Відео

Always been a fan of Cuberli, since I heard her in the 1978 recording of Trancedi. Almost 35 years ago now when I bought the records.

Jicia is awful here, but to be fair, she isn’t any worse than Damrau, Peretyatko, Netrebko, or virtually any other modern soprano. It’s like some time in the early 2000’s, opera students heard a parody of how a female opera singer is “supposed” to sound-loud, unsubtle, heavy vibrato-and just went with it.

Unfortunately Jicia appeared in Semiramide and Elisabetta regina d'Inghilterra at ROF too. Than Otello in Liege. Attended all of these and I cannot understand the phenomen of her career. Ugly, heavy voice with no charm.

The comparison is glaring. The second is singing as if it is Verismo. All over the place.

FANTASTIC !!!!!!!

NOOOOOOOOOOO VIA !!!BUUUHHHHHHHHH

Bravissime entrambi...anzi la Salome è leggermente più precisa

La norma va cantata da un soprano con la voce scura che sappia creare drammaticità e pathos, qui non lo sento.

Forse screditando una professionista speravi di far più views invece esce fuori che non hai orecchio musicale per riconoscere il talento. Inoltre potresti rischiare, a causa di questa diffamazione con questi video. Vergognati!

It takes a special type of person to seek and find performances which he (or she) particularly hates, and then spreading the hate. Does it make you happy to post things like this?

Thankfully, I hadn't heard much of El Khoury, but when watching Meade audition for the Met, I couldn't understand why the judges were so gaga over her. Even at the early stage, her jaw wobbled and she looked like she was chewing when she held a note. The way the judges talked about her, you'd have thought another Callas or Sutherland had come along. Between the two here, I'd still take Meade over El Khoury. Where is Callas when you need her?

If you want more perle nere check this out! ua-cam.com/video/C1ywcAtS2Wk/v-deo.html

meade un gradino sopra.

Che strazio! La peggiore è la Rancatore, ma non scherza neppure la Meade. La Ciofi è letteralmente schiacciata dal ruolo. Gli anni 2000 sono stati quelli delle finte Norme. Troppe Norme inutili

The most overestimated singer ever.I cant stand him.His singing is terrible and he acts the same in every role.

Save the children!

La grandezza di un artista sta anche nel sapersi ritirare per tempo, e lasciare un bel ricordo

It’s all in her nose it’s ghastly. She has hardly any back placement . Also her larynx is raised. Retrain. Now.

Terrible!!!!!!!!!!!!!!

Terrible!!!!!!!!!

Can someone please tell me the name of the last aria? The melody at the ending is quite explosive!! And if you also want to recomend a decent interpretation... 😅 Thanks

She is gross!!!!! That voice is dreadful!! No core, no weight, no coloring, no depth, JUST pure wobbles and thin nasal singing without development!

Quando le agenzie pompano un artista e la spingono verso repertori non loro questo è il risultato che ne può uscire fuori, una nota di demerito va anche a coloro che accettano di cantare questi ruoli non riconoscendoli come fuori dal loro range vocale, un pizzico di umiltà non guasterebbe, i grandi artisti si riconoscono anche dalle piccole cose.

Good voice, but not for this!!!!

Her latest disaster is Opera Rara's L'ange de Nisida!!!!! More shrieking.

To listen to Golden Age coloratura sopranos with brilliance and color as well as substantial middle and chest resonance, listen to Lina Pagliughi, Toti dal Monte, Luisa Tetrazzini, and Margherita Carosio. Also listen to Rosanna Carteri who wasn't a coloratura soprano, but had the technique to sing Adina, Giulietta, Leila, and Violetta as well as Desdemona, Suor Angelica and La Rondine. Virginia Zeani as well. Listen to her coloratura soprano roles then Rossini's Desdemona, Magda Sorel in the Consul, Aida just to name a few. All these singers have brilliance in the voice and much needed chest voice

katzenjammer!

Ma lei che ha caricato il video, intanto, come si è permesso di intitolarlo in questo modo? È un cantante? È un esperto? Lei, chi è? Io non devo difendere nessuno, ma il rispetto per il prossimo è alla base della educazione. PS Se non capisce l'italiano, non ne dovrebbe ascoltare neanche i capolavori. Addio

First place goes to Nino Machaidze. Yikes!

They're OK I guess. They're not the worst I've heard though - me singing is said worst.

What a strange hobby searching for sopranos to hate.

Грустно, что у колоратурного сопрано такой нечистый тон. Она много фальшивит.

Ho voluto ascoltare ...per pura curiosità:Ma che bisogno inconfessato c'è in persone di fare i Pirati della tastiera; che Traumi avete subito per mettere alla gogna il Bel canto in maniera così Maldestra... ...A parte la signora Salome Jicia che resta una volenterosa mestierante...La signora Cuberli al contrario resta una signora del Teatro lirico dove ha sempre dato il meglio...in una carriera dove è sempre stata ...una sicurezza di prestigio. Chi ha interesse a postare questi confronti di così cattivo gusto e Cattiveria...da sentirmi in Dovere di chiedere scusa ad entrambe.Non si fa così ...troppo facile. Vergognatevi.

Personally I really like Albina Shagimuratova as a Belcanto-specialist. She has the mentality to sing these parts. So Rossini or Belcanto is not dead yet...

That bass is wobbly...

You also should make death of Donizetti with all those Camarenas, JD Florezs, Brownlees, Damraus, Netrebkos and so on.

I fear for the future of singing

Meade should be fired. That disgusting tastelessness she calls singing literally made me sick. No histrionics, I honestly got nauseous and gagged. And those trills she added was just gross.

Cuberli was contracted to record Norma for Deutsche Grammophon under the direction of Herbert von Karajan, a project that unfortunately was aborted due to the conductor's untimely death.

Her "vien diletto" is nightmarish

Hello Paminan, we miss you and we need more of those videos :)

How about that tenor in Sempre Libera? :)

Not soooo bad, however she tends to sing a bit too higher, especially with the first Lucia selection.

Yes Desiree, tell us, PERCHÉ?!! Why?!! Why Norma?!

Al-Khoury is simply terrible. She seems to have only one sound level [too loud], one emotional approach [blast the composer into shreds] and no sense at all of the techniques of bel canto. Meade is better in some ways but as usual she is pushing a basically mid-size lyric voice into a type of dramatic singing for which it is not made and thus her lowest and highest notes are both simply shrieks and her coloratura is amateur at best and squally and imprecise at worst. I would not want to hear Al-Khoury in anything based on this clip. Meade in the right roles [Strauss' Countess in Marriage of Figaro[ might be quite wonderful to hear but she keeps presenting herself as a dramatic coloratura at the expense of her voice and our ears. Too bad.

The two tenors are atrocious. No sense of Rossinian bel canto style. They are simply shouting and yelling which is always wrong in Rossini. The first soprano is not at all singing in Rossini style but the conductor here may be the one at fault. Her voice does not seem to be inappropriate for the grander Rossini roles but the conductor seems to think he is leading a Wagner opera and is completely ruining any chance that Rossini will emerge from this performance. In the second piece by the same soprano, there is a hint that with the right conductor and a little real rehearsal she might be average in the music. It is not clear here whether Nino is a soprano or a mezzo but she clearly is not a Rossini singer. Her heavy voice does not fit well with Rossini's bouncing clouds type of coloratura. Also her screeching on the top notes and over use of chest voice demonstrate very poor technique and I wonder if she last very long given the lack of integration of her voice. Fagioli is probably the finest living countertenor and is remarkable in pre-1800 roles that were written for a male soprano voice type. Rossini trouser roles, however, were written for mezzos and when countertenors attempt them [David Daniels, e.g.] it is clear that the vocal weight that Rossini expected is not present. Too bad as Fagioli is probably on of the greatest singers of his generation in the music that truly fits his voice. Here he is not as horrible as the first four singers [I can listen to his work without wincing in pain] but he is pushing his instrument into overdrive which is bad for him and for Rossini. What kind of echo chamber was this recorded in. There is no possibility in this recording to accurately judge this singer. She sounds like some sort of comic takeoff on opera singing pushed to the limit by over-amping. If this is considered proper opera recording nowadays then opera is in its death throes. The next soprano [Jicia[ is not using any type of Rossinian style in her singing and is pushing her voice, which sounds like it might be a nice light lyric, so hard that I am surprised she was able to finish the scene without collapsing. In comparison with most of the other singers, Peretyatko is quite good although certainly not exemplary in terms of Rossinian style. We cannot blame some of the singers however. With the exceptions of Fagioli and Peretyatko. all of the other conductors are abysmal. They all seem to thing that Rossini should sound like Wagner or Mahler and have absolutely no sense of Rossinian bel canto style. Even the second rate Bonynge sounds like a genius in relation to these horrible conductors.

Horrible! If we heard this without knowing the identity of the singer, we would be unanimous in our condemnation of the poor vocal skills. But because we know it's Domingo, some people excuse him and give him a pass. He should retire! Like Gruberova. What is she trying to prove? That a 99-year-old woman can croak her way through Zerbinetta? Give me a break. Domingo's voice has not the slightest hint of baritonal quality. He sounds like a clapped-out, exhausted, superannuated comprimario who is desperately trying to get in one more Ruiz, one more Monostatos, one more Messenger. Hang it up already!

The Contessa di Folleville's aria was a disaster. Thin, uncentered tone; small voice lacking proper support and projection; sketchy fioriture, and very bad conducting which turned this lovely number into cartoon music. The final E flat must have peeled the paint off the walls.

Perchè disaster? A me sembra ottima! Brava Desiree!

She's horrible now. She should never have moved out of the Blondchen-Susanna-Zerlina Fach in which she began her career. Just because Gruberova made the move to bel canto successfully (some might say not so successfully) doesn't mean it's the right move for everyone. Damrau is now shrill, shallow-toned, off-pitch and shrieky. And Peretyatko is even worse. Don't even mention Radvanovsky and di Donato to me. Bellini and Donizetti need to be put on ice until some singers come along who can actually do their works justice.