Відео

Wonderful to hear Komm Hoffnung sung with true legato and mastery of the fiorituræ. This is Leider's experience in Verdi and Mozart coming to the fore. Leider is also the only singer I've heard insert an appoggiatura on the first syllable of 'grimme' in the recit. I know a lot of fans don't seem to appreciate Fidelio, but for me it is one of the most moving operas ever written. That moment in the dungeon when, to encourage her husband she says 'Never forget, whatever you may see or hear, that there is a Providence.' Then murmuring to herself in an aside, 'Yes! There IS a Providence!', revealing that her two-year ordeal had destroyed her faith in God, which has now been restored. Then the joyful prefigurations of the IXth symphony in the opera's finale. It just is inconceivable to me that an opera lover would not be moved to tears by this magnificent work. Ah well. De gustibus non est disputandum. Thank you, Manoli!

👍👍👍🙏

Seems it's the week of first and last times.Mussorgsky and Beethoven.Fidelio was a libretto stolen to French writer Bouilly.And after that it started the life of a tree on its own.Different writers, different number of acts.And Beethoven changing the music from one version to another.Thank God he didn't distract himself from his Symphony world with more óperas.Even the name is not clear.For some Fidelio and for others Leonora the joy of marital love. What is clear is that the 1880 onwards brought incredible sopranos like her and Claudia Muzio,for instance.She was the Queen of this opera and of all the hard core Germans.Claudia was more Bel Canto and the delights written for her specially by her angel Refice.Delights that today everyone sings like Ombra di Nube which was Her Song. In any case,all these sopranos unfortunately sound very similar.Firstly because of the bad recording.And secondly because there were very strict rules,very high tessituras,no way to improvise. Luckily this didn't happen in the Twentieth century and therefore we can have the geniality of Maya and the versatility of Simionato.We recognize every one of them and they invented new rules. The problem of course came when the singing was over and the Divas melted.In the case of Muzio and after terrible sadness she died at The Majestic in Rome.But Refice was able to bury her in the regular cemetery and ordered a beautiful statue tomb of a woman that is a flower.He even situated the Star of David on top of Pavia,her homeland. In the case of Maya and after a long period of sadness she.died almost alone.And her cinders are kept in a small burial box in Paris and the rest are softly caressed by the waves of the Aegean Sea. The Twentieth century brought liberty and Je Ne Sais Quois to women singers.But not always happiness.❤🎉

Beautiful! Thank you! ❤🎼🎶

Niemand war besser,interessanter in dieser Rolle,als Nesterenko.

It´s ok, dear schicoff1398,

Nesterenko was an excellent artist with a good sense of proportion and taste. It is nice to have a realistic portrayal of this scene, as a tonic to the eye-rolling, silent-movie antics of less talented actors. Thank you, Manoli!

Mussorgsky first and last opera.The story of two Tzars Godunov and The wicked Dimitri at the very beginning of the eighteenth century.The opera was made in the end of the nineteenth.In Russia they thought it was a very important subject based on a Pushkin text and therefore it should be bright and rich and the libretto was given to Rimsky-Korsakov and to Shostakovich to make it delightful.With the time everyone saw that Mussorgsky s idea s were better and it became Russia s most famous opera , even more than Tchaikovsky s E Onegin. As for the singer,a bass like you.Born in St Petersburg he sung French, Italian and even Mozart,Don Giovanni,IL Barbieri,Die Zauberflotte...When he moved to Moscow he was in charge of the music from The Bolshoi. Finally he ended in Vienna where he got in touch with another way of making opera and gave masterclasses. I believe Boris Cristoph is better but what do I know.Maybe you prefer him for some kind of óperas. As modt Russians he was also an Engineer, which was ALWAYS handy in case of losing your voice...❤🎉

La più bella delle versioni. Da brividi

Very nice presentation. Singing, artistry, costumes, everything is beautiful. Thank you, dear Manoli.

As a Spaniard all my joy is to enjoy a little bit of Bel Canto daily.For some people of my country it's even too steep and that's why Zarzuela was invented.To talk about daily things,things everyone could understand. Today on the plate we have hard core German.As I can't leave my greens, I'll get on with it.Strauss wasn't really an opera fan.He decided he had to do it because everyone was. He took Hugo von H by an ear and put him to write Salome and Elektra.They took the beautiful texts by Sophocles and filled them with hate, violence and buckets of blood. Once that done Strauss put 111 musicians to really hear his music, which was what he really wanted.As if they all were in L Arena di Verona but with a roof on top.People from that time said that normally few knew what Opera was being in progress, normally by the dresses they wore. Once Agamemnon died his widow decides she needs more blood.To sleep she needs the right blood.And tries with son Orestes.But she fails with the axe and finally they All decide it would be better to kill Her so she can really rest.Elektra is a mute witness to it all and all that having to help her sister in her marriage,servants coming in with information...And all in one act. Regina is the gem of the day.Born north American,you should make her swear she's not German.She speaks it well,she looks German alright. It's incredible how people like her or Dame Gwyneth Jones wander happily through these worlds and stories.But at least the latter is Welsh so Celtic. Regina was a soprano,then a mezzo and I think the gentleman is right when he sees a contralto shining through her.Later on she became stage director and costume designer.Really skilled. Well Dear MANOLI,I think after this we should deserve a little Italian wonder.PLEASE... Otherwise Ill need to have it long drink, Strauss style.But Ill need no 111 but 222 musikanten.Something that transports me from horror to a New Year's Concert.That would be just fine.❤🎉

Regina Resnik as Queen Klytämnestra has it all. Incredible acting skills as a tragedienne, thus marking Klytämnestra's guilt, haggardness, and paranoia; elegance as a regal queen, and chest tones akin to a real contralto complete with her trademark mezzo-soprano extension. I also state that she has those contralto-like chest tones because Resnik also had a go at Erda, Madame de Croissy, the Old Countess, and Ulrica aside from Klytämnestra.

This was his debut opera and the famous high D will forever be associated with him. As great as this high D was, his live high Ds were even better. For example, with Dame Sutherland in I puritani or with Enriqueta Tarres in Les Huguenots.

One of my very favourite coloraturas - she has left us such an amazing legacy.

I just watched him on Two Sisters from Boston, here on youtube. An old man I assumed was being voiced over, but he was too perfect for what would have been primitive voiceover. The last scene he takes over. He was born in 1890 and the movie was made in 1946, so he was belting it out at 56 years old!!

Her best recording of this aria with a much steadier tone and pitch than her later one.

This is great mon ami 😅 our Bubbles ❤

From the excellent series of vintage opera films originating at the Hamburg State Opera, a series that includes Le Nozze di Figaro, Zauberflöte, Fidelio, Freischütz, Zar und Zimmermann, Meistersinger, Help! Help! The Globolinks!, and The Devils of Loudun. We already knew, from Resnik's Decca recording with Solti, that her Klytämnestra was sumptuously sung and vividly acted; but to actually see her inhabiting the role physically as well is an embarrassment of riches. What a pity that she left so few performances on film or video, making this one doubly valuable. Thank you, Manoli!

Wonderful singer and actress. Thank you, dear Manoli.

Simple melodic and cheerfull pop music for family happy hour

I also adore her as Azugena.

Is that Blanche Thebom?

One voice, top to bottom...amazing.

Mitridate has been my favorite Mozart opera since first hearing the Hager recording in 1977, when I was fourteen years old. This was always my favorite number; but then, I'm a sucker for a good rage aria. Spyres is the finest Mitridate in my experience, not just for his superlative vocalism, but also for the wide dramatic and emotional range he brings to the part. I feel sorry for the audiences between 1771 and 1971, who never had the opportunity to hear this magnificent work. Thank you, Manoli!

Again the story of the King of Ponto.The man who fought two wars.One against the Roman Empire and another one against his sons for the love of ASPASIA. It all started when Wolfgang Amadeus and father Leopold went for a tour in Italy.There he was commissioned an Opera about the fights of the Greek against foreign occupation. Actually it's a story of love, blood or family ties being thicker than water or love for women.They were all in love with the woman who finally gets them together to save their country.The King shows rage because he has chosen ISMENE for one of the sons. The voices are All very clear.Tenors, sopranos,alto soprano, castrato soprano...The appearance of a baritenore adds some freshness to the whole thing. Being as I am a lover of low voices I guess we could recover from the draught of sopranos and tenors with a few baritenores,and Mezzos with long tessituras.That would do the job.Because baritones and basses are right now great. Dear MANOLI I understand your inconditional love for this opera given your Greek roots. The dress code is more PUCCINI like in one of his oriental dreams.But it adds in colour and vibrance.❤🎉

Love Cotrubas chest notes! McNeil is the master of his fach! Great dramatic version!

Thank you, Manoli!! This is a phenomenal recording!!! I've never heard this one before! And GOOD FOR HER!!! The NERVE of Richter saying no ornamention! By thrn, she was already well known for these ornamrnts! And they were magnificent!! Thank you for sharing!!

Spyres est au ténor ce que Ramey est à la basse: la virtuosité.

I like Michael Spyres' voice. This baritenor voice is very impressive. Thank you, dear Manoli.

Three marvels for a great Opera.Three real dames of excellent singing.❤🎉

Only a genius can deliver such finezza and beautiful performances ❤🎉

I agree with the Barone as usual.Siepi is the utmost of Don Giovanni's even over Ramey.❤🎉

The aria is extremely beautiful 😍❤️, although the recording could be a lot better sadly.❤🎉

Cotrubas and Pavarotti are a way to success usually.I don't know whoever dared to call her a. RAIN MAKER...❤🎉

She's absolutely superb.So clear cut,so inmersed and identified with her character. And those scales and high notes...❤🎉

Siepi.What a wonder.Such a credible Don Giovanni.Beautiful scene.❤🎉

His voice is so full and grave.What a beauty 😍❤️. I prefer him in sad arias but he never deceives.

Great at Wagner and ALSO as Mozart s Donna Anna.What versatility...❤🎉

The joy of being a mezzo with a never ending tessitura.❤🎉

The joy of being a great Mezzo with a never ending tessitura.BRAVO.❤🎉

She's made for the role and the beautiful coloratura.❤🎉

She's made for the role and the beautiful coloratura.❤🎉

Amaral loves her and I usually agree with him always gor he has an impeccable taste.❤🎉

If Bernstein wanted them it's because they were absolutely the perfect pair.❤🎉

❤❤❤🙏

Thank you Manoli! Beveryly Sills was exceptional....What an amazing instrument and What amazing musicality! Well Wishes for you and yours and all. ❤🧡❤

Certainly it must be very difficult to work with a director that tries to make you forget about all the ornamenti you wish to add to a certain character.In Sills everything comes natural.Either when she sings the saddest aria or in this gay and mocking one,she had to be herself.If you collided with her,it was a way of killing her. She tried to forget the rules set but she must have felt very badly.When someone says she will never work with a director again it's because she's had a hell of a time standing him. She should have done like Fleta with Toscanini.But it's always been a man's world...When T. told Fleta that Puccini wouldn't be happy with his interpretation he d get mad.He told him that people came to see the Star not to listen to a pathetic friend of the composer directing an orquestra.That happened once and again.But,in the end,Alfano and him pledge Fleta to be the first Calaf. Sills,only deserved that kind of respect towards her.Im sure she was right with the coloratura because she was a prodigy and she deserved all the respect and credibility in this world.She proved it and people adored her.Me ABOVE all.Bravo Sills.You made Handel a little bit lighter to like and follow.You found your nook of commodity.YOU,as FLETA,were the STAR ⭐.❤🎉

If anyone deserved to be mocked, Ptolemy did (at least the character as Haym wrote him did). Effete, vain, promiscuous and treacherous, he is one of Händel's most vivid villains. But his sister has his number, and Sills' laughter (heard by us as coloratura) makes that crystal-clear. Her cheerful, smiling timbre is the most charming since Helen Donath's, and immediately gets us on her side no matter what role she's playing, even that saucy minx Manon. It's just a shame the renewal of interest in Vivaldi's operas didn't occur until she was past her prime; they were tailor-made for precisely the Sills brand of vocal virtuosity. Thank you, Manoli!

All three are just thrilling! Magnificnt singing!