You suppose she doesn't respect the composer by making his music sound so alive that it moves practically every listener to tears? Music is LIFE. Emotion. Feeling. The singer's task is not only to sing all the notes correctly but to convey to the listener the message of the music. And Kasarova does it much better than many other technically impeccable singers. When she sings Sesto, I can hear him, his thoughts, his guilt, remorse and love, I can see Sesto as Mozart wrote him.
I agree completely! This particular aria is very difficult to act so convincingly , since it has so many repetitions of different parts in it. At one point it could become just boring. Not in her performance however. Just as you say, it is simply alive , you see a feeling, thinking person in flesh and blood in her Sextus.
Shattering and hear-breaking. I can never get over this Sesto who is so full of grief and pathos. Kasarova is incomparable. I'm off to find and order the Zurich dvd.
I've heard a couple of interpretations of this aria but none captivated me so much as this. Brava. (And I love her uniquely sinister and manipulative interpretation in the Zurich production) A performer I'll never be tired of; to see her perform live is definitely on my bucket list.
The Zurich Deh, per questo is something else altogether (not that this ain't brilliant; briefly put, no one else sings/explores Sesto quite on par with her - this one is noble but fatally flawed, that one is nobody's fool).
I love this rendition too but I don't have the guts to re-watch it too often. It's devastatingly heart-breaking. If I were Tito, I'd pardon her in an instant, then hug her and weep. One has to have a heart of stone to not surrender to this plea.
To all those making their elaborate educated comments on kassarova's interpretation of this aria, may I just add that in Mozart's era, the top vocalists i.e. the superstars of their times who, depending on their popularity, were humbly asked for roles in opera's just demanded the liberty to draw the piece to their own liking. It was no exception that arias were slightly altered to suit the liking of the singer. There is no Mozart rule on how the arias should be sung. It is the eternal debate between all those "experts" claiming their truth. Simple: within the framework of the piece, liberty is granted. From reading some of you, I guess that few might actually have had musical education. To you I advise never to forget that, although good education provides you with the techniques, singing any song, either classical or popular will always be a creative expression per sé, leaving space for your own colouring. This is what makes different people like different singers.
Inderdaad dit is goddelijk, ik moet ook een ieder aanraden bij een depri bui dit niet te draaien. Dat mens is gezegend met een heerlijke volmaakte stem. Ik heb er heel wat voor over om zo te kunnen zingen.
In that year, i had the choice of Don Giovanni with Netrebko and this Tito!!!! After seeing the record of Kasarova I've been sad, that i didn't see that!!! MOZART AT HIS BEST!!!!!!
I completely agree with you! This is exactly what bugs me about her! I mean, who am I to say anything about any voice, but, she has this break in every song she sings... Apart from that, we can't say that she's a bad mezzosoprano.
@jmahlon I agree, to an extent, but a lot of that is Harnoncourt and his modernized/romanticized interpretations. Not that Mozart has to be totally free of flexibility, though. Her diction needs work, but it's cleaner in this recording than others. This whole production is very different musically and dramatically, so I'm not surprised to see an experiment like this. I don't think it works, though.
If you want to hear this aria sung the way Mozart intended the Teresa Berganza video on RUclips is a good example. Compare the beginning of the aria and how Berganza isnt selfish and keeps the line moving the way Mozart WROTE it, no ugly INSERTED shadow vowels, no showboating. Kasarova allows her emotional commitment take over the phrases and rythms. Its a choice its just not a Mozartian one.
It is possible to be extremely emotionally involved while respecting the notes on the page. She constantly stretches his melodies, and inserts vowels that don't exist on the page, marring the beauty of what Mozart wrote. He did not want a fermata every other note.
Wasn't it Mozart himself, his contemporaries and those before them, already having to deal with the freedom the great divas (equal to the popstars of today) in interpreting the arias? There is no strict line in the opera scores. Mrs. Kasarova just gives a superb rendition here.
By "uneducated" you mean me? I am sure she trusts the composer. She just doesn't think it a crime for the interpreter to add his/her own art and soul to the performance.
What I know is that Mozart knows how he wanted his music sung, and Kasarova ignores his muscial markings, she is attempting to emotionally connect to the music, I believe, however she is not singing what is on the page. When I listen to Mozart I want to hear someone singing him who respects him.
I like Kasarova a lot, specially in Rossini. I respect everyones opinions but I do have to say this is out of style sound too romantic. Too much rubato. Certainly not according to Mozarts intentions or the way this opera was composed. She is very musical thou and has such a great technique
She's not only destroying the phrases in the beginning, she is also adding shadow vowels. Additionally Mozart should be sung cleanly, and she feels she knows better than his musical markings. When you think you know better than Mozart you never actually do. His music doesnt play correctly when you add in emtional breaks, and the other crap she does. Good singer slaughtering Mozart.
I suppose you believe you know better how to sing Mozart. I wonder what exactly makes you think this way so as to call the interpretation of one of the finest Mozart mezzo-sopranos "slaughtering".
You suppose she doesn't respect the composer by making his music sound so alive that it moves practically every listener to tears? Music is LIFE. Emotion. Feeling. The singer's task is not only to sing all the notes correctly but to convey to the listener the message of the music. And Kasarova does it much better than many other technically impeccable singers. When she sings Sesto, I can hear him, his thoughts, his guilt, remorse and love, I can see Sesto as Mozart wrote him.
I agree completely! This particular aria is very difficult to act so convincingly , since it has so many repetitions of different parts in it. At one point it could become just boring. Not in her performance however. Just as you say, it is simply alive , you see a feeling, thinking person in flesh and blood in her Sextus.
That's so beautiful! how dare you to have such an angelic voice?!!! Love.
Shattering and hear-breaking. I can never get over this Sesto who is so full of grief and pathos. Kasarova is incomparable.
I'm off to find and order the Zurich dvd.
I've heard a couple of interpretations of this aria but none captivated me so much as this. Brava. (And I love her uniquely sinister and manipulative interpretation in the Zurich production) A performer I'll never be tired of; to see her perform live is definitely on my bucket list.
The Zurich Deh, per questo is something else altogether (not that this ain't brilliant; briefly put, no one else sings/explores Sesto quite on par with her - this one is noble but fatally flawed, that one is nobody's fool).
Vesselina is divine!
I love this rendition too but I don't have the guts to re-watch it too often. It's devastatingly heart-breaking. If I were Tito, I'd pardon her in an instant, then hug her and weep. One has to have a heart of stone to not surrender to this plea.
Arashi110 Sesto is a man
C’est divin!!! La plus magique du monde entier!
Best Sesto!!!
To all those making their elaborate educated comments on kassarova's interpretation of this aria, may I just add that in Mozart's era, the top vocalists i.e. the superstars of their times who, depending on their popularity, were humbly asked for roles in opera's just demanded the liberty to draw the piece to their own liking. It was no exception that arias were slightly altered to suit the liking of the singer. There is no Mozart rule on how the arias should be sung. It is the eternal debate between all those "experts" claiming their truth. Simple: within the framework of the piece, liberty is granted. From reading some of you, I guess that few might actually have had musical education. To you I advise never to forget that, although good education provides you with the techniques, singing any song, either classical or popular will always be a creative expression per sé, leaving space for your own colouring. This is what makes different people like different singers.
La Clemenza di Tito is such an underrated opera -I think it is one of Mozart's best.
...Agree, but do not forget Lucio Silla. The other underrated and magnificent one.
Indeed I think Clemenza is Mozart best opera ONLY AFTER Da Ponte's trilogy.
Inderdaad dit is goddelijk, ik moet ook een ieder aanraden bij een depri bui dit niet te draaien. Dat mens is gezegend met een heerlijke volmaakte stem. Ik heb er heel wat voor over om zo te kunnen zingen.
ich glaube s singt noch kein mensch ich habe es fuer Contralto and countertenor komponiert. Ich liebe deine Stimme seit so vielen Jahren
Oh yes, this is one of my all-time favorite operatic numbers. Though I, too, prefer a bit more brisk tempo like on Kasarova's 'Mozart Arias' CD.
without a doubt :-) and this is the most interesting production of the opera, as well (romanticized sound or not).
In that year, i had the choice of Don Giovanni with Netrebko and this Tito!!!!
After seeing the record of Kasarova I've been sad, that i didn't see that!!!
MOZART AT HIS BEST!!!!!!
*wails* And I may never have this chance in all my life!
Well, anyways, apart from all that discussion about breaks, she's probably my favourite Sextus. =)
I completely agree with you! This is exactly what bugs me about her! I mean, who am I to say anything about any voice, but, she has this break in every song she sings... Apart from that, we can't say that she's a bad mezzosoprano.
@jmahlon I agree, to an extent, but a lot of that is Harnoncourt and his modernized/romanticized interpretations. Not that Mozart has to be totally free of flexibility, though. Her diction needs work, but it's cleaner in this recording than others. This whole production is very different musically and dramatically, so I'm not surprised to see an experiment like this. I don't think it works, though.
das ist nur die Haelfte der lyrics, ich werde es heute auffuehlen.J.S.Grigorian
Zertifiziert intergalaktischen!
It's weird to think that 42 is like 27 in opera years! The one entertainment industry where it is usually better to be old!
Oy, ya' never know, matie. Maybe you will one day. She's still only 42. :o)
If you want to hear this aria sung the way Mozart intended the Teresa Berganza video on RUclips is a good example. Compare the beginning of the aria and how Berganza isnt selfish and keeps the line moving the way Mozart WROTE it, no ugly INSERTED shadow vowels, no showboating. Kasarova allows her emotional commitment take over the phrases and rythms. Its a choice its just not a Mozartian one.
Check my comment. It might enlighten your stance.
How much longer is the opera in whole than the normal tempo in whole? The problem is defining normal.
damm it and the man died a pauper
It is possible to be extremely emotionally involved while respecting the notes on the page. She constantly stretches his melodies, and inserts vowels that don't exist on the page, marring the beauty of what Mozart wrote. He did not want a fermata every other note.
Wasn't it Mozart himself, his contemporaries and those before them, already having to deal with the freedom the great divas (equal to the popstars of today) in interpreting the arias? There is no strict line in the opera scores. Mrs. Kasarova just gives a superb rendition here.
By "uneducated" you mean me? I am sure she trusts the composer. She just doesn't think it a crime for the interpreter to add his/her own art and soul to the performance.
Well, not really, cause she's singing like with the break today, not in the old days before Verdi... but, everybody's got a different taste, right?
What I know is that Mozart knows how he wanted his music sung, and Kasarova ignores his muscial markings, she is attempting to emotionally connect to the music, I believe, however she is not singing what is on the page. When I listen to Mozart I want to hear someone singing him who respects him.
du singst dann die Hauptrolle
I like Kasarova a lot, specially in Rossini. I respect everyones opinions but I do have to say this is out of style sound too romantic. Too much rubato. Certainly not according to Mozarts intentions or the way this opera was composed. She is very musical thou and has such a great technique
Du kannst sicherlich gut meinen Bruder Evgeny verkörpern
She's not only destroying the phrases in the beginning, she is also adding shadow vowels. Additionally Mozart should be sung cleanly, and she feels she knows better than his musical markings. When you think you know better than Mozart you never actually do. His music doesnt play correctly when you add in emtional breaks, and the other crap she does. Good singer slaughtering Mozart.
I suppose you believe you know better how to sing Mozart. I wonder what exactly makes you think this way so as to call the interpretation of one of the finest Mozart mezzo-sopranos "slaughtering".
Perhaps if she trusted in the composer it would move everyone, not just the uneducated.
I agree with "jmahlon" 100%! Great singer, but she should sing what's on the page! Mozart is about simplicity! It is so frustrating to listen to.
Her's is not an interpretation but a mutation. I hardly recognize the aria.