Rossini’s “Nacqui all’affanno … Non più mesta” from La Cenerentola
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- Опубликовано: 1 май 2019
- Renowned mezzo-soprano Joyce DiDonato presents a series of three master classes focusing on opera arias. Here Ms. DiDonato coaches mezzo-soprano Ané Pretorius with pianist Shannon McGinnis on Rossini’s “Nacqui all’affanno … Non più mesta” from La Cenerentola (1817).
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• Joyce DiDonato Master ... .
Mezzo-soprano Joyce DiDonato’s performances have been called “a model of singing in which all components of the art form-technique, sound, color, nuance, diction-come together in service to expression and eloquence” by The New York Times. The revered singer presents a series of three public master classes for young opera singers who were chosen from an international pool of applicants. To learn more about Carnegie Hall’s Workshops and Master Classes and to apply, visit www.carnegiehall.org/workshops. 
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Love the incredible wisdom of Joyce Didonato ... Thanx for such beautiful teachings, beyond of the beauty of the musical domain..
She would need to start over from the beginning by developing and strengthening her chest voice and her falsetto register separately, and maintaining gola aperta throughout her voice. Also, there are so many tensions (that's why her mouth shakes) and she is pushing. This aria is way to hard for her now.
@richbari No, I mean falsetto. All voices need to strengthen their two muscle groups/registers separately. Most often men need to strengthen their falsetto since they mostly talk in chest voice, and women, often talking in head voice (which is closer to falsetto) usually need to strengthen their chest voice.
You clearly don’t know what you are talking about. Women do not have a falsetto register
@@ryanschroeder3535 You do know that the male and female voice organs are functionally identical, right? They differ in size, but have the same muscles, tendons, and cartilages, and subsequently have identical mechanics. All human (healthy) human voices create sound in the same way, and have the same possibilities of registration.
Saying that female voices don’t have falsetto would be like saying that a small arm don’t have the same possibilities of movement as a slightly larger arm.
I would advice you to read some more about anatomy, physiology, and acoustics.
I can tell with more training and drilling the basics she could definitely be a great singer. Her vibrato seems really developed but her vowels seem a little weird and she tries to default them into an Ah sound especially the Os and she sort of muddles the fast riffs. She might just be relying on her natural talent which might work for class but not in a career.
the decision to stay in the upper register on "trovate" at 3:25 is indicative of the un-trained chest register.
She has a technical problem. The voice is noch balanced formed.
True.. also her vibrato is already too big for her age.
Agreed. And I'm not convinced she's a mezzo.
@@operaticxingenue she is a soprano
@@operskapevacica1 Just out of curiosity, what makes you think she's a soprano and not a mezzo. Is it a tessitura thing? Is her low register not strong enough for her to be a true mezzo? I'm intrigued
@@ChristopherPettersen she's a soprano who can sing low notes. Listen to where the beauty of the voice is! It isn't in the low or middle. In a true mezzo, the beauty is in the low and middle voice.
Chest voice is under-developed. Wobble will ensue as a result of all the tension involved in trying to compensate.
🙄😬
I'm not convinced that she's a mezzo. Yes technique is lacking, tension etc. All correctable.
Низкая позиция и трудно это спеть
Ein erfahrener und kompetenter Stimmcoach kann sicher die Fehler analysieren und durch sinnvolles Vorgehen die Stimme reparieren. Didonato kann es jedenfalls nicht.
So wird sie keine Karriere machen.