It is amazing to read the easily printed notes to such stunningly beautiful music. What a wonderful composer Donizetti was. And yet, much of his life was ghastly tragic. What amazing times those were when in 1830 this first of his famous operas was finally brought forth to the world to last forever - for all time.
In its integrity (without the traditional cuts) Anna Bolena is a monumental work, as Donizetti's creativity was endless and he experimented how long and complex every scene could be, arias, duets, ensemble, choruses etc. all is at its peak here. In proportion Anna Bolena was for Donizett what Semiramide was for Rossini
I know this isn't a competition but when I hear these two singing side by side Elina is clearly the better singer. I don't know how anyone could hear that differently.
Magnificent. Despite the fact that Anna Netrebko is not a coloratura soprano, she really made Anna Bolena work for her. And Elina Garanca's fantastic voice and acting stole the show more than once throughout the performance! Thank you for the high quality video.
Creo que estamos viendo y escuchando algo distinto, pues a mi juicio: Sí, una bella ópera, lindos trajes, cantantes bellas, grandes cantantes, pero esta es una Anna Bolena sin alma, esta vacía, sin emociones, un canto muy plano, una Anna Bolena con una especie de opacidad, hasta los momentos más emocionantes en otras versiones pasan casi desapercibidos si no fuera por el ímpetu de las notas en la orquesta.
Muchas gracias. Esto muestra como la parte de Giovanna por momento es más exigente que la de Anna Bolena y en este caso Elina es MUCHO mejor que Netrebko.
I have the blue ray of this. top modern technical stuff of course, and - Captions. ! performance worthy of the flash. from what I read the 2 stars are actual friends, perform on each others records....
Sí esta Opera plana, llana sin matices y emociones te pareció hermoso, escucha la Anna Bolena de La Callas 1957 Scala de Milan, Oro puro, hipnótica, electrizante! eso sí que es cantar, sé tiente la furia regia de una Anna Bolena, con los tempos y dirección adecuados parece que todo estaba apunto de arder en el escenario a cada momento...
SCENA TERZA Anna, indi Giovanna Seymour Scena e Duetto ANNA (partite le ancelle, alza le mani al cielo, si prostra, e dice) Dio, che mi vedi in core, Mi volgo a te … Se meritai quest'onta Giudica tu. siede e piange GIOVANNA Piange l'afflitta … ahi! come Ne sosterrò lo sguardo? ANNA Ah! sì: gli affanni Dell'infelice aragonese inulti Esser non denno, e a me terribil pena Il tuo rigor destina … Ma terribile è troppo … GIOVANNA si appressa piangendo; si prostra a suoi piedi, e le bacia la mano O mia Regina! ANNA Seymour! … a me ritorni! … Non mi obliasti tu? … Sorgi … Che veggo? Impallidisci! … tremi? … A me tu rechi Nuova sventura forse? GIOVANNA Orrenda … estrema! … Gioia poss'io recarvi? Ah! … no … m'udite. Tali son trame ordite, Che perduta voi siete. Ad ogni costo Vuol franti il Re gli sciagurati nodi Che vi stringono a lui … La vita almeno … Se non il regio nome … La vita almen, deh! voi salvate! ANNA E come? Spiegati. GIOVANNA In dirlo io tremo… Pur dirlo io deggio. Il confessarvi rea, Dal Re vi scioglie e vi sottragge a morte. ANNA Che dici tu? GIOVANNA La sorte Che vi persegue, altro non lascia a voi Mezzo di scampo. ANNA E consigliar mel puoi!! … Tu, mia Seymour!! … GIOVANNA Deh! per pietà … ANNA Ch'io compri Coll'infamia la vita? GIOVANNA E infamia e morte Volete voi? … oh Ciel! cedete … Ve ne consiglia il Re … ve ne scongiura La sciagurata che l'amor d'Enrico Ha destinata al trono. ANNA Oh! chi è costei? La conosci? favella. - Ardire ell'ebbe Di consigliarmi una viltà?... Viltade Alla Regina sua!! … parla: chi è dessa? GIOVANNA singhiozzando Un'infelice
Povere fanciule - both didn't understand nothing from Donizetti music, also the conductor is so bad. Recitativi are the worst parts. I read that after the permiere of Anna Bolena at La Scala in 1957 with Callas, Simionato and Gavazzeni conductig - all giants - Maria said: "Giulia duopa di me nesuno...."- she probably didn't realized the truth of her afirmation - YES our dear MARIA after you nobody can take your roles, I listen to you again and again and even is a recording every time you are different, everitime I descover a little accent or a breath effect I didn't observed. So Tito Gobbi when said to you "Maria your music will be listen more than 100 years in the future" was an other genis like you and Giulietta using prophetic words..... There are also other very good singers like Elena Souliotis, Katia Ricciarelli and Sonya Yoncheva - I saw her in Il Pirata at La Scala an other Callas big role she was very good like in Norma at ROH - the stage sets woas horrors - BUT you Maria remain for all of as the ABSOLUTE GENIUS. How persons like Cabale, Netrebko could even think to touch your roles, will be always a mystery for me.
Caballé took her roles because she could. And not all her roles, she didn't attempt Lady MacBeth, Armida or Abigaille where Callas shined. But Callas and Sutherland aimed Caballé to sing Norma. And also don't forget that when Callas didn't want to go to Tokyo she send Caballé, and dear, I'm not going to question Callas about that (she gave her Tosca ornaments too...). I am not saying she is the size as Callas, she herself said in an interview she doesn't deserve being compared to Callas because Callas was way more big as an artist, so she knew where she was and even if I have some doubts about some of her roles, I think she is one of the best singers in that period. Please don't make non sense comparisons with nowadays singers.
Todo hermoso: la música, las cantantes, el ambiente, la orquesta !!
Боже мой, какие же они красавицы обе. Нетребко завораживает своим проживанием и голосом!
It is amazing to read the easily printed notes to such stunningly beautiful music. What a wonderful composer Donizetti was. And yet, much of his life was ghastly tragic. What amazing times those were when in 1830 this first of his famous operas was finally brought forth to the world to last forever - for all time.
In its integrity (without the traditional cuts) Anna Bolena is a monumental work, as Donizetti's creativity was endless and he experimented how long and complex every scene could be, arias, duets, ensemble, choruses etc. all is at its peak here. In proportion Anna Bolena was for Donizett what Semiramide was for Rossini
Les2 plus grandes de l'opéra actuel talent, charisme, beauté !
I know this isn't a competition but when I hear these two singing side by side Elina is clearly the better singer. I don't know how anyone could hear that differently.
Wow Garanca!!! 9:55
Ana bolena una opera de mis preferidas con las grandes rusas ANA NETREBKO Y ELINA GARRANCA
Letonia
Maravilloso, ambas son extraordinarias!!
Des voix puissantes riches de belles nuances pourtant ..Est ce vraiment du bel canto...
Elina Garanca soberbia en su rol. Magnífica!!!
Da brividi. Strepitose, al pari e forse migliori delle più grandi del passato
Una serata magica.
que privilegio!!
Thanks for uploading this. Great to see the score along side the fantastic singing!
Grazie per il lavoro ! È meraviglioso
Só está Música oferece tal Beleza,! lindo.
Gracias. Muy lindo
Elīna Garanca is very magnificent!
Always!
Прекрасно поет Гаранча! Упругий звук по всему регистру. С" металлом" на верхних нотах. Слушать- одно удовольствие!
Wow Garanca!! 9:56
Magnificent. Despite the fact that Anna Netrebko is not a coloratura soprano, she really made Anna Bolena work for her. And Elina Garanca's fantastic voice and acting stole the show more than once throughout the performance! Thank you for the high quality video.
exact
Creo que estamos viendo y escuchando algo distinto, pues a mi juicio: Sí, una bella ópera, lindos trajes, cantantes bellas, grandes cantantes, pero esta es una Anna Bolena sin alma, esta vacía, sin emociones, un canto muy plano, una Anna Bolena con una especie de opacidad, hasta los momentos más emocionantes en otras versiones pasan casi desapercibidos si no fuera por el ímpetu de las notas en la orquesta.
@@despertardelaconciencia369 p
MARAVILLOSA
Ni mejor ni peor cada huna tiene su estilo geniales lasdos
Bravi !!!!!!!!
How Perfect!!
Bellissimo 🧡
Gracias por compartir.
Garanca una Diosa
Muchas gracias. Esto muestra como la parte de Giovanna por momento es más exigente que la de Anna Bolena y en este caso Elina es MUCHO mejor que Netrebko.
Это волшебство!
I have the blue ray of this. top modern technical stuff of course, and - Captions. !
performance worthy of the flash. from what I read the 2 stars are actual friends, perform on each others records....
Hermoso...*^▁^*
Sí esta Opera plana, llana sin matices y emociones te pareció hermoso, escucha la Anna Bolena de La Callas 1957 Scala de Milan, Oro puro, hipnótica, electrizante! eso sí que es cantar, sé tiente la furia regia de una Anna Bolena, con los tempos y dirección adecuados parece que todo estaba apunto de arder en el escenario a cada momento...
¿Y que quieres? ¿Que te aplauda? ¿Te consiga un marichi? ¿Te prepare un mole? ¿O que?
SCENA TERZA
Anna, indi Giovanna Seymour
Scena e Duetto
ANNA
(partite le ancelle, alza le mani al cielo, si prostra, e dice)
Dio, che mi vedi in core,
Mi volgo a te … Se meritai quest'onta
Giudica tu.
siede e piange
GIOVANNA
Piange l'afflitta … ahi! come
Ne sosterrò lo sguardo?
ANNA
Ah! sì: gli affanni
Dell'infelice aragonese inulti
Esser non denno, e a me terribil pena
Il tuo rigor destina …
Ma terribile è troppo …
GIOVANNA
si appressa piangendo; si prostra a suoi piedi, e le bacia la mano
O mia Regina!
ANNA
Seymour! … a me ritorni! …
Non mi obliasti tu? … Sorgi … Che veggo?
Impallidisci! … tremi? … A me tu rechi
Nuova sventura forse?
GIOVANNA
Orrenda … estrema! …
Gioia poss'io recarvi? Ah! … no … m'udite.
Tali son trame ordite,
Che perduta voi siete. Ad ogni costo
Vuol franti il Re gli sciagurati nodi
Che vi stringono a lui … La vita almeno …
Se non il regio nome …
La vita almen, deh! voi salvate!
ANNA
E come?
Spiegati.
GIOVANNA
In dirlo io tremo…
Pur dirlo io deggio. Il confessarvi rea,
Dal Re vi scioglie e vi sottragge a morte.
ANNA
Che dici tu?
GIOVANNA
La sorte
Che vi persegue, altro non lascia a voi
Mezzo di scampo.
ANNA
E consigliar mel puoi!! …
Tu, mia Seymour!! …
GIOVANNA
Deh! per pietà …
ANNA
Ch'io compri
Coll'infamia la vita?
GIOVANNA
E infamia e morte
Volete voi? … oh Ciel! cedete …
Ve ne consiglia il Re … ve ne scongiura
La sciagurata che l'amor d'Enrico
Ha destinata al trono.
ANNA
Oh! chi è costei?
La conosci? favella. - Ardire ell'ebbe
Di consigliarmi una viltà?... Viltade
Alla Regina sua!! … parla: chi è dessa?
GIOVANNA
singhiozzando
Un'infelice
Fantástica Anna :)
Meravigliosa Anna
Прекрасное исполнение! Спасибо за партитуру - не ожидала такого подарка!
Моя любимая Анна Нетребко!Сил Вам пережить невзгоды.
a que tono llega Elina Garanča en el minuto 10?
A un La sobreagudo
What are the red measures?
La fin est spendide
Beautifully written duet, but Bolena are huge shoes to fill and sadly Anna isn't up to it.
netrevko canta horrible, esa nena no tiene tecnica, con razon se acabo esa voz
Hagas mejor y sube tu video
Eu acho que vc tá sendo um babaca
Netrebko becomes worse every day.
Que terrible tecnica Anna
Povere fanciule - both didn't understand nothing from Donizetti music, also the conductor is so bad. Recitativi are the worst parts. I read that after the permiere of Anna Bolena at La Scala in 1957 with Callas, Simionato and Gavazzeni conductig - all giants - Maria said: "Giulia duopa di me nesuno...."- she probably didn't realized the truth of her afirmation - YES our dear MARIA after you nobody can take your roles, I listen to you again and again and even is a recording every time you are different, everitime I descover a little accent or a breath effect I didn't observed. So Tito Gobbi when said to you "Maria your music will be listen more than 100 years in the future" was an other genis like you and Giulietta using prophetic words.....
There are also other very good singers like Elena Souliotis, Katia Ricciarelli and Sonya Yoncheva - I saw her in Il Pirata at La Scala an other Callas big role she was very good like in Norma at ROH - the stage sets woas horrors - BUT you Maria remain for all of as the ABSOLUTE GENIUS.
How persons like Cabale, Netrebko could even think to touch your roles, will be always a mystery for me.
Caballé took her roles because she could. And not all her roles, she didn't attempt Lady MacBeth, Armida or Abigaille where Callas shined. But Callas and Sutherland aimed Caballé to sing Norma. And also don't forget that when Callas didn't want to go to Tokyo she send Caballé, and dear, I'm not going to question Callas about that (she gave her Tosca ornaments too...).
I am not saying she is the size as Callas, she herself said in an interview she doesn't deserve being compared to Callas because Callas was way more big as an artist, so she knew where she was and even if I have some doubts about some of her roles, I think she is one of the best singers in that period. Please don't make non sense comparisons with nowadays singers.
Lolololol Virgil you should do standup comedy, opera is not your thing. Caballé was a superior Norma than Callas, who was nonetheless very good.