Відео

Simon and Garfunkel version fit the time and circumstances as a gentle reminder of what was about to happen. This version by Disturbed is the alarm, the warning of what’s happening today!!!

Hey i am Music teacher from india can i join your team?

“Listening to Anna Netrebko, it’s good…” Oh no.

I hope that you have watched all of her videos, because she is absolutely tight. I'm old (almost 70), and have seen the changes in singing techniques over the years. To the point where there just ARE no more great singers. The era of great singing ended with singers like Callas, Sutherland, Caballe, and Sills. Thats because the teaching techniques have so drastically changed. (This is also why Netrebko's singing is not considered good technique.) If you haven't already watched all of the videos this lady makes, you would definitely profit from her knowlege. Thank you for sharing this with us. I like your format, and positive energy! God bless you! 😁

I recommend that if you are going to listen to a song for the first time, do not choose the video, because from what I notice here you pay more attention to the video and images than to the music. Igorrr, like every great artist, shines in the details, and I see that you are not paying attention to that, honestly a terrible reaction.

Ela não apenas canta, mas se poder ver as notas da música em todo seu corpo, como se cantasse com a alma e cada DNA seu conhecesse a música. Fenomenal. Vendo pela milésima vez

Netrebko is one of the most overrated singers. Her attempts at the Bel Canto rep were shamefully sloppy, she overdarkens and her diction is terrible. I'd have to say that both "Phantoms of the Opera" and you are wrong in this instance. One over-romanticizes the past, and another surrenders too eagerly to the 'she's famous/popular therefore-' argument. For far better, healthier singing, look to examples by Alfredo Kraus, Franco Corelli for both light and heavier tenor voices. Gruberova/Nilsson for sopranos. Netrebko is execrable.

This is a great piece of information for all - Suzanne Vega says ua-cam.com/video/D99PhzEIWuA/v-deo.htmlsi=3K4FkPyuwgidSXQp

Most southern African has natural verbrotos. They have one of the most beautiful voices on the planet

Ms. Glicksberg, You have a beautiful smile. I checked out your Channel and listened to some your singing samples. You have the exact problem Ms Horrocks discussed in her channel, legato, to say the least. Voice placement is not steady, jumping up and down. Is it done for dramatic effect? I am not referring you alone. This type of singing has become fashionable for the past few generation of opera singers. The singing technique people have been using for the past two or three decades was questionable. By it I mean singers cannot produce beautiful singing anymore, and none of them could have long career in singing either.

Remarkable how much easier on the ear on the earlier singers, sublimely human.

Her comment that singers weren't getting work because they were sounding "old fashioned" is absurd. This is opera, which IS CERTAINLY old fashioned and, no matter what modern nonsense of productions or interpretations people impose on it, it will always be old fashioned. Its a forgone conclusion that a great number of today's operatic singers, even famous ones, are TERRIBLE. I watched a film of a recent performance of Tannhauser at the MET and the leads, who shall remain nameless, were atrocious. The recent Le Page Ring had leads that were hilariously bad. Such singing is going on everywhere. Regarding the Wagnerian repertoire, there are no singers today en par with Nilsson or Flagstadt or London. In the Italian rep., there is no one en par with Pryce, Sutherland, etc.

Opera singer dust up.

Best phantom of the opera is Marko and Tarja. Although her latest Christmas album is bloody amazing she looks like Glenda from Wizard of Oz.

I don’t think you added any insight to this video

This is a year or so later, but it is not easy to evaluate the 1908 recording. I don`t doubt the performances of these singers were very good in general, anything less would not be accepted back then, just like our times. The old recording makes any resonance, high pitch sound and harmonies very distorted. Since it is the technique is in focus, the way the sing, I just have to imagine any off key sounds should not be there. Having the past as a point of reference is not bad at all. I am very happy we have high quality recordings from old masters as well as current. Different styles are there to try out, we can always agree or disagree to which sounds that bother us ;- )

I discovered Zian a year or more ago and applauded her serious scholarly work transfigured into entertaining youtube vids . I'm surprised early 19th century French &Italian opera has come back Meyerbeer, Gounod ,Spohr wheras we usually only heard Bellini, Donizetti, Rossini and so many others I love the "Phantoms " channel ! Her pertinent points and detailed insight hold up to scrutiny . I shuld use her media techniques to investigate piano technique and the change in interpretation with the ever growing polarity/primacyof the bigbucks Urtext establishment . they really want you to believe their efforts are the only way . I trust her authority .Overtones of BelCanto? Look at her book , record, stylus ,gramophone . I ove her channel and she is truly passionate and spends her resources [time,money etc.] about her work !

Taraya..CRIMiNALE

He was good..but not as good as Sydnie was..the deserving winner. You should really check out her performances! And start with the first audition where she sings a song Simon hates

I don't know who you are (sorry) but I know the singing of Cecilia Bartoli; and you sound presumptuous and arrogant breaking into her song and spoiling our enjoyment to offer your sophomoric comments. Sit in silent wonder until Cecilia has finished the song. Please.

When does the reaction start?

Pop music really ? Same like opera is pop....music ?

Absolutely cannot stand when people take a great performance like this constantly pause it especially the last one when it was virtually over.

I MUCH prefer the older style of opera singing. It’s the contemporary style that keeps me away from opera. I really don’t understand how people find the current style appealing. I want to hear the true human voice coming through, not a heavily manipulated, pushed sounding voice.

The other singer is a Legend in finnish metal, Marko Hietala with his own band for ages Tarot

He is supposedly under the weather in this performance.

ua-cam.com/video/FCySUeLZMpE/v-deo.htmlsi=zqQeIoO1V4zeI6fc.

ua-cam.com/video/Tw17ucDBNxc/v-deo.htmlsi=28UoQK9GZRz09fzL.

a jew racket

Conan remarked that during his performance, all the stagehands unexpectedly gathered at the edge of the stage to watch halfway through the song, a situation that had never occurred before.

Are you really an opera singer?!!

Dude is not a hip hop historian playing with some damn drumsticks when the shit started with whatever we had to work with in the ghetto, cause it what'n no drum nothing or nothing else, it wasn't shit but 2 turntables, the Dj and whoever had the skills to tell what was real goin on in the spots we lived and lettin the shit be known with ghetto poetry, that's how the shit got sold cause what was spoke on was being felt cause whoever was spittin was making where we lived into a party instead of leaving niggas sittin there to be miserable being petty and dreaming about who car was that or this when they grew up when it got to the point they start telling stories about how we turned them dreams to our reality in our own way with what they usually gave all poor black niggas, nothin, we made something outta nothing like we've always did in black history or the history of young black African Americans. This dude need to go play a drum and be a part of something he wish he could a been a part of! To me, if niggas wouldn't have made it what it is, he would probably not be even on this shit speaking about shit but how he use to play with the Beatles! Mutha Fuckas crack me the fuck up in a very fucked up way like it's is an insult to those who really want through shit a lot of us went through!

He confusing her when it ain't that hard to understand. Her ain't thinking about the beat cause the nigga can rap without a beat and his lyrics to still going to be the same and come out exactly the same so basically he pushing a message and the best ain't got shit to do with it. Dude just wanna make what he's learned about his instrument relevant when really it's not, the whole thing is about the message they trying to put out. I heard them rap this song to a few different beats !

I may be wrong on dude shit and what he talking about but it ain't had shit to do with nothing none of us knew back when the way we entertain or make music back in them days . He tryin to impress her if you ask me but like I said , I may be wrong but to me he need to shut the fuck up.

He don't know what the fuck he talking about when it came to what he said about his opinion on that best shit because back in the days it was beats was made from nothing but what we had, that was nothing but 2 turntables and a intelligent mind frame and tell me where and when jazz came into one of those type of beats, everybody had they own technique especially of being original. Nas was the only dude I knew who had that jazz shit a major part of his style . Everybody all of a sudden wanna be a hip hop historian now except the time when they felt it was garbage because it was what was made with shit laying around the house like how niggas or the folks in the pen do what they gotta do to survive in the penitentiary!

Did you 'react' to this or did you just watch it and smile, and then entirely miss her point?

You did not understand an argument Ziazan makes, you did not offer anything from your perspective. Am as a viewer I supposed to like your look or something?

I'm not an opera singer. I felt like the Turandot recording felt forced, but in that first gramophone recording she played, those singers felt forced too -- especially the man on those high notes (and he went sharp). I liked the clearer sounds of the Popora (tho those "trills" sounded like a machine gun, yuck lol). As far as the Handel, I actually did like the third recording best: the Early Music singer. His voice was lighter and brighter than either of the others. The first one felt heavy, especially on the -- were they arpeggios? -- and the second one was just kinda... meh. // To be fair, I do tend to like brighter sounds and less vibrato in general.

Vulgarizing reaction to a decent argument made by Elizabeth, who, however, says nothing about the non-technical or spiritual source of the revolution.

If you listen to someone like Dame Nelly Melba, she makes it sound almost easy. Yet, there was great rigour in their training back then. Some of the modern vibrato is so wide that you can't readily tell what note they're meant to be singing; and it only grows wider as a singer ages. Ziazan's teacher, Rae Woodland, shared a teacher with the great Kathleen Ferrier and you can hear the apparent efortlessness, the beautiful long legato, the gorgeous tone and the controlled vibrato. I think that is how opera should sound. Furthermore, this old technique, as far as I can read, is far more healthy and efficient, meaning that singers could continue for far longer. It might be possible to create a modern style out of the old techniques. Popular doesn't always equal good. History tells us that again and again.

David was sick with the flu for this performance

You are beautiful!

Netreblo can be very famous and all, but she is past her prime and ruined her voice by forcing herself to sing some demanding roles. Could she sound decent live? Eventually yes, but I can't find live recordings of her recent work where she sounds good and looks effortless 🤔🤔

The first gramophone recording: NOPE! Their pitch was all over the place. The recording of Messiah was soothing, though- really liked that one! As for the old school versus new school stuff…I mean I get why those conversations need to happen, especially in academic circles. But at the end of the day opera is a PERFORMANCE art. The singer needs to pull off a magic trick: make us as an audience feel something for you that words can’t describe. If the singer pulls that off, then they did their job.

First of all: Early recordings are absolutely not a good source for technique. Reason being that recording technology at the time was not very good with dynamics, and required a lot of volume to produce acceptable results. So at the time they usually had the singers stand in front of the recording funnels (which directly translated the soundwaves to the wax cylinder) and sung quite loudly into them. This is of course far from optimal for deducting anything about technique. What is quite funny is how in the phonogramme at 12:35 the intonation (which totally off) is suddenly no issue anymore, when before even slight issues in intonation are oh so terrible. So I would say that this lady is not totally honest in an intellectual sense. Also in 15:35 it is questionable how a spanish mid 19th century singer should be a good judge of how late 17th to early mid 18th century English singers would have sung (and I do say today’s baroque performers know a lot more about baroque trills than Manuel García would have known). We know that 19th century singing style was a lot different than today, including practices that would would be considered questionable to today’s standards. But importantly, even then there was constant change to how people sang, and we know that because things have been written down. We even have historic sources of people like composers complaining about how singers do not sing properly anymore. And we do need to keep in mind that the transition to louder, larger orchestras in bigger halls is not something exclusive to 20th century, but something that starts with early 19th century in is connected to music becoming a thing of the middle classes rather than aristocracy. Mendelssohn-Bartholdy’s Elija premiered in 1846 in Birmingham, featuring an orchestra of 125 players and a choir of 271 voices (also note that even in classical and Baroque period there have been performances with massive instruments). Now, there is also a lot of truth to what she is saying. Singing style has changed a lot from late 19th century to today, including dying out of regional singing schools (so English, French, German, Italian all has different styles of singing), but also regarding things like legato, portamento and timbre. The problem with this singer, Ziazan, is really that she is intellectually dishonest. I’m sure a lot of the research she does is at least in parts valid, but then she acting like all the other people who are doing research are not qualified (and yes, those HIP singers doing baroque, classical and even romantic singing today spend a lot of effort studying old treatises (which do exist) to understand how people sang in their time and what was expected from singers). I do quite understand how under such a premise anything she would try to propose would be rejected. Now to get personal: What qualifications does she have to claim the her research is the only thing that that matters? From singer’s perspective she does not seem to be great. Hear talking voice not really a healthy singer’s voice, but quite breathy. That is not a good start. Her website gives a single example of her singing, which quite clearly tries to mimick the aesthetics of old recordings, and clearly shows good things, but then you do not understand a single thing she sings (even though in this video text comprehensibilty is given as a major criticism in modern singing). It also lists that she studied trumpet and piano, and also historic voice for one year (which is not a lot). So as I’ve said I’m sure that her research has valuable points. But nothing of this justifies her attitude of claiming all other research wrong. Finally, it is also of course a bit dishonest how she clearly selects worst case examples as representants of modern singing. The Netrebko (and you can argue arbout Netrebko. I’m not a massive Netrebko fan, and she had her prime voice in her 30s, and this is not really what her voice actually works best for. So while she is quite popular and does some pianos quite well, I would not glorify Netrebko too much) video is a *open stage* performance, which is totally not comparable to anything. You could look at any of the really great Turandots, like Birgit Nilsson, but even today we so much much greater Turandots than Netrebko. But of course this would not prove her point, so she does not show it. The other excerpt from Porpora’s Carlo il Calvo essentially takes a section of a remarkable performance that sounds a bit awkward due to the use of an altus voice. Now, this is of course not historically accurate and is a substitute for the practice of castrati, which for some reasons we don’t do anymore today ... Now, yes, an altus does have a different timbre than a castrato, but then it’s the most we’ll apart from singers with rare hormone disorders. The remarks about the trills are stupid, because as I said García would have no idea about baroque ornamentation in general and the 16th/17th century _trillo_ in particular. So again this is just trying to use the uninformed listener’s impression “this sounds a bit unfamiliar” due to the altus to then add wrong conclusion and bash a highly historically informed practice from nonsensical remarks of a historic figure who is in no way an authority on the matter.

Opera has lost its way: in her prime, Anna Netrebko’s poor technique let her down: she struggles with range - at her higher register she sounds strained and constricted plus she lacks agility which together means she lacks the effortlessness of truly great singers. Compare with Callas’s “mad scene” in Lucia di Lammermoor (1955 Berlin, Karajan) which shows mastery of the voice. Callas in her prime was probably one of the best sopranos of the modern period to this day and she was trained in the bel canto technique: so if we want another Callas, then resurrecting bel canto is a good idea.

She is not the last. I am a student of Elizabeth Nordberg -Schulz, Matthew Marriott, Carlo Allemano and Anne-Lise Sollied. These teachers teach bel canto technique and tradition. Even Elizabeth has performed with many great singers of the bel canto tradition. Including Luciano Pavarotti! Some singers today are great, some are definitely not great at all. Netrebko was very great when she stocked to lyrical repertoire, and her voice not made for Turandot and Tosca.

You should really react to Tarja Turunen, Nightwish's first vocalist which is an actual opera singer! Floor Jansen is beyond amazing as well but they sound entirely different and each one has her own era in the band and it's very very interesting to hear that contrust and see how the band evolved along with their singers! This song is from Tarja's era actually btw

Well, it is clear you didn't understand their points at all. Maybe your constant giggling kept you from thinking.

She's my favourite soprano! Her technique and range are unlike anything I've seen before!