Rossini: La Donna del Lago - "Tanti affeti in tal momento", Agnes Baltsa in 1985 München
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- Опубліковано 25 жов 2019
- Rossini's La Donna del Lago
"Tanti affeti in tal momento"
Galakonzert Marianne Strauss Stiftung
Bayerische Staatsoper, Munich 1985
This is a rare exhibition of how real belcanto coloratura can be executed with viril supported sound instead of squeezing it off…
She is really connected deeply in the breath throughout her range. Had the unique chance to hear her live performing this and was a thrill for a lifetime to behold!
I am shocked. I didn't know her. Pure art!
Totally many can’t do this kind of singing anymore and it sounds terrible these days.
@@orion8835 this is also a Mythos. The same in the past. There has always been good and mediocre singers! There is people who sing excellent today too. Check Eleonora Buratto doing the same. Though Agnes has this spontaneity that is breathtaking… it becomes a matter of taste but Eleonora is a big hope for the future of Italian good singing! Just to mention an example.
@@orion8835 totalmente cierto. Ni hay mezzos,ni hay bel canto. Saludos cordiales
@@laprimmadonna2341 Все просто, у вас просто нет слуха!! Бельканто в своем самом ярком проявлении и никак иначе!! Меццо - это лишь тип, но как ее голос - это редчайший бриллиант + почти Калласовская экспрессия, свойственная лишь драматическим типам голосов!! Просто супер на все времена!!!!!!!❤❤❤❤❤❤❤🎉🎉🎉🎉🎉💋💋💋💋💋🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🌹🙏🕊🌹🌹🌹🌹🙏🙏🙏🙏🙏💗💗💗💗💗💗💗💗💗
One of the greatest voices of the 20th century.
Agnes Baltza was the absolute best mezzo soprano of the previous century. Perfect technique, perfect diction, perfect breath control and a very, very beautiful, powerful voice. Bravaaa Agnes.
Let's not overlook Giulietta Simionato.
And what about Marilyn Horne?
@@jamesnickoloff6692 She was the worst mezzo of all times. With that terrible nasal sound.
@@jamesnickoloff6692 Agreed
@@jamesnickoloff6692
Horrible. Nasal, masky and unclear voice…
This is an amazing use of chestvoice
A gem of mezzo-soprano!
Agnes is absolutely one of the greatest mezzo soprano voices of the century. She had the ability to execute dramatic lines as well as the coloraturas. She was truly an example of the bel canto technique well on display.
She certainly was
Superb. I heard her Carmen, Adalgisa, Eboli and she was stunning in all of them. This kind of singing seems extinct now.
It's great to come across this video. I didn't realize how great she was.
Brava~! Gotta be 'old style' and say she pulled it off wearing purple!
primadonna... da Rossini!
It breaks my heart a video like this having less than 10 million viewers
fewer
Excelente. Esto es una verdadera cantante de ópera. ¡Cómo me habría gustado poder escuchar una voz así, en vez de las infames vocecitas de las cantantes de hoy!
Unfortunatelly, not every opera singer can sing Rossini, as we as Mozart. Fortunately She can.
Que bonita voz....Deus abençoe.
I forget the name of the lady introducing her. She was a wonderful soprano herself...
Can you find out? I'd like to know myself; also who is the conductor? I wish the people posting these videos would mention the entire cast
This woman had it all, beautiful voice, strong, dramatic squills and a great agility, why she didn't get the high mezzo place?
Wonderful voice and performance
Brava La Baltsa!
God she’s fierce 🔥🍷🥂!!!
Wowwwwww
"Noooo! Rossini is for light voices!"
Mkay, have fun with your cute little mosquito voices if that's what you really want. I'm sticking with real voices like Baltsa, Verrett, Callas and Ramey in this repertoire.
Tanti affeTTi, please...
Que buen control.. Me recuerda a Callas y sus múltiples voces..
Sigo pensando que Agnes Baltsa tenía un control de la voz de pecho superior al de Callas...
@@FelipeViannaNutriUFRJ Callas had superior chest control than Baltsa.
@@tonshaad1230 Pay attention to Baltsa. She sings much more in a chest voice than Callas did. And Callas sang more there for the lower notes. Baltsa elevates this chest emission to notes that are much higher than most singers who have this well-developed voice register.
@@FelipeViannaNutriUFRJ Callas brought her chest voice up scarily to notes a ove C5; hell, she would sing an Eb5 in chest st times when she must sing in girare(or covered chest).
@@tonshaad1230 Let's go... GIRARE is not covered chest, it's a head voice emission technique, and it occurs in notes, generally, above D5, and may occur from C5 onwards, depending on the range of the voice. Girare is head voice with much improved projection. Those who sing high notes with covered chest voice, also because of a voice muscle issue, are tenors, baritones and basses in the high voice region. In the audio of Callas's masterclass in Julliard, when she explains about the chest voice to the soprano, giving an example in the aria "L'altra notte in fondo al mare" (Boïto), she talks about the need to sing the lowest notes , from F4 down, in "covered chest voice". However, this is a terminology error. This region of the woman's voice does not have this "covered". What she wanted to talk about was the need to maintain this tessitura in a chest voice and maintain the core of the voice, even in the bass (squillo, chiaroscuro, all those things), because the soprano's chest voice was very "white", poor in harmonics. As for Callas using more of her chest voice, we find more in the final periods of her career. Hear her singing "O mio babbino caro" in the prime of her voice, and her singing in that iconic farewell recital she's wearing a SPECTACULAR blue and white dress. She practically sang the aria almost entirely in her chest voice because her head voice was already very weak, very weakened and FULL of wobble. Different from Baltsa, who always kept the same voice throughout his career. Check it out in her last stage role singing Klytaemnestra from "Elektra" in 2013 if I'm not mistaken. Baltsa raised her chest voice to spectacularly high notes. For example Carmen da Baltsa, at Habanera. From B4 down, in that famous line of descending semitones, it was already in chest voice. Garcia advocated that the chest voice, in women, should ALWAYS be, in all voices, from the F4 downwards. Baltsa went further. AND SUPPORTED! I've never seen a Carmen sung almost entirely in a chest voice. Hahahahahahaha' Grace Bumbry who made another spectacular Carmen, you can see the difference where her chest voice starts, always in lower notes. Unlike Bumbry (who had a SENSATIONALLY well-developed chest voice), we could hear the 3 registers of the female voice beautifully: chest voice (for the low), lighter chest voice (for the middle region) and head voice (for the high notes). Callas had a fantastic chest emission developed by the great Elvira de Hidalgo, but she ALWAYS had problems in the middle region of her voice, which she already switched to head voice and, with the passage of time and the rapid deterioration (which was not natural) from her voice, you can tell that the center of Callas's voice takes on a kind of "hot potato in the mouth" characteristic, but this is due to the deterioration of the voice itself, to maintain projection, losing clarity. I LOVE Callas' voice, but just because I like the artist doesn't mean I'm going to keep track of these details. ^.^
It's not possible that she's there matching Cecilia Bartoli's performance 😳🤯
Ummmmmm
Не понимаю, почему современные оперные звёзды поют с оркестром в микрофон.🤔
因为声音不传了。。。很令人惋惜，但歌剧演员整个演唱方向从“怎样让声音传满歌剧院”变成了“怎么样从麦克风里穿出来更好听”。。。科技在进步，演唱方式也在变化，只是我时常在想，这真的是一个良好的走向吗？😢
No concern for human ears or glasses… look how empty the room looks in the picture behind her. And the distance between her and the other people and camera
IMHO some people are still deaf, even though they can hear sound. 😅
Absolutely terrible.
Could you go into detail about what is supposed to be so terrible? Agnes presents here her perfect technique, wonderful legatos, impressive agility, excellent pronunciation, a powerful chest voice (as every mezzo and soprano should actually have), great dramatic expression, intelligent musicality and in addition - a very charming timbre. What else should an opera singer posses in your opinion? Please enlighten me.
@@DucDeE if THIS is perfect technique, I prefer worst technique. her voice trembling so bad that you can't even say if she hit the notes.
Do not appeal to the authorities, leave the thinking of the crowd, and make a decision with your own mind.
This singing is terrible.
Maybe you should listen to her studio recording of this Aria. All I hear is a tight vibrato - no tremolo or "trembling" whatsoever. After all I prefer a tight vibrato over a big wobble. Seems to be a personal preference though. Who are better Mezzos in your opinion?
@@DucDeE well, you talking just like my sister, and I know that she know her deal very well, so I suppose you know what you saying, though it is what is called "acceptable" in the world of classical singing and I thinking this world is very small, because, you know, "the king is naked".
About your question, I like to hear Moncerrat Caballe from time to time, she have a beautiful voice and not so heave irritating trembling.
I like when someone singing with clean voice without artificial additions, be it "tremolo" "vibrato" or anything like that.
Yes, I know I am that child with no authorities and I say it all without any fear of seeming to be "uneducated" or "you don't know anything about it".
Yes, I am enjoying music and singing, but not THIS.
@@DucDeE If you waould like to know how perfect female vocale sound to me, listen to this ua-cam.com/video/VEyDNTLlRgU/v-deo.html, for instance. Voices are so clean, that on good audio equipment it is causing some interference effects of standing waves in some parts ("What do they say, Danny?").
I am not talking about music styles, only of vocals.
It's a mystery how this lady could become so popular as mezzo. The voice has nothing of mezzo. Low notes are done only enlarging the vowels. The Italian accent is horrible. The accent is always exaggerated. Coloratura is decent. Muti brought her to LA Scala where her awful Romeo was booed.
must be tiring, carries all that bitter jealousy around all day every day...
What is a good mezzo to you?! Elina Garanča, Anita Rachvelishvili, Jamie Barton?! 🤔🤔🤔🤔🤔 That is PURE belcanto. Look that chest voice!!! Nobody's has such control and development like her today... 🤷♂️
@MarcoS-gk Bitter, party of one, your table's ready...Bitter, party of one...