E Susanna non vien - Dove sono i bei momenti + Canzonetta sull'aria Netrebko and Roschmann
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- Опубликовано: 8 апр 2017
- Salzburger Festspiele 2006
Conte: Bo Skovhus;
Contessa: Dorothea Roschmann;
Susanna: Anna Netrebko;
Figaro: Ildebrando D'Arcangelo;
Cherubino: Christine Schafer;
Marcellina: Marie McLaughlin;
Bartolo: Franz-Josef Selig;
Don Basilio: Patrick Henckens;
Barbarina: Eva Liebau;
Antonio: Florian Boesch;
Don Cruzio: Oliver Ringelhahn;
Cherubim: Uli Kirsch.
Director: Nikolaus Harnoncourt
Deutsche Grammophon 
Видеоклипы
the power of roschmann's high A's is incredible
Röschmann is perfect. She is the reason I have listened to this opera so many times. Such passion and anguish. I love her non apologetic female power. She is no elegant lady tolerating measured regret. She is a force of nature. Bring it Röschmann! Don't let the haters take an inch off that passion! Thank you for a marvelous kick-ass performance!
Absolutely
I miss this Netrebko......
Exactly the way Mozart would have like it. Brava!
Two of the finest voices in opera.
Voci meravigliose, amo le opere di Mozart, sono le mie preferite.
magic
Необычная трактовка, избыточный драматизм и в этом есть своя изюминка!
Brilliant
Awesome! Flawless!
Превосходно! Шедевр! 🎉
loved it thank you what a voice and her interpretation is magnificent ! Bravo !!
Mi ha fatto lasciar une lacrime🥲
Labbro... yes, she cut. Is a mere but substantial breath’s mistake. Not the only one. Menzogne-ro is even worse. She has a voice like gold, pure gold, and is an EXCELLENT artist and singer. The rest of the aria is a chiseled jewel, perfect an incredibly powerful. Brava.
Veramente eccezionali!
Bravo, bravísimo.
8:40 ... I tell you those voices soared - higher and farther than anybody in a great place dares to dream. It was like some beautiful bird flapped into our drab little cage and made those walls dissolve away.
Qué belleza. Voces puras.
Die tiefsten Erinnerungen einer verletzten Frau an bessere Tage ihrer Ehe.
@wallshootout :: This Countess has a magnificent voice ! I use to have empathy for her but recently paid attention to the libretto of this scene. The Countess is mad because she has to get a servant to help her. Susanna is the only friend the Countess has and this is how she refers to her ... after all of the sympathy the Countess gets, it turns out, she is not deserving of Susanna's friendship.
@@cliffgaither I agree but only a bit! For my taste the countess is not mad! She is a woman who is hurt about your husband! And she is dissapointed about the whole situation. Her personality and her character are really very difficult.
@@wallshootout5616 :: I understand how she feels, but women usually value their female friends without regret that one is a servant. Who else can she turn to for help. The elitism kinda diminishes Susanna.
Echt prachtige stemmen en wondermooie muziek
Meraviglia ❤
Anna Netrebko fantastisch.Genau richtig.
Fantastica voce stupenda
This is where I think Netrebko should have remained.
Qué maravilla
👍👍👍
Roeschmann!!!!
💔💔💔💔💔💔💔💔💔💔💔💔💔💔💔💔💔💗💗💗💗💗💗💗💗💗💗💗💗💗💗❤❤❤❤❤❤❤❤
Ecco il genio mozartiano.
Anch'io ascolto quel genio.
bajar esasescaleras son la muerte!!!!
Strange interpretation. She looks like she's losing her mind at the end of the aria.
tan equivocada como ana en el papel de susanna
Я бы на такое смотреть не смогла, да и слушать трудновато, неуровновешенно
Прекрасный голос,однако ария тем и трудна,что нужно петь на одном дыхании.Это и есть мастерство.Увы,певица этого не показала,а наоборот,то,чего она не умеет.
Не совсем согласна с вашим комментарием. Певица спела в стиле и показала все грани владения бельканто) Очень хорошо сливаются голоса двух примадонн)
La contessa e' un po' sguaiata per essere una contessa. Ho visto interpretazioni assai migliori
I dislike Dorothea Röshmans' interpretation, sorry. This is not Puccini, is Mozart. She is not singing the score, all pianissimi and legatti desapered here, only interest in shouting which is not the sense of the aria. Think Röshman has a good vocal instrument but she doesn't know how to sing the Countess (I think she is not the sort of voice for the and she may not be able to sing it properly). I suggest Lucia Popp one of the most perfect interpretations of the aria also Te Kanawa. The Royal Opera House version of Röshman was a bit more restrained this rendition instead is strongly more vulgar. This is also a conductor's fault Harnkourt was supposed to be specialized in Bach and Mozart I don't understand why he admitted such an inappropiate and anachronistic rendition. This of course is just my opinion based on my studies I don't inted to set the last word on the subject and respect the taste every one has on the rendition of the artist. Thans anyway Mauel on your posting.
Elle se croit dans puccini la comtesse ? Ou dans la cavalleria..... forcément après ça galère pour la suite ......
And yes Putin’s nightingale is at it again!
Tu non appartieni a questo posto, ignorante!
brain death. victims of false propaganda and dirty politics.
stupid slanderers.
Bravisimaaaaa!!!
Toll!!
Gorgeous and the right right type of voice to play this role. The tempi are a bit rushed however.
8.30
why does she cut with breath a word "labro"???
Фил Миллер she cutted after labbro
I noticed too, but she cutted a word "promeza" because she was out of breath.
Because she is human ;)