I’ve been listening to this aria since April 2020 (quarantine days) and I still get goosebumps to this song.. the way her voice just flows, icy, dark, heavy, and resonate is just amazing. The way she interprets this aria is beautiful but dark. And those B5s are just beautiful! If anybody wants to know what a dramatic soprano should sound like… BAM ! Eva Marton singing this aria is a perfect example, in my opinion .
Due to Marton's big voice, I am sure this was exciting live in the theater. The quality of her sound and her technique leave a lot to be desired; from about 3:20 on she is mostly singing at the top of her lungs.
@@pawdaw Marton's high C took less than 10 years to leave. Here, she can't even sing the word to get to the C, she just mouths the notes without any text at all. By the time the Met production rolled around, her Bb, B, and C were highly unreliable.
@@jabber12345 The big sound is impressive but you can already hear the technical problems - sound forced into the mask and overworked chest resonance. I also dislike the clipped phrase ends - very unitalianate.
@@jabber12345 you must be not very strong in Italian, otherwise you would understand that she’s singing the word enigmi when she decided to go on the “i” for the high C instead of the canonic “o” of sono (verb which she also sings after the word enigmi).
A PRIVILEGE, HAVING THE OPORTUNITY TO LISTEN TO MARTON IN PERSON !!!!.
The last real Turandot…
Netrebko, listen and learn a little…!
You're right about Netrebko! The other great Turandot was the very underrated Ghena Dimitrova.
Ghena era sensacional ❤❤❤❤
Precisely. Not keen on hearing her scream her way through Isolde anytime soon.
@@asenbilev2086 She's Already done it! ua-cam.com/video/WGsTJd5NBjw/v-deo.htmlsi=Kpgm8xSnE9Msg4Lg
Wait! Netrebko as Turandot!? No way!
I’ve been listening to this aria since April 2020 (quarantine days) and I still get goosebumps to this song.. the way her voice just flows, icy, dark, heavy, and resonate is just amazing. The way she interprets this aria is beautiful but dark. And those B5s are just beautiful! If anybody wants to know what a dramatic soprano should sound like… BAM ! Eva Marton singing this aria is a perfect example, in my opinion .
Escuché a Marton hace años en el Liceu…nunca, nunca he olvidado su enorme voz que lo llenaba todo❤❤❤❤Gracias
Sus agudos traspasaron orquesta y coro.
Tuve el honor de hacer el rol de " doncella" con ella. Teatro Colón . Grande , Eva, gran artista y persona.
Una de las grandes Turandot!!
Due to Marton's big voice, I am sure this was exciting live in the theater. The quality of her sound and her technique leave a lot to be desired; from about 3:20 on she is mostly singing at the top of her lungs.
BRAVISSIMAAAAA!!!👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏👏
Marton magnificent, the tenor weak.
She has power and beauty in her voice!
EVA Marton buries Carreras in the last phrase. Totally overpiwers him.
You can barely hear the he note while she overpowers everything. But it was there! She needs a booming tenor to match her magnificence!
Carreras had an unreliable top C - 10 years later Marton also had an unreliable top C
@@pawdaw Marton's high C took less than 10 years to leave. Here, she can't even sing the word to get to the C, she just mouths the notes without any text at all. By the time the Met production rolled around, her Bb, B, and C were highly unreliable.
@@jabber12345 The big sound is impressive but you can already hear the technical problems - sound forced into the mask and overworked chest resonance. I also dislike the clipped phrase ends - very unitalianate.
@@jabber12345 you must be not very strong in Italian, otherwise you would understand that she’s singing the word enigmi when she decided to go on the “i” for the high C instead of the canonic “o” of sono (verb which she also sings after the word enigmi).
Listening a few year on Im overwhelmed by the huge beauty of Eva Martons voice at this period of her career .
He destroyed his voice singing these heavy roles