I've loved Dilber since I got to know her voice 3 years... simply amazing singer... Her rendition of Lo Here The Gentle Lark is also breathtaking. It's on youtube somewhere.
This the first time I have heard Dilber and I am impressed .There is so much that is beautiful here, the timbre of the voice full and attractive. Just occasionally some lovely shading of the tone - for example ' C'etait Visnu , fils de Brahma.' What I would like to hear is more of that type of vocal characterization and colouring . She has clearly made an effort with her French pronunciation, but what is lacking is the French style. Therefore I am not sure it is fair to post it as ' The best' - she cannot live up to that . However I am delighted to discover this singer. Thank you so much Santimantalist for posting. I am now going to listen to Dilber in Italian music - I am enthused by what I have heard!
she has a rich upper registrars which has placed her above her pairs. she shld do dis song more often, maybe she may find another technique to nail dis song better. for wht i've heard so far, she's one of the best.
I'm no expert but Sumi Jo who was the voice for Veda Pierce in the HBO movie was just about perfect to my ear. I've also heard her do other in the Belle Canto repetoire and I really think she's fantastic.
hey, this lady is great, I had no idea she existed. nevertheless: the hardest spot in this aria is 7:42-7:46, and I'm quite 'happy' she has difficulties, too, with those two bars..
Jo sumi and Dilber are completely different. Not even close. This comparison is false! Katherine Battle used to sound like Angel to me until I put Dilber up with her back to back. Dilber has that innate quality of innocence and beauty and full humanity that is completely her own alone. She is Music! Katherine Battle sounds so small and dry and mechanical in comparison. Jo Sumi? Her voice is simply too rough and explosive to compare. She's Chinese like Michael Jackson is American. Get over it!
There is no comparison to Lily Pons' voice and Dilbers! Lily was a true lyric and has the flow of a Garcia method voice, not the hollow-stridency (especially in upper registers) of later techniques (seems best pre-1946).
Yeah, it's nice, but there are way way too many incredible performances of this piece out there to even begin to call this one "the best." It's "good." Nice tone at times, but it's a bit pressed vocally, and she appears (as would be expected) to lack a true pianissimo in the upper notes.
I respectfully and peacefully disagree. While I'm sure the methods have changed, I think that is simply due to the differences in vocal weights and colors. The more fullness, and color a voice possesses the harder it is to hit E, F6's, etc, as the voice is just so big. Even light voices that are big and full of color must hit these notes powerfully, as the voice must be thinned to attain them. I actually prefer the big voices filled with color. This is just my opinion and preference.:)))
Nonsense. It is neither necessary nor indeed tasteful to 'thin' the voice to achieve the altissimo register. Joan Sutherland's voice actually grew MORE powerful, not less, on top C, D and E flat. Edda Moser's top F in her studio recording of the Queen of Night's first-act aria is full, rich and strong, and Cristina Deutekom hurled out her staccato top notes with the weight of a flame thrower. And Maria Callas' top notes were huge.
She does not sound like a true coloratura in the high register; there is that stridency and non-lightness up there (more forced, like in Joan Sutherland), unlike in her lower registers. That sucky technique that 1960s and later singers made all the rage; where the once easily flowing-natural-vibrato then becomes over trilled (really exagerated in today's singers).
This lady is not exactly modest. On her own channel, moderated by herself, she posts this rendition with the title 'The best Bell Song performance.' My good woman, you are not even close. There are far superior versions by the likes of Lily Pons, Maria Callas, Joan Sutherland, Edita Gruberova, Anna Moffo, Roberta Peters, Ingeborg Hallstein and many others. This recording of the one-named Dilbèr (who has been kicking around Operaland since at least the mid 1980s, when I first heard of her) is not exactly bad. As I listened, I mused that this performance would be considered good were it to form part of a conservatory student's recital. As a professional outing...sorry, try again. There are far too many problems here. The most noticeable is the wobble of at least a quarter tone, which throws off the intonation in spots. The fioriture are far too careful, with no sense of abandon or virtuosity. The top Es (an essential note to have mastered for any soprano intrepid enough to attempt this piece) are strident and edgy, and the overall effect is monochromatic in sound and anonymous in feeling. For the true 'best Bell Song performance', look no further than one of the many renditions by French soprano Mady Mesplé, who made the role of Lakmè her own in the 1950s, choosing it as the vehicle of her 1953 debut, recording the complete opera twice and even starring in a film version. Mesplé's faultless intonation, dazzling coloratura, firmly secure upper extension and authentic French style all combine to make her Bell Song the finest ever recorded. Lesser talents would do well to study Mlle Mesplé's virtues, including that of professional modesty, before touting their own achievements as 'the best'.
OK, so maybe Dilber doesn't have the most ideal voice for this very high aria but at least three singers of your so-called "superior" list are actually worse than the Chinese soprano. Callas and Sutherland were dramatic coloraturas. They had no business in the lyric coloratura repertoire, especially not as Lakmé who is supposed to be a young naïve girl (not to mention Sutherland actually had to transpose the Bell Song so she could sing it). Anna Moffo's voice was more lyric than coloratura and it was also rather dark in tone, and she too took the Bell Song a full step down during her recitals. As much as I admire Gruberova - and I totally adore her - her renditions of the Bell Song are not her best. Her early 80s recording of this piece is quite bad throughout (except some parts of the opening vocalise) and then during the Anniversary Concert in the early 90s she strangely holds back during the staccatos of the bell chorus, and also her final high E starts a bit flat and doesn't settle until after a while. As for Mesplé, yes she is French and she understands the style of the music, but her voice also sounds very unpleasant at times, and those runs with 16th notes on the final page of the Bell Song are very clumsily sung.
OMG, i just recently heard something from her, and i love it.
She is the world class and No.1 singer… The best of the best…
this is THE ONLY recording where the soprano nails everything
best, hands down
I've never heard of this woman, but she's great!
One the best recordings of this aria I ever heard on you tube!!!! Brava!!!
I've loved Dilber since I got to know her voice 3 years... simply amazing singer... Her rendition of Lo Here The Gentle Lark is also breathtaking. It's on youtube somewhere.
This the first time I have heard Dilber and I am impressed .There is so much that is beautiful here, the timbre of the voice full and attractive. Just occasionally some lovely shading of the tone - for example ' C'etait Visnu , fils de Brahma.' What I would like to hear is more of that type of vocal characterization and colouring . She has clearly made an effort with her French pronunciation, but what is lacking is the French style. Therefore I am not sure it is fair to post it as ' The best' - she cannot live up to that .
However I am delighted to discover this singer. Thank you so much Santimantalist for posting. I am now going to listen to Dilber in Italian music - I am enthused by what I have heard!
Brava! Such a wonderful voice and so pleasing on the ears! First time hearing her, thank you for posting!
She is an Uyghur from China, so yes she is Chinese.
Love Dilber Yunus!
Wow! All I can say. Wow. Very, extremely, uber, mega, impressive. Wow.
Thanks for posting!!!
Awesome
She is Uyghur Turk oh my god .A great voice .I found fist time now.
很棒！
She hasa great voice! a little bit heavy but still a very, very good singer. I need to hear a lot more of her!
I am so glad that I am not an "expert". I can truly enjoy this performance without listening for faults.
the best version!!!!!!!!!!
she has a rich upper registrars which has placed her above her pairs. she shld do dis song more often, maybe she may find another technique to nail dis song better. for wht i've heard so far, she's one of the best.
I'm no expert but Sumi Jo who was the voice for Veda Pierce in the HBO movie was just about perfect to my ear. I've also heard her do other in the Belle Canto repetoire and I really think she's fantastic.
She has an amazing voice. love her bell song, and she is also the best Lisa in Sonnambula ever
@joesmith40 Lily Pons, whom Dilber reminds me of, is still tops. But wow, she's fabulous. Wow.
Lily Pons and Dilber are definitely have among the best renditions. But you should also listen to Mado Robins who takes a faster tempo.
hey, this lady is great, I had no idea she existed. nevertheless: the hardest spot in this aria is 7:42-7:46, and I'm quite 'happy' she has difficulties, too, with those two bars..
I guess what I'm trying to say is that I think the notes are powerful and not forced, lol.
Jo sumi and Dilber are completely different. Not even close. This comparison is false! Katherine Battle used to sound like Angel to me until I put Dilber up with her back to back. Dilber has that innate quality of innocence and beauty and full humanity that is completely her own alone. She is Music! Katherine Battle sounds so small and dry and mechanical in comparison. Jo Sumi? Her voice is simply too rough and explosive to compare. She's Chinese like Michael Jackson is American. Get over it!
This is really beautiful... but the best "Bell Song"ever is that of Ingeborg Hallstein...
纯净的天使之音从遥远的天际徐徐飘来，抚慰心灵 ， 没有被污染的天使之音
There is no comparison to Lily Pons' voice and Dilbers! Lily was a true lyric and has the flow of a Garcia method voice, not the hollow-stridency (especially in upper registers) of later techniques (seems best pre-1946).
She said that she is a Chinese
Yeah, it's nice, but there are way way too many incredible performances of this piece out there to even begin to call this one "the best." It's "good." Nice tone at times, but it's a bit pressed vocally, and she appears (as would be expected) to lack a true pianissimo in the upper notes.
OMG you are wonky wwonka2. The air up where you are must be pretty rare. Insane in the membrane you are. You sound like a snobatura.
I respectfully and peacefully disagree. While I'm sure the methods have changed, I think that is simply due to the differences in vocal weights and colors. The more fullness, and color a voice possesses the harder it is to hit E, F6's, etc, as the voice is just so big. Even light voices that are big and full of color must hit these notes powerfully, as the voice must be thinned to attain them. I actually prefer the big voices filled with color. This is just my opinion and preference.:)))
Nonsense. It is neither necessary nor indeed tasteful to 'thin' the voice to achieve the altissimo register. Joan Sutherland's voice actually grew MORE powerful, not less, on top C, D and E flat. Edda Moser's top F in her studio recording of the Queen of Night's first-act aria is full, rich and strong, and Cristina Deutekom hurled out her staccato top notes with the weight of a flame thrower. And Maria Callas' top notes were huge.
I disagree. Lilly pons sang it in "I dream too much". Perhaps as it was the first rendition I ever heard, nothing will ever compare...
No, i mean that she sing in live is not same
Is that Diber? No? the sound is wobble，and it's not like the recording
She sais Thatcher she is a chinese
well....... Not bad
haha, it seems you haven't heard of diana damrau
aaa what
Very nice. But not very French. I'll stick where I've been for 50 (?) years: with Mado Robin. PS Never heard of this lady, thanks!
She does not sound like a true coloratura in the high register; there is that stridency and non-lightness up there (more forced, like in Joan Sutherland), unlike in her lower registers. That sucky technique that 1960s and later singers made all the rage; where the once easily flowing-natural-vibrato then becomes over trilled (really exagerated in today's singers).
The recording is not too bad, but Jo sumi is much better than her.
This lady is not exactly modest. On her own channel, moderated by herself, she posts this rendition with the title 'The best Bell Song performance.' My good woman, you are not even close. There are far superior versions by the likes of Lily Pons, Maria Callas, Joan Sutherland, Edita Gruberova, Anna Moffo, Roberta Peters, Ingeborg Hallstein and many others. This recording of the one-named Dilbèr (who has been kicking around Operaland since at least the mid 1980s, when I first heard of her) is not exactly bad. As I listened, I mused that this performance would be considered good were it to form part of a conservatory student's recital. As a professional outing...sorry, try again. There are far too many problems here. The most noticeable is the wobble of at least a quarter tone, which throws off the intonation in spots. The fioriture are far too careful, with no sense of abandon or virtuosity. The top Es (an essential note to have mastered for any soprano intrepid enough to attempt this piece) are strident and edgy, and the overall effect is monochromatic in sound and anonymous in feeling. For the true 'best Bell Song performance', look no further than one of the many renditions by French soprano Mady Mesplé, who made the role of Lakmè her own in the 1950s, choosing it as the vehicle of her 1953 debut, recording the complete opera twice and even starring in a film version. Mesplé's faultless intonation, dazzling coloratura, firmly secure upper extension and authentic French style all combine to make her Bell Song the finest ever recorded. Lesser talents would do well to study Mlle Mesplé's virtues, including that of professional modesty, before touting their own achievements as 'the best'.
Jason Hurd it’s a fan page lol. Ms. Yunus doesn’t know about her songs have been on RUclips. In fact she doesn’t even know what RUclips is.
even the France lady you mentioned, someone still doesn't like her verison. some people always can find all kind of reasons. you know. haha.
OK, so maybe Dilber doesn't have the most ideal voice for this very high aria but at least three singers of your so-called "superior" list are actually worse than the Chinese soprano. Callas and Sutherland were dramatic coloraturas. They had no business in the lyric coloratura repertoire, especially not as Lakmé who is supposed to be a young naïve girl (not to mention Sutherland actually had to transpose the Bell Song so she could sing it). Anna Moffo's voice was more lyric than coloratura and it was also rather dark in tone, and she too took the Bell Song a full step down during her recitals. As much as I admire Gruberova - and I totally adore her - her renditions of the Bell Song are not her best. Her early 80s recording of this piece is quite bad throughout (except some parts of the opening vocalise) and then during the Anniversary Concert in the early 90s she strangely holds back during the staccatos of the bell chorus, and also her final high E starts a bit flat and doesn't settle until after a while. As for Mesplé, yes she is French and she understands the style of the music, but her voice also sounds very unpleasant at times, and those runs with 16th notes on the final page of the Bell Song are very clumsily sung.
錄音品質不錯，現場差遠了，舌頭僵硬，voyelle變形得厲害，輔音聽不出是什麼，appoggio差 聲音搖晃 而且太暗。都是華人能不能不要那麼假？
她是維吾爾人 : )