Una cantante y artista excepcional. Un talento autentico, a base de una gran voz, mucho trabajo y un gusto artístico exquisito. Bienvenida al mundo de las grandes, Maria Jose. Te estábamos esperando con muchas ganas. Has llegado al fin.
Music that enraptures the soul. Only a true contralto is able to render it justice. Maria José qualifies. Marilyn Horne honoured it equally. A jewel of bel canto created by one of its most inspired opera geniuses of all times : Gioacchino Rossini. In the Romantic Century María Malibrán ( along with Pauline Viardot, one of the members of the Spanish García family ) was one of its most faithful interpreters. Stendhal admired this aria. He considered it one of the greatest accomplishments of the Italian opera of his times ... AND OF ALL TIMES.
I wish conductors would STOP "drowning" out the singers, esp. when they are singing in the lower part of their voices. What's the point ? What harm would it do to "adjust" the composer's dynamics so we can HEAR the singer ? again, especially when: The singer has the kind of voice as Maria Jose. A great, resounding MEZZO-SOPRANO !
@@로보티니콜라스 :: When singers are in the lower-register of their voices --- no matter how "weak" their sound or how "strong" their sound in that register --- the conductor can adjust the volume of the orchestra so the audience can hear the singer ! Singers w / powerful lower-registers are also drowned-out by heavier orchestration. It's a natural consequence of singing lower against a music orchestra. The lower sounds of the voice are inaudible if the music is loud.
@@cliffgaither I will respond to that comment briefly. You CAN'T sing the middle register of the voice in FALSETTO , no matter how much the orchestra PLAY IT quietly, it won't proyect! It requieres development of the tone to sing Ópera and it's a muscular adjustment. It's a work that can't be avoided if one sings opera.
@@로보티니콜라스 :: You mentioned the lower part of this singer's voice was "weak" & therefore not the conductor's fault. You now mention the "middle" voice ( and "falsetto" ). She is a mezzo ! She, by definition, doesn't need falsetto to project the formidable middle and lower registers. As I commented, low-voiced singing can easily be overwhelmed by loud music. The conductor should make allowances for that natural occurrence.
@@cliffgaither first of all, go and read me again. I did not say that falsetto it's the solution to inaudible middle register, pretty much on the contrary. Too much falsetto /scuro in the middle produces a sound that won't pass an orchestra. For a good frame of reference check Oralia Dominguez, Ebe Stignani, Fedora Barbieri. They never sounded weak middle they had a lot of chest participation in both chest and coordinated head voice. That's how they passed through the orchestra and they were gigantic voices.
Resulta curioso pensar que esta letra la canta un personaje masculino pero hoy día lo común es que lo interpreten las mezzos y contraltos. Raro que nadie pensara en adaptarlo para un tenor lírico del mismo modo que adaptaron el personaje de Rosina del Barbero a soprano.
If it were adapted for a male voice, it'd be for a bass-baritone. That being said, the role was composed for a contralto, not a castrato. However, there are wonderful countertenors like Franco Fagioli and Key'mon Murrah who could sing the role well, with lots of bravura 😊
Que delicia escuchar esta magnífica aria en tu magnífica interpretación.
Gracias.
Una cantante y artista excepcional. Un talento autentico, a base de una gran voz, mucho trabajo y un gusto artístico exquisito. Bienvenida al mundo de las grandes, Maria Jose. Te estábamos esperando con muchas ganas. Has llegado al fin.
Precioso. Simplemente precioso..
Music that enraptures the soul. Only a true contralto is able to render it justice. Maria José qualifies. Marilyn Horne honoured it equally. A jewel of bel canto created by one of its most inspired opera geniuses of all times : Gioacchino Rossini. In the Romantic Century María Malibrán ( along with Pauline Viardot, one of the members of the Spanish García family ) was one of its most faithful interpreters. Stendhal admired this aria. He considered it one of the greatest accomplishments of the Italian opera of his times ... AND OF ALL TIMES.
Muchas gracias!!!
Bravissima, thank you
Maestro Wenarto and i was there! Brava brava!! Even the chorus is clapping.
SEMPRE ECCEZIONALE, BRAVA MARIA JOSE' MONTIEL..
sublime
¡Magnífico!
😍😍😍😍😍
Bravissima !
bravissima!
Brava!!!
Już myślałem że nikt się nie zbliży do Ewy Podleś. Gratuluję
Certifié intergalactique!
Destacada.
I wish conductors would STOP "drowning" out the singers, esp. when they are singing in the lower part of their voices.
What's the point ? What harm would it do to "adjust" the composer's dynamics so we can HEAR the singer ?
again, especially when:
The singer has the kind of voice as Maria Jose. A great, resounding
MEZZO-SOPRANO !
If the lower part of the voice is the weakest part of this singer is not conductor's fault. Sorry not sorry.
@@로보티니콜라스 ::
When singers are in the lower-register of their voices --- no matter how "weak" their sound or how "strong" their sound in that register --- the conductor can adjust the volume of the orchestra so the audience can hear the singer !
Singers w / powerful lower-registers are also drowned-out by heavier orchestration. It's a natural consequence of singing lower against a music orchestra. The lower sounds of the voice are inaudible if the music is loud.
@@cliffgaither I will respond to that comment briefly. You CAN'T sing the middle register of the voice in FALSETTO , no matter how much the orchestra PLAY IT quietly, it won't proyect!
It requieres development of the tone to sing Ópera and it's a muscular adjustment. It's a work that can't be avoided if one sings opera.
@@로보티니콜라스 ::
You mentioned the lower part of this singer's voice was "weak" & therefore not the conductor's fault.
You now mention the "middle" voice ( and "falsetto" ).
She is a mezzo ! She, by definition, doesn't need falsetto to project the formidable middle and lower registers.
As I commented, low-voiced singing can easily be overwhelmed by loud music. The conductor should make allowances for that natural occurrence.
@@cliffgaither first of all, go and read me again. I did not say that falsetto it's the solution to inaudible middle register, pretty much on the contrary. Too much falsetto /scuro in the middle produces a sound that won't pass an orchestra. For a good frame of reference check Oralia Dominguez, Ebe Stignani, Fedora Barbieri. They never sounded weak middle they had a lot of chest participation in both chest and coordinated head voice. That's how they passed through the orchestra and they were gigantic voices.
Resulta curioso pensar que esta letra la canta un personaje masculino pero hoy día lo común es que lo interpreten las mezzos y contraltos. Raro que nadie pensara en adaptarlo para un tenor lírico del mismo modo que adaptaron el personaje de Rosina del Barbero a soprano.
Señor por dios no.. No gracias.
If it were adapted for a male voice, it'd be for a bass-baritone. That being said, the role was composed for a contralto, not a castrato. However, there are wonderful countertenors like Franco Fagioli and Key'mon Murrah who could sing the role well, with lots of bravura 😊