Відео

Car, with more intense.

Sehr unterhaltsam. Vielen Dank 🫶

Für mich ist und bleibt Jonas Kaufmann der Beste. Er singt jede Arie mit so vie Gefühl und schauspielerischen Können das es eine Freude ist ihm zuzuhoeren.

Warum plötzlich in Englisch? Abo beenden

Ich mag diese Arie sehr. Ebenso wie die gesamte Oper. Und mir gefällt die Stimme von Placido Domingo von allen Tenören am besten. Jeder Mensch hört subjektiv! Danke für deine Serie.

DOES ANYONE KNOW WHAT'S HAPPENED WITH PETER PAWLIK AND THE THAT'S OPERA CHANNEL? WE HAVEN'T HEARD FROM HIM FOR AGES. I HOPE HE'S ALRIGHT.

Grossartig Danke

At the beginning of the movie "Educating Rita," she gets an exam essay question about how to solve the staging difficulties of Peer Gynt (I think). Her full answer: Do it on the radio.

Magnificent. So believable. Thank you ❤

We are missing you, when will there be some new videos?

Nothing interesting about German regie concepts of opera, just the blown up egos of modern stage directors. Take a modern play and bring as many dishwashers, locomotives and surgical beds on stage as you want. Leave Il Trovatore and the other classical operas alone! We love them with all their absurdity and fairy tale narratives.

You can tell from the tone and the phrasing which ones can express every word and which ones are vocalising. Pavarotti still reigns supreme.

It's not beautiful. Strauss made it difficult on purpose because he hated the tenor voice. That said Pavarotti handles it well.

Pavarotti voice is very thin a lacks tone and emotion.

Bavarians are not German! They are the last Red Indians of Europe

Pity that Gedda and Wunderlich are missing...

Mario Lanza 👑

Schön erkannt und erklärt, und es geht weiter......für mich war der Castorf Ring ein beglückend, bildreiches und anregendes Erlebnis .

I think it's taking the action too literally to say that Pat Nixon is "confused" in the Red Detachment of Women scene. The libretto has already blurred the line between the "real" action and the ballet-within-a-play by casting Henry Kissinger as the evil landlord - something that definitely did not happen historically. In the original production multiple characters move into the dramatic space of the ballet and by the end of the act the entire stage has dissolved into chaos. It's not meant to be taken literally.

Seek out Jussi Bjørling singing in Swedish

He eating all ,without Pawarotti ua-cam.com/video/InB4_Zw8L9U/v-deo.htmlsi=jyyxRhnyfbc9csoj

kudos to the hungarian guy for that unwincing openness on the high notes but with perfectly beautiful sound! Great technique all the way up and down. I’ll bet you anything that he is lesser well known NOT due to his singing.😊 But that’s the opera world today

i would say out of these Araiza. The best voice and best expressivity. Also he has that sort of rich baritonal timbre, but perfectly natural without any artificial darkening. A very beautiful and natural technique.

Tebaldi and some other singers. Yoncheva is directly a mediocre singer with a voice of low category.

I know the aria very well. Also that, Pavarotti is impregnable in his recording of it. I cant imagine and, don't wish to, let alone hear the absurd sounds of Kaufman having the brass neck to even attempt this music.

Pavarotti è insuperabile The King, sembra scritta per lui

Wonderful opera! Gives space to the pure love of Werther for Charlotte being an expression of love often excluded today as not real. I think it is beautiful to allow an expression as a way of love. Maybe from previous experiences he has found himself in a life of loss to understand himself ❤

You've been missing in action too long: I hope it's because you're too busy with gig!

Something about Agresta’s performance brought me to tears-the barracks looking setting, her exhausted frustrated appearance, sweet voice. One never knows who might affect you this way

Peter Hofmann is a perfection vocally and visually.

Pavarotti ... of course. (By the way, that high note is written as a C-FLAT, not a B natural...)

Alle ziemlich perfekt! Kaufmanns Timbre finde ich immer wieder sehr gewöhnungsbedürftig. Daher: Bezala, Pavarotti…

I can' explain why good singing makes tears flow.

Both singing this aria extremely good.

Radvanosky, Wilson and Grigorian are not Turandots! If you want to hear real Turandot's you have to go back in time Anee Roselle, Eva Turner, Nilsson ext. ext.

ua-cam.com/users/liveqiIzn0vBxoY?si=9R8mlWJJkrfujPHL I attend this one here in LA, what do you think?

I love the music and the singing and, personally, I don't mind the presentation, love all of them and, also, don't mind new and even weird stuff, if they keep the singing and the music.

This is what I'm always looking for in an opera singer and what I feel often gets lost, the fact that the acting needs to be held equal to the singing. This is why Domingo, Milnes, Stratas, and Cossotto are amongst my other favorites, they throw themselves so totally into their characters

What a performance. Einmalig.

Oh my God such a riveting portrayal by both artists! Thank you for the supertitles in both French and English. Many of us know French but it helps to read the English in bigger font! The incredible voices in such dispair... determination, repeated explaining, begging, clarifying, the moment Don Jose switches to a threat! I'm not sure he really meant to kill her with the knife, but it's done. and then. he feels that by putting the ring back on her finger, she has not left him. What a portrayal and performance by Roberto Alagna and Elina Garancia. Thank you. Bravo

A good symphony orchestra doesn't need a conductor, though it can benefit from a great one. But an opera orchestra absolutely needs one, because the orchestra can't hear the singers and the singers can barely hear the orchestra. Without a conductor, chaos would ensue.

Tebaldi's last note was a smidgeon flat. Sorry . . .

I had the honor of sitting next to her and her husband at a Met broadcast of Macbeth in Miami Beach. My wife shushed me and told me not to bother her. I ignored her and kvelled, “Madame Scotto, we LOVED you at the Met! You were so great, especially your Elisabetta!” I’m glad I did.

My father back in Russia found this video today and sent to me. I'm very delighted that you put me in the list of such wonderful singers and I also would like to say "thank you!" to everyone who wrote that my performance is their second best after Pavarotti! As you might have noticed, my own interpretation of this aria is heavily inspired by Pavarotti version, as I try to get all of his phrasing. Indeed I would agreed with one of the comments stating that video from MET was dubbled with other recording because I listened to this recording many times before. But nevertheless He is the Best for me! But all of the singers here in the video are impressive! Since I don't know you personally, and don't know where you are in Germany, I'd like to invite you to Deutsche Oper Berlin, if you would like to hear me performing live next season. Lucia, Traviata, Boheme, Macbeth, Rigoletto, Zauberflöte and so on. Also I will sing Alfredo in Deutsche Oper am Rhein and Versi Requiem in Wiesbaden. If you'd like to meet personally - please contact me on Facebook or Instagram) And once again, thank you for such kind words!😊

Honestly, I would far rather watch Zeffirelli's production. At least it makes sense dramatically. And what's wrong with a bit of gratuitous OTT staging?

I like Adams, but in my opinion the work is too long, too repetitive and, above all, “Nixon in China” has one of the most terrible librettos of all operas. I see the plea for the work as ambivalent.

I missed no.5.

Have you ever seen the opera "The Teabag"?

She was fantastic, and, in my opinion, she was very beautiful, charming, and perfectly natural. She wakes up so scared in Manon that we feel very sorry for her, and it squeezes our hearts I felt myself alone, lost and abandoned. Can I confess that at the end I almost cried... lol. My God, it's amazing. Very good video choices, thank you.

Small point - Clytremnestra is queen of Mycenae, not Mykonos. But I love what you're doing. Great excerpts.