Cristina Deutekom- D'amore al dolce impero (Rossini)
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- Опубліковано 15 жов 2024
- Cristina Deutekom (b.1931)
I have been asked on a number of occasions to post a favorite recording by a non-Slavic soprano. Now I've finally gotten around to doing so! Just a few weeks ago I came across a delightful 1973 recording by Dutch coloratura Cristina Deutekom: 'D'amore al dolce impero' from Rossini's "Armida". Deutekom is a well-known quantity to most opera lovers, especially for her nimble Queen of the Night (the role of her Netherlands Opera and Met debuts, in 1963 and '69, respectively), which has been preserved for posterity in the acclaimed Solti recording of Zauberflöte, as well as Sir Peter Ustinov's film of the opera.
As for Armida's formidable second act aria, it is Callas' 1952 recording from Florence that is often considered the "ne plus ultra" when it comes to sheer dramatic fire. Although Deutekom may fall a bit short in that regard, she is certainly no slouch either, and she articulates her way through the Rossinian thicket of triplets with more agility and clarity than her predecessor. Furthermore, Deutekom's fresh, youthful, pert, and thoroughly unique timbre is utterly captivating, with none of the edginess that occasionally crept into the voice in later years. Indeed, this version can proudly stand alongside the aforementioned Callas, as well as Caballe, Larmore, and Fleming.
This is the most impressive version of this aria.
Just a distinctive voice. Thank you for this
I LOVE Christina Deutekom!! A VERY unique voice!!! (Especially the production of her unusual coloratura technique, some have labeled as "cluckatura".)
The other thing that always amazed me was how she could have both such an incredibly bright sound to her voice, and at the same time such a HUGE and dramatic sound, enabling her to even sing dramatic roles like Turandot! She possessed a true "light-darkness" to her voice (i.e. "chiaroscuro").
What a great, special voice! It does take some getting used to, but so warm. She's one of my favorite Queen of the Nights--love it or hate it, no one does it like she does!
К хорошему очень легко привыкнуть!,В колоратурах Кристины есть что- то «рОковое». Это ее изюминка?.😅😅😅😅
Magnificent performance.
Deutekom sang runs with a glottal-stop, a technique that very few coloraturas ever use -- mostly because the pitch is usually thrown off by the stops and it requires an inordinate amount of pharyngeal control . Deutekom is the ONLY recorded person I know that completely perfected the technique. As for infrantasi 's comment on dynamic limits, I refute that notion. I've heard her vocalize high B-flat at both a whisper and at an ear-shattering forte. And notes even higher very dynamically controlled. And for a coloratura, Christina's lower register is surprisingly resonant and chesty. And yes, I can hear the yodeling quality at times, but the overriding clarity and mastery is truly remarkable. Her voice is just too refined to be labeled as "yodeling". Anyhow, I do not completely agree that the provincial timbre is negative or distracting to the overall musicality. She is absolutely lovely.
Jason Jennings Finally someone who understand this wonderful, brilliant voice. I could'nt agree with you more. Deutekom was the best! pure magic. I love that acidy, crystalline quality of her voice. I think it's pretty unique. And she has the ability to just nail any note and passage spot on.
I am the other! Love Deutekom
I so agree with you!!
parole sante...inoltre lei nella sua ricerca delle migliori cadenze se le cuciva addosso come perle...
couldn't agree with you more! Many other singers have used a glottal-stop type technique, though none have mastered it as she. Though somehow she seems to be the only one heavily criticized for it. (I must also add, for me, in my opinion, I prefer Deutekom's coloratura style over the aspirated "ha-ha-ha-ha" one hears from singers now a days. )
Her technique is FLAWLESS.
Happy to found this on UA-cam November 2021
This is amazing. My first introduction to Christina Deutekom.
Every note is a burst of sunshine.
Ya os vale!! Cristina Deutekom posee mucho más que una voz. Es el instrumento vocal más alucinante de la Tierra. Un saludo desde el País Vasco.
So effortless!
May she rest in peace thanks for sharing your talent with us
Actually her voice is great and every note is astonishingly mastered, no question.Her tecnique in general is solid as iron,but when we speak of her coloratura here-it's a different matter:you can like it or not,but there's no hint of the indispensable legato that would avoid her taking every note 'staccate e ribattute' and finally, yes, 'jodel-like'.
Not to forget that, apart this, Deutekom is a wonderful still underrated singer who deserves a space of her own in soprano's Hall of fame.
Да , есть что - то от « Рок- Мьюзик»!, Это делает ее « самобытной» , не такой , как все!, Это - чудо!,❤
So true what you say
it is magician. she sings a smile in my face
Special Cristina, her coloratura was just sooooooo different and there still isn't ANYONE singing today who can ever hope to compete with her!!!!!!!
Thank goodness.
Especially not today. Most now have been taught wrongly.
Обожаю!, Рок - Опера!, Феноменально. Кристина Дейтеком - уникальна!,Человек - оркестр. ❤❤❤
This is on another level of amazingness
An incredible performance. Thank you.
After listening to soprano recording for a few years I’ve realized that singers/recording you initially don’t like may turn to some of your favorite like Ester Mazzoleni, Maria Caniglia, Rosa Raisa ... even Muzio.
Da bin ich aber ganz anderer Meinung dessayfan. Für mich beginnen die Probleme dann, wenn sie aufhört zu singen! Ihr Gesang und ganz besonders die Koloraturen bringen mich fast zur Raserei! Sie macht mich wirklich happy!
mir geht es genauso. ich find es total umwerfend. aber sie fokusiert. entweder man mag sie nicht, oder sie ist für die anderen die absolute spitze
I'm addicted to this...
Me to
Como bien mencionó la crítica de esa época: “Desde Callas no se veía una Armida ni una voz así de extraordinaria”
Cuando debutó en Londres se dijo que nadie había causado tan buena impresión desde Callas en sus primeros años, en Italia cuando cantó la Königin Der Nacht en Italiano en La Fenice se le llamó “La Voce” y “El Ruiseñor Holandés”, Deutekom fue posiblemente la última gran Belcantista “real” (después vino Devia pero la escuela ya no era Belcanto puro), Deutekom bien puede ser un asomo al pasado pues en los años 1700 la Coloratura jugaba el papel más importante incluso sobre un timbre vocal bello (véase en la voz de extraordinaria belleza de Farinelli y la voz no tan bella pero increíblemente ágil de Senessino), con Cristina hablamos de una voz ÚNICA pues no era una Soprano Ligera ni menos una Coloratura, ella era una auténtica Soprano Spinto (nótese en su color vocal) de increíble manejo vocal (como sus increíbles paros de glotis) que bien nos recuerda a otra gran Belcantista de la época dorada como lo fue Maria Galvany (posiblemente poseía la técnica para hacerle frente a la Coloratura de Deutekom), Galvany en su época era llamada “La Reina Del Fa6 Sobreagudo”, Deutekom poseía el repertorio más completo pues su “Lucia Di Lammermoor” es simplemente de antología, su “Lady MacBeth” es impresionante, su Elvira de “I Puritani” es inolvidable y su Abigaile de “Nabucco” de referencia, de su Königin Der Nacht no se habla ni se cuestiona pues simplemente fue la mejor (junto a Edda Moser) y su papel más legendario (en mi criterio) fue su insuperable “Turandot” que debutó con 55 años.
Complete mistress of every note and tone 😊
Deutekom l'extraterrestre intergalactique ... Quel feu ! Quel chant !! Quelle voix !!! Quel bonheur !! RIP Stijne
Muchísimas gracias por esta joya. Yo tengo dos versiones de Armida por Deutekom anteriores a 1973. Esta versión no la conocía y ha sido un verdadero placer. Nadie canta de forma tan perfecta esta dificilísima aria. Rossini volvió locas a las cantantes con D'amore al dolce impero. Sólo una voz superior podía cantar cada una de las notas. Qué maravilla! Por favor, seguid enviando más cosas de Deutekom.
Many years ago I heard her live in Norma. Her coloratura when heard live in the theatre was less distracting then it sometimes is in recordings and her dramatic abilities were also very great.
She omitted most of the low notes, she was one of a kind, but closing her runs on a low G wasn't easy for her
Thank you for posting !!!
Let's share all the beautiful music with Deutekom on youtube.
I get rather irked by inaccurate descriptions as well. I admit that the coloratura may not be to everyone's taste (I find it distinctive and exciting), but there is absolutely NO wobble here. It's a shame that because of a personal dislike one would add vocal demerits that simply are not there.
Deutekom l'extra-terrestre sublime ! Quel feu !! Quel chant !!! Quelle voix !!!!
i do not know why but she makes me happy
Thank you ❤
magnifica
Agree: Bravissima Cristina!!!!
Never heard this aria sung with such gusto and bravura. Thanks for the posting
One of my favourite singers. And go figure, I even like her 'ababa-ebebe-ibibi-obobo-lababa-webebe'. The clarity and warmth of her tone, perfect diction and immaculate scales amaze me.
Those are her amazing glottal stops that separate those triplet notes.
Genau so geht es mir auch, Herr Amann, auch mich macht sie happy. Nur ich weiss auch warum: Sie hat die klangvollste Stimme in allen Lagen, die ich je gehört habe. Und ich kann Ihnen versichern, ich habe sehr, sehr viele Stimmen gehört!
Stupenda
Yeah, people complain too much. I think her singing of this aria is exquisite. Like you said it's a matter of opinion. I personally love and adore Sutherland but you're right, on some of her recordings you wonder if she saw that there were words on the score as well - beautiful sound and technique, inaudible words and no dramatization whatsoever.
Esta mujer era un prodigio.
Rovinata??? When was her voice ruined??? Just listen to the recordings on UA-cam in her last year of active singing and tell me when there is even the slightest evidence of a diminishing voice...!
Una tecnica sbagliata - what a remark of one of the most established technical singers ever.
Hay dos versiones de 1968 por Deutekom. Son alucinantes. Por favor, que alguien las ponga. Qué preciosidad!
@organdude44 I have to say that Deutekom's version is somewhat more pronounced then Bartoli's but I love the way it sounds so it's no problem for me :)
Agreed. if i may say I feel that even Marilyn Horne used a similar glottal technique, though not as defined as Deutekom. I find it ... strange... that most admire her coloratura as Queen of the Night but find it odd in other roles. Deutekom definatly was a great Rossini soprano. Brava.
Divina
Mon Dieu, mais quelle voix !
Sehr geehrter Herr Lochs, wen stört denn der Schimmel im Käse? Der gehört doch dazu und macht den Gorgonzola erst zu dem was er ist, nämlich: himmlisch, interessant, besser als alles andere!!!! Ich hoffe Sie verstehen, was ich sagen will!!!
This voice is anything but thin or wobbly.
Veramente non so che dire. Sarà la dugentesima volta che l'ascolto. Si vede che mi fa bene.
No one suits everyone's taste. Deutekom's ravishing voice was trained with a very old technique which went back to the castrati singers. It is seldom heard today, but it is a valid technique--just old and seldom heard. And it is nigh unto impossible to slip in a wrong pitch without it glaring. A gorgeous voice and a gutsy lady (in my opinion).
Love her voice and singing, this however made me laugh.
This Armida is an alien
My love for the (as of yet unchallengeable) 1952 Callas version is so strong, I've already given up on everybody else's rendition (especially Fleming's horrid version!). I never cared for Deutekom myself (I just can't get over Maria!), & this does not surpass La Divina's, not even close, but my, there's no denying, Deutekom had the beautiful voice. Callas sold herself as the sorceress, which I'm not convinced Deutekom is here, but the voice is more beautiful!
@organdude44
I might get flack for sayin this, but Marilyn Horne also used this "style of coloratura", though her "coup de glotte" was not as...pronounced shall we say. But yes, it's also written in some of the scores i've seen to use this technique.
It's frikken freaky!
I believe this is Deutekom's live recording of 1970 from Venice. Carlo Franci conducting.
there are just certain things that should not be compared:
this attempt and Callas' masterpiece are a perfect example.
anyone who says that she sounds like she's saying anything other than
"ah, la le le le le le leh" around 4:00 is simply in denial.
i wouldn't say her voice is/was weak or wobbly. i'd say that she's simply NOT singing the words...but i'm no pro. i just have an opinion.
sorry Deutekm, no bueno.
It's not her coloratura that's a problem....what you don't like is her articulation, and that's a separate matter. Everyone in the world comments on it....just like everyone in the world has to say how bad Joan Sutherland's diction is, or how ugly Rockwell Blake's tone is. The fact is, they can all sing Rossini or any other coloratura exceptionally well, and have their idosyncrasies.
Many people objected to the glottal attacks on the coloratura that Deutekom used. This was, however, a school of bel canto dur9ing the transition from Baroque and Classical singing [Vivaldi, Spontini, Handel and Gluck] and the Romantic bel canto which others, in particular Cecilia Bartoli, also advocated. It takes some getting used to but is a valid approach to the music. I heard Deutekom several times live and was always impressed by her musicianship.
@Wilson Watt I fully agree. And she was perfectly able to sing the coloraturas the 'legato' way, which all the complainers can hear here in UA-cam
@@sytsebuwalda6570 I was about to say the same thing! She could do the coloratura in both ways....truly a gift!
Beautiful chicken singing
pure fun.
i like it soooo much.
no other singer gives me such a lucky feeling, if listen to this aria.
like it or hate it.
for me it is a never ending love
opera at it´s best
dopo avere ascoltato la callas e la sutherland. le altre cantanti sembrano principianti ;
Well, i've always like Deutekom's peculiar "yodeling" technique.....but in this particular aria it sounds....like the audio is distorted...didn't appreciate it much....however, after 2:24 i have to admit it sounded heavenly!
!!!!!!!!!!!!!!! F A C H
That was the most bizarre thing I've heard! Sorry Christina, get the axe!
Lo que hace Deutekom es dibujar perfectamente la partitura tan difícil de Rossini. Cristina Deutekom es magistral. Ni siquiera Maria Callas, que adoro, se le acerca, incluso se equivoca. Deutekom es espectacular. Mientras las otras arrastran las notas de este torbellino de notas, Deutekom hace acrobacias alucinantes.
The aspirations are difficult. The piece is already strange and off centered as a composition so… when the H’s are in all of the runs it can create a headache. This is early Deutekom she got less weird as she got older the arpeggios were not as hilarious as it was here. Especially in this opera. She of course is still an incredible dramatic coloratura.
One of the greatest ever!
2:56, la fresca età
C'est un feu d'artifice vocal, à la technique certes éblouissante. Mais ce n'est PAS du tout Armida, qui doit être un drammatico-coloratura à la couleur sombre, à l'instar de Semiramide. Ici, c'st un magnifique exercice de vocalisation! Totalement à côté mais magnifique tout de même!
@75patpat Sprich nicht von Dingen, von denen Du ganz offensichtlich nicht's verstehst. Du kannst sagen: "mir gefällt das nicht!" aber nicht: "Sie singt nicht seriös"! Das finde ich eine Anmassung einer Frau gegenüber, die Millionen von Menschen durch ihr singen Freude bereitet hat!
Davvero brava, uraganica. Malgrado non sia italiana ha un’ottima pronuncia
Well, I would say "distinguished" .
Was she the only famous soprano who yodellod intentionally?
IMO, that's just the matter of taste. If her tecnique really has pbm, that would destroy her voice, but it didn't! And who knows, maybe Rossini would like her voice and wrote more coloratura songs for her.
she is abolutely primadonna.
same range as callas.
the coloratura, like it or hate it.
threre is nothing between.
i love it.
thanks cristina
Meglio della Callas per me! Più gradevole, divertente, più colorata. 😍🌈🌈
crazy coloratura
we love her but it's sooo strange !!!
Deutekom's coloratura technique is a very old school of bel canto. It demands a very good control of breath and of the larynx. You find the same technique in Marylin Horne or Cecilia Bartoli (both are mezzos) or Francisco Ariza (tenor). Each note is sung very distinctly, like a pearl.
I'd call Horne's and Bartoli's technique aspirated coloratura. Deutekom performs the true glottal technique (coup de glotte), just like Isabella Colbran, the first Armida.
You're right: that "guhguhguhg" is a bit exhausting to listen to. Gruberova does that too, but she sounds way better than this...
@3F93
Old school yes, too old never.
A los que sólo os gusta criticar y criticar.... cantad vosotros y así nos reimos todos un buen rato e.e.
I've heard her Lucia, Norma, Queen of the Night, the various Verdi... she always gets back to that guhguhguhguhguhguhguh stuff. I find it more odd and intrusive than Bartoli's hahahahahahahaha machine-gun aspirants. I was just listening to Sills' 'L'Assedio di Corinto' live recording, and with all her quirks, she never had to add extra consonants or gargle the roulades. Hell, even Fleming doesn't have to do that. That Deutekom can do without the gobbling makes it even worse when she does it.
Estamos demasiado acostumbrados a la interpretación de Callas-Serafin 1952, es algo extraño escuchar esta interpretación teniendo como parámetro a Callas, habrá que escuchar el resto de la ópera para juzgar. Recomendable la versión de Miricioiu
I don't think Rossini would have recognized this aria the way she is singing it. Why does she change it so much? It's annoying.
Puede alguien poner Marten aller Arten del Rapto del Serrallo? También del Director de Teatro de Mozart por Deutekom. En acrobacia vocal nadie podía competir con ella. Quizás le tenían miedo o demasiado respeto? Qué garganta prodigiosa!!!!!!!!!!!!!!!!!!!
@organdude44 that's right!!
She had an amazing tone and voice, but her coloratura was the most unenjoyable thing ever to me.
@MisterSoprano I Have that recording and I know *exactly* what you mean.
She has been the ONLY Lucia to me since I first heard that live recording with
herself and Pavarottie when I was 15 yrs old.
Perdón de 1970. En qué estaría pensando!
I agree that here her technique doesnt sound nice all the time, but c'mon, she is still one of best coloratura singers ever - try her Lucia, one of the best I have ever heard (try and get the recording with her and Pavarotti and you'll understand what I mean).
@Ariadne7710 I prefere La Deutekom!
Most commenters describe the articulation as gagagagagagaga. I think she is doing it with the lips and the jaw as vavavavavavavavava. The glottal would constantly interrupt the flow of air where singing vavava or dadadada (or whatever) would keep the flow of air going through the vocal chords for the vocal line. It would be much easier than trying to do it globally and has pretty much the same sound. Guess we'll never know.
actually she did the glottal. amazing, but recordings with visual ( as well as people who've seen her ) do indeed prove that she used her glottal. a recording of her singing martern aller arten show she could do this "gagaga" articulation without even moving her mouth!
I lost it at "or whatever" . Lol.
Absolutely correct. I saw her live several times in strenuous coloratura roles, including the Queen of the Night, and her never closed her mouth during the long runs and scales. This form was disappearing by the early Romantic period but it is likely that Rossini would not have thought her singing unusual at all in this area.
@organdude44 oh mio Dio - no, questo non è il colpo di glottide, né la tecnica yodler, bensì un modo di articolare gli staccati scritti da Rossini attraverso una specie di consonante, molto brutto devo dire - è brutto anche aspirare, in realtà sarebbe necessario marcare e legare al tempo stesso (come faceva la Callas) ma è molto difficile per rispettare la precisione. Il colpo di glottide lo puoi sentire molto nella Gencer, un modo verista violento per trovare il giusto appoggio sul fiato
C'est étrange parce qu'on dirait surhumain. Envoyez s'il vous plait Marten Aller Arten par Deutekom.
Her execution is awful? She sings all the notes and you can hear them clearly.
OMG! Is she singing under water or making gangles? Anyway, I enjoy Deutekom's voice!
Those are her amazing glottal stops that separate those triplet notes.
@organdude44 I agree that Deutekom and Bartoli's use of this technique is appropriate and authentic... I still don't like the way it works in this performance. I am a big fan of Deutekom, but this is not my favorite testament of that.
But even in the 19th Century there were arguments against this technique, so historically, it was considered correct y some and not by others. It is extremely unpleasant, at least to my ears.