It became perfect to sing st 34 and a piece of cake after 40. It's why Mozart rep is constantly coaching your voice. You NEVER mess with the notes but HE WANTS his sirens and sopranos too FEEL the notes. Dorothea has such longevity and wisdom thus velvety and so rewarding to listen too. Her Mozart is always spot on YET totally hers!! Bravo!!
Ach, ich fühl’s, es ist verschwunden, Ah, I feel it, it has disappeared Ewig hin der Liebe Glück! Forever gone, love’s happiness! Nimmer kommt ihr Wonnestunde Nevermore will come the hour of bliss meinem Herzen mehr zurück! Back to my heart! Sieh’, Tamino, diese Thränen, See, Tamino, these tears, Fliessen, Trauter, dir allein! Flowing, Beloved, for you alone! Fühlst du nicht der Liebe Sehnen, If you don’t feel the longing of love so wird Ruh’ im Tode sein! then there will be peace in death!
This is real singing from the bottom of the soul and with whole body. Pamina's aria is one of the most difficult arias ever and it is truly awful to hear "baroque" singers trying to sing it properly. It needs a solid technical fundament to get through convincingly in legato and no rush and to have the right tragic expression.
That was freaking fantastic! I'm currently doing that song in my voice major studies and wanted to see a performance that was worth pulling from and this is definitely it. :]
Dorothea really built a career on full lyric soprano Mozart roles. She’s not singing any Verdi or Puccini. At the end of the day let Ric sopranos are very common. In fact there are too many of them . D is at the higher quality end but her repertory is static. Dessay is a very clear beautifully timber etc coloratura which is a rarer voice ....Bonney a light lyric soprano and has been in the game with Leider since the late 1980’s when she was like 19. She slowly moved thru supporting roles and then got thru Sophie in Rosenkavalier and Paminas. The voice was minuscule and she DID improve by the late 1990’s. Schaefer had a very strong career mostly singing Lulu and Sophie, Gretel and other light high roles in a more “leggiero” approach versus being a real coloratura. But she also tackled Konstanze. She did Verdi’s Gilda etc By 2018 all of the ladies are much older than Dorothea ... so who knows maybe Dorothea will start singing some other composers .
Actually, "lyrics" are the ones with lighter body voices. Röschmann is a dramatic coloratura, a high soprano with deeper bottoms but able to negotiate the tops with lyric quality.
Lynette Erwin Waller lmfao. Dorothea Röschmann is a lyric soprano, From her own lips. Callas was a dramatic soprano, Eileen Farrell was a dramatic soprano. Röschmann is a lyric. Period. there is nothing about her voice that suggests otherwise.
I AGREE i would ad Kathleen Battle to your list of excellent singers who sing this aria yet do not have the dramatic gravitas that Roschmann brings to the role... BRAVA! LOVE HER VOICE!
PAMINA Um lamento na ária de Pamina, da ópera A Flauta Mágica, de Mozart. O enlevo de amor febril acabou Para sempre, assim Pamina declarou, em pauta, Na conversa com o amado Tamino em que rolou Uma lágrima denotando algo em não ir em frente. Assim como essa civilização, está indo embora, Adotou descanso após a morte, ideia recorrente Para acabar com os sofrimentos, em boa hora, É enfraquecida pela realidade que já desponta. A semeadura é colhida do mesmo sentimento. Covid-19 impõe a mudança: a norma exposta Para confinar pessoas em casas, momento bom Na reflexão sobre doar amor com o argumento Que revela o nosso ser profundo, isto é o dom. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PAMINA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
the tragic aspect does not come so wonderfully with Diana or René or Anna Netrebko. This inner feeling is so extremely difficult to express and Dorothea brings it. Nadine Sierra also. The brilliance of voice and the difficult technical performance are not the dominant aspects.
She has so much angst in her voice and now I realize that's what is needed for this piece. I didn't realize this before listening to other versions.
I’ve just started my classical singing journey as a soprano, she is the soprano I wish to be. A simply stunning performance.
This woman is breathtaking... singing and interpretation...she has it all.
Welch große Künstlerin! Danke für diese schöne Arie so wunderschön gesungen.
In my opinion, Dorothea sang the song the best way possible. Also the whole production is just the best of the best
piosenkę, dobre sobie!
It became perfect to sing st 34 and a piece of cake after 40. It's why Mozart rep is constantly coaching your voice. You NEVER mess with the notes but HE WANTS his sirens and sopranos too FEEL the notes. Dorothea has such longevity and wisdom thus velvety and so rewarding to listen too. Her Mozart is always spot on YET totally hers!! Bravo!!
Exquisite! Such a consummate musician AND amazing actress! Wow!! Absolutely stunning!
Ms. Roschmann is such an incredible artist....I was blown away when I first saw her as Fiordiligi on a dvd of a 1960s set Cosi from Berlin.
I don't think she was born in the 1960s.
@@garyrebholz4139She was born 1967
This is my favorite Pamina, I aspire to do this aria this well
Amazing. Simply amazing. Gorgeous voice, fantastic music.. I can't stop listening..
I think this is the best song of this opera. Dorothea Röschmann performed so beautifully. I loved it.
I am still into this performance so very much since I was a teenage and will be.
Ach, ich fühl’s, es ist verschwunden,
Ah, I feel it, it has disappeared
Ewig hin der Liebe Glück!
Forever gone, love’s happiness!
Nimmer kommt ihr Wonnestunde
Nevermore will come the hour of bliss
meinem Herzen mehr zurück!
Back to my heart!
Sieh’, Tamino, diese Thränen,
See, Tamino, these tears,
Fliessen, Trauter, dir allein!
Flowing, Beloved, for you alone!
Fühlst du nicht der Liebe Sehnen,
If you don’t feel the longing of love
so wird Ruh’ im Tode sein!
then there will be peace in death!
This is real singing from the bottom of the soul and with whole body. Pamina's aria is one of the most difficult arias ever and it is truly awful to hear "baroque" singers trying to sing it properly. It needs a solid technical fundament to get through convincingly in legato and no rush and to have the right tragic expression.
Amazing performance and musicality.
Beautiful singing and perfect clarity in the diction.
Fantastica ❤grazie !
every where Vibrato! she controls all the time what she does! Honey for my ears! thank you, Dorothea
Heart-breaking. Wonderful.
The wanting of such sound is all-Beauty in which i never have heard befor...Wonderment!
I watched this again and I looooooooooooove that she is so passionate and yet still "Mozartey!"
Anrührender habe ich diese Arie noch nie gehört. Einfach wunderbar!
Nooit eerder deze aria zo immens wonderschoon horen zingen.
Zo veel schoonheid ... Mozart en Dorothea.
Wonderful, as usual. BRAVISSIMA
Almost crying... :( so sad and so well sung.
and great orchestral playing. great attention to detail. nice one sir colin davis
i like so much!!! the voice is amazing!!!
What a great soprano
No words, amazing
Beautiful beautiful beautiful.............
Best I've heard since Evelyn Lear!
Wonderful! 🙏🏼❤
Oustanding. Singing from the heart.
That was freaking fantastic! I'm currently doing that song in my voice major studies and wanted to see a performance that was worth pulling from and this is definitely it. :]
Beautiful!!
loved this
bravissima!
Dorothea really built a career on full lyric soprano Mozart roles. She’s not singing any Verdi or Puccini. At the end of the day let Ric sopranos are very common. In fact there are too many of them . D is at the higher quality end but her repertory is static. Dessay is a very clear beautifully timber etc coloratura which is a rarer voice ....Bonney a light lyric soprano and has been in the game with Leider since the late 1980’s when she was like 19. She slowly moved thru supporting roles and then got thru Sophie in Rosenkavalier and Paminas. The voice was minuscule and she DID improve by the late 1990’s. Schaefer had a very strong career mostly singing Lulu and Sophie, Gretel and other light high roles in a more “leggiero” approach versus being a real coloratura. But she also tackled Konstanze. She did Verdi’s Gilda etc By 2018 all of the ladies are much older than Dorothea ... so who knows maybe Dorothea will start singing some other composers .
La bajada del final.. es un cierre sublime
what a performance. she has this feelings that makes me realize that it is a sad song. sh suits her role!
Awesome
Brava!!! 👏👏👏👏👏
goose bumps all over my body
Wonderfull !
Wundervoll.....
Glorious
Brava
Éso es Pamina. Éso.
Actually, "lyrics" are the ones with lighter body voices. Röschmann is a dramatic coloratura, a high soprano with deeper bottoms but able to negotiate the tops with lyric quality.
Lynette Erwin Waller lmfao. Dorothea Röschmann is a lyric soprano, From her own lips.
Callas was a dramatic soprano, Eileen Farrell was a dramatic soprano. Röschmann is a lyric. Period. there is nothing about her voice that suggests otherwise.
Do you know if she is a full lyric or a light lyric? Mozart composed Pamina's music originally for a light lyric..
I AGREE i would ad Kathleen Battle to your list of excellent singers who sing this aria yet do not have the dramatic gravitas that Roschmann brings to the role... BRAVA! LOVE HER VOICE!
PAMINA
Um lamento na ária de Pamina, da ópera A Flauta
Mágica, de Mozart. O enlevo de amor febril acabou
Para sempre, assim Pamina declarou, em pauta,
Na conversa com o amado Tamino em que rolou
Uma lágrima denotando algo em não ir em frente.
Assim como essa civilização, está indo embora,
Adotou descanso após a morte, ideia recorrente
Para acabar com os sofrimentos, em boa hora,
É enfraquecida pela realidade que já desponta.
A semeadura é colhida do mesmo sentimento.
Covid-19 impõe a mudança: a norma exposta
Para confinar pessoas em casas, momento bom
Na reflexão sobre doar amor com o argumento
Que revela o nosso ser profundo, isto é o dom. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - PAMINA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
then you prefer a Mercedes to a BMW?
I'm eating oatmeal
Tehnik ist nicht so gut. Sie ist nicht so frei
Awful tempo. Terrible. Her voice is beautiful but this boring. Nothing happening here but sound.
I prefer Diana Damrau.
the tragic aspect does not come so wonderfully with Diana or René or Anna Netrebko. This inner feeling is so extremely difficult to express and Dorothea brings it. Nadine Sierra also. The brilliance of voice and the difficult technical performance are not the dominant aspects.