.taf289
+Nicholas Daw "According to William Mann, Mozart disliked prima donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria Come scoglio with constant leaps from low to high and high to low in order to make Ferrarese's head "bob like a chicken" onstage." This is what's in Wikipedia about this
I also think it has to to with mockery. I guess he's just making fun of the dramatic attitude shown by Fiordiligi who in the end shows to be much less constant than how she claimed to be. "As a rock stands still against winds and storm..." yeah sure... Using all these extreme intervals was typical of opera seria, which fiordiligi seems to represent, except, in the end, she doesn't.
I had also read in Steptoe's "The Mozart- DaPonte Operas the jumps were designed to exhibit her"bosom" jiggling. Who knows? Great aria, great performance
@MusikPiratCH How can you disagree by saying she sounds beautiful in the lower register, when I said that lol? If you don't think that the juxtaposition of the beauty of the high notes with that of the gutteral low notes makes for the comedy that Mozart intended, in how and what Fiordiligi is trying to convince her suitors of, in juxtoposition to how she feels...then I get why you disagree. But I would ask, why do you think a purely beautiful sound illustrates her emotional turmoil better?
alright, take the Mozart´s score and compare it to what she sings from 5:02. that´s all you need to do in order to undertand my point. and again: I am a huge fan of Elina.
I mean at 5:02 - it´s got nothing to do with Mozart´s score. Imagine, if I´d cast her for that part, I´d need to take a baritone to sing Dorabella - she is not a soprano. The voice is huge and beautiful. Mozart is all about those fine things and I prefer to drive in a small street with a Chevrolet Spark insteed of Mercedes 600 (if you understand what I mean).
escuchando...si...pero como rasiduor estaba escuchando la SCHWARZKOPF la garancia sabe pero no tiene la cultura de cantar? vmos a ver no quiero ver ganadoras quiero vero yo como tener la dos locas? aun? la garanca te quiero mucho
+Jose Hill Well the tessitura is quite variable in this aria, requiring both a mezzo-like chest register and an easy top (up to C6). Some mezzos would struggle above the staff and sopranos below.
+jmiller05 actually it's Bb5 not C6.. If you want check it on a keyboard. I think every coloratura mezzo-soprano, or high lyric mezzo can sing that, and she better have good technique, like Jose Hill said
I think that high mezzosopranos (like Garanca, Ganassi, Bartoli, and in the past Verret and Bumbry), with an easy top, don't have big difficulties in this aria. The difficulties would otherwise emerge if they would sing the entire role, which has many moments, expecially in the duets with Dorabella, where tessitura is definitely more suited for a true lyric soprano, and where true mezzos would struggle for sure. I think that also this aria is better suited for soprano. The jumps from high to low and viceversa should not be pushed too much; low notes are very low indeed, but are also aided from very light and smart orchestration... so, they don't really need to be pushed! It's certainly anything like Abigaille or Azucena! It's more like a joke, a woman who pretends to be very steady, but without believing very much in what she's saying. It's like Mozart was joking with the typical roles and modes of ancient opera seria... so I prefer to hear a (very good) soprano who sings low notes without overly pushing them and who can keep easy, fluid emission on high phrases, than a mezzo who pushes high notes and often also low ones, because she wants to make us aware that she can really sing them! If you hear this aria singed by Daniela Dessì, that is the way I think it should be rendered. She manages to keep all the registers together (no pushed chest notes) and to sing sweetly and beautifully, but also with the requested amount of "drama" (and with easy coloratura).
This is really bad!!! This women is nothing compared to Janowitz or Larson or Fleming Susan Larson is the best Fiordiligi though the other two come close.
![Summer Walker - Heart Of A Woman [Official Lyric Video]](http://i.ytimg.com/vi/SFddctbZzw8/mqdefault.jpg)
Fraseggio impeccabile, pronuncia perfetta, morbidezza e sdegno uniti (come chiede il personaggio e l'aria).
Veramente una delizia per le orecchie e per la piena comprensione del ruolo..
This lady has a fabulous voice and knows how to use it. Brava!
The discussions below regarding "soprano" and "mezzo-soprano" are actually irrelevant to music prior to Wagner and Verdi. The vocal distinction prior to these composers was Prima Donna [the star role, e.g. Fiodiligi; the Countess; Norma] and the Seconda Donna [Dorabella, Susanna, Adalgisa]. Singers often sang both roles in their careers.
Sublime Elina !
Thank you Felipe. 🌞
Whenever I catch a performance of an opera of Mozart's period, using a fortepiano for the continuo, my day is immediately brightened.
Браво,Элина ! ...ЗДОРОВЬЯ вам с семьей!
Hmm, she certainly handles the aria beautifully, and I always thought I would prefer the aria in a mezzo voice if I got the chance to hear it.
Now that I have, I think I do actually prefer the soprano voice in this. As usual Mozart knows better than me, lol. I like the gutteral way the soprano voice sounds when she descends from a very high note to a very low note; it really works with the character of what she is saying, what she is trying to convince the Albanian suitors of...
Elina is a mezzo for sure.
thanks
soprano .
@MissJessyeNorman I absolutely agree!!!! ;) And I have never heard Elina sing ''big, juicy, rich low notes'' although she has a beautifl voice...
...not to mention, herself, lol. Elina's voice blooms so beautifully in the lower register, it doesn't have the emotional bite I'm looking for. Mozart is such a master. He really knows voices and emotions so well, that he marries the voice type to the character and the voice leading perfectly!
bel canto, bel face, bel body, the star 10/10*****
She sings it perfectly. Her lyrical tops and fluidity are impeccable. However I had expected more power and bite in the low registers. Sopranos like Vaness and Varady were a lot more exciting
Very good vocal technique!!!
And another "mezzo" sings this aria beautifully as well- Bartoli. Distinctions may be blurred, or at least become so. Mozart never distinguished between degrees of soprano. What we term a mezzo today had no name other than soprano. Suzanne Danco sang both Donna Anna and Cherubino on two of the 20th century's greatest recordings of Mozart operas...go figure
Brava 🎼🌷🌷🌷🌷🎼
Bravo Garanca!
Браво,Элина !!!
Increíble cantante, una voz formidable y muy lindo rostro.
Genial!
you know how to make me smyle :-)
Yes. Sometimes the roles are switched. Dorabella can very easily be sung by a soprano with a warm timbre. Fiordaligi was originally written for a lady that had strong and beautiful upper and lower registers and nothing in the middle. Hence the aria that is always either on top or down under. Mozart wrote a number of roles that can be interpreted by different voice types - so long as one has the notes, the rest is open to interpretation
Elina Garanca. espectacular
meravigliosa
Actually, the ranges of Dorabella and Fiordiligi overlap and cross all over the place, which is why Ms.Garanca can sing the arias of both...
Bravissima
I agree, this may be her best singing I;ve ever heard. Chica's been singing rep that's too low....
@MusikPiratCH I meant in this scene, character, and aria specifically, not in music in general. And I didn't say a bad sound, I said a gutteral sound. It's still a beautiful sound in the soprano voice, but there's a touch of farce in it. What I was asking was how do you feel about Fiordiligi? Why do you think a mezzo voice is better suited to her conflict in this piece, meaning the text and subtext, and how does that translate given the tessitura and the range of the piece in your mind?
You´re perfect!
I also like the orchestra, who's the conductor?
excelente!!!!
Una versión muy consegida
Elina está muy bien,pero lo que me
parece impresionante es la orquesta y el director
Están perfectos
¿Alguien sabe quiénes son ?
I've always wanted to hear a talented mezzo do Come Scoglio, because I wanted to hear big, juicy, rich low notes, what fun! To those having the voice type discussion, here's my two cents. Although voice types do define tessitura, (which they do because of where the voice wants to live, and where it blooms, not where it CAN go) voice type doesn't define range. Mezzos and contraltos can sing as high as sopranos, thier music just doesn't tend to live in the stratosphere for the reasons above.
Certifié intergalactique!
what orchestra/conductor?
Conductor Louis Langree, orchestra camerata Salzburg
All the nonsense about her being a mezzo. Mozart did not distinguish between sopranos and mezzos when he wrote this. Both Dorabella and Fiordiligi were assigned to "sopranos" in the original score. The distinction was made in posterity.
@italianoameta Elina è un mezzo soprano; per aiutarti a distinguere meglio, visto che non è facile effettivamente, confronta con Netrebko, Bartoli, Ciofi etc etc.taf289
do you guys even know why Mozart wrote Fiordiligi's note to go up and down like that?
+Nicholas Daw "According to William Mann, Mozart disliked prima donna Adriana Ferrarese del Bene, da Ponte's arrogant mistress for whom the role of Fiordiligi had been created. Knowing her idiosyncratic tendency to drop her chin on low notes and throw back her head on high ones, Mozart filled her showpiece aria Come scoglio with constant leaps from low to high and high to low in order to make Ferrarese's head "bob like a chicken" onstage."
This is what's in Wikipedia about this
I also think it has to to with mockery. I guess he's just making fun of the dramatic attitude shown by Fiordiligi who in the end shows to be much less constant than how she claimed to be. "As a rock stands still against winds and storm..." yeah sure...
Using all these extreme intervals was typical of opera seria, which fiordiligi seems to represent, except, in the end, she doesn't.
thank you, very interesting and amusing comment
Let's be grateful that Mozart wrote it like that - isn't it glorious!!!
I had also read in Steptoe's "The Mozart- DaPonte Operas the jumps were designed to exhibit her"bosom" jiggling. Who knows? Great aria, great performance
@MissJessyeNorman I absolutely agree!!!! ;)
@MusikPiratCH How can you disagree by saying she sounds beautiful in the lower register, when I said that lol?
If you don't think that the juxtaposition of the beauty of the high notes with that of the gutteral low notes makes for the comedy that Mozart intended, in how and what Fiordiligi is trying to convince her suitors of, in juxtoposition to how she feels...then I get why you disagree.
But I would ask, why do you think a purely beautiful sound illustrates her emotional turmoil better?
alright, take the Mozart´s score and compare it to what she sings from 5:02. that´s all you need to do in order to undertand my point. and again: I am a huge fan of Elina.
I mean at 5:02 - it´s got nothing to do with Mozart´s score. Imagine, if I´d cast her for that part, I´d need to take a baritone to sing Dorabella - she is not a soprano. The voice is huge and beautiful. Mozart is all about those fine things and I prefer to drive in a small street with a Chevrolet Spark insteed of Mercedes 600 (if you understand what I mean).
1:30
escuchando...si...pero como rasiduor estaba escuchando la SCHWARZKOPF la garancia sabe pero no tiene la cultura de cantar? vmos a ver no quiero ver ganadoras quiero vero yo como tener la dos locas? aun? la garanca te quiero mucho
Because the tessitura for Fiorgilini sits so low, it's absolutely feasible for a mezzo to sing. They had better be an outstanding mezzo though...
+Jose Hill Well the tessitura is quite variable in this aria, requiring both a mezzo-like chest register and an easy top (up to C6). Some mezzos would struggle above the staff and sopranos below.
+jmiller05 actually it's Bb5 not C6.. If you want check it on a keyboard. I think every coloratura mezzo-soprano, or high lyric mezzo can sing that, and she better have good technique, like Jose Hill said
+Lady Bathory What are you on about? there is a scale that goes up to a high C6 followed by a trill.
jmiller05 my bad, sorry :) I have the score, but I didn't see that C6 :D but I think it's okay, for mezzos when it's on a scale
I think that high mezzosopranos (like Garanca, Ganassi, Bartoli, and in the past Verret and Bumbry), with an easy top, don't have big difficulties in this aria. The difficulties would otherwise emerge if they would sing the entire role, which has many moments, expecially in the duets with Dorabella, where tessitura is definitely more suited for a true lyric soprano, and where true mezzos would struggle for sure.
I think that also this aria is better suited for soprano. The jumps from high to low and viceversa should not be pushed too much; low notes are very low indeed, but are also aided from very light and smart orchestration... so, they don't really need to be pushed! It's certainly anything like Abigaille or Azucena! It's more like a joke, a woman who pretends to be very steady, but without believing very much in what she's saying. It's like Mozart was joking with the typical roles and modes of ancient opera seria... so I prefer to hear a (very good) soprano who sings low notes without overly pushing them and who can keep easy, fluid emission on high phrases, than a mezzo who pushes high notes and often also low ones, because she wants to make us aware that she can really sing them! If you hear this aria singed by Daniela Dessì, that is the way I think it should be rendered. She manages to keep all the registers together (no pushed chest notes) and to sing sweetly and beautifully, but also with the requested amount of "drama" (and with easy coloratura).
E per soprano, ma Elina che cosa e?. Mezzo dubbio...
Huippu.
non direi...
che oscena tutta indietro
Un mezzo con voce così calda e flessibile, non sta "indietro", ma secoli "avanti....;-)
no coloratura = no use. doesn´t matter how much I love Elina... - this is not her place.
This is really bad!!! This women is nothing compared to Janowitz or Larson or Fleming
Susan Larson is the best Fiordiligi though the other two come close.
Wrong. The best Fiordiligi is Elisabeth Grümmer.
@@jasonhurd4379 And Lisa Della Casa.
@MissJessyeNorman I absolutely agree!!!! ;) And I have never heard Elina sing ''big, juicy, rich low notes'' although she has a beautifl voice...