Sabine is def my new fav, although I have found better recordings of her singing this. Also I agree with the person who said Ms Battle's interp was "seductive." I love that these are all live - nice apples-to-apples. Thank you for doing this work!! I will be watching your channel from now on. #coloratura
The interesting part about this aria is that it exposes the high soprano to not just notes octave leaps legato but also their very tone of voice. Many sopranos who perform this have mosquito voices and the entire thing is often lost to a weird vocalise (Sabine). The aria involves a quandary over a Count so there is supposed to be some nobility in the sound. This is not a saucy maid aria. Gruberova who actually possessed the requisite power decided to express the top as a inner ecstasy quietly. Others give more, some avoid the E6. At either way we must remember that pitch has risen since this was composed in the 18th C. The E6 we hear would had sounded more like a D6. Aloysia Weber was documented to have a fruity high soprano with a glittery high acuti extension like a bird. So the top would had a buzzy higher strung agony versus the pale tiny sound in many of these offerings. Offerings 1,10,14,20-24 are more how this would had gone. With 10 Reri Grist being the likely best version in a similar past example.
We obviously disagree on a number of points about how a coloratura soprano should sound and the artistic point in trying to recreate Aloysua Weber's voice, which largely subjective, so let me just point out an undiscutable error in your post: You exaggerate the difference between Mozart' pitch and the current one quite considerably. An E6 using Mozart's tuning fork wouldn't be anywhere near a D6 - in fact, it would be 26 cents higher than a modern Eb6. Not all that much to fuss about, in oyher words,
Sadly you have omitted the one soprano who had all the notes and technique to do justice to this aria as it deserves. Ingeborg Hallstein who is virtually unknown in the USA because she did not choose to put up with all the travel that went with an international career but was happy to sing mainly in Munich, Vienna, Berlin, mSalzburg, and a few appearances at La Scala. It, however does not diminish her exceptional quality as a top rated soprano. You can find some of her recordings including one of this aria on UA-cam.
Just to agree with you about the wonderful oboe line with and complimenting the voice, woodwind with the voice was one (just one) of the miracles of Mozart’s vocal writing, another example is the flute in the aria Ruhe Sanft from the opera Zaide. Regarding a definite appraisal of the different singers and voices, almost impossible, as the recordings are simply too ‘different’ in time (historically) the equipment varies, very clearly the ambience varies greatly, the recording engineers, microphone placement, and very often crucial for voices, the microphones themselves. From the examples here, for me the 2 French “D”s, albeit 1 is Belgian! Devielhe and Devos are the only ones where the voice doesn’t tend to go to a ‘whistle’ on the very top notes, so they are my preferences.
hello! I am a new follower and I was fascinated by your channel, I came here for this video! I don't know if I already have a comparative video, but I think one similar to this would be very nice over another of Mozart's arias "Ruhe sanft, mein holdes Leben", which, in my opinion, is very beautiful and also difficult to execute. thank you
Kathleen Battle sings the entire passage so seductively! I was captivated with her as I was with no one else. Reri Grist was second for me. There were others I also loved.
Those 3 sopranos are great in their studio recordings (which are already posted on YT by other channels) -- but I do not have *live* performances by those sopranos and this comparison was only of live performances.
Could you, please, post Battle's version? I have heard other live recordings of her singing this phenomenal piece, but not this one in particular. Thanks a lot! Also, her picture is gorgeous! Such an impecabble taste you have!
Ladycomb's phrasing is the most refreshing. she uses staccato elegantly to help her phrasing, and she has a certain innate style that befits Mozart's music that only those studied Mozart's instrumental works for will appreciate.
Really one of TheMost gorgeous arias of the entire repertoire. Dove sono bei momentki fron LeNozze was always my favorite aria until i heard Battle in this! A dream. Anna Scotto bell sound would seem perfect but ive not heard a lit of Mozart from her.Sabine D. not the voice for this.A lot of vibrato in Mozart is not a greatthing.ErinMorley wonderful in this.Sills has a courageous feat of taking the slowest tempo of all the versions here & her control & the vitality of her phrasing put her recording n the same league as Battle. Who was the first to recordcthis music? Honna check your other posts.
@songbirdwatcher Hi, I am writing this on behalf of Ghillian Sullvian who is a Soprano featured in your video. She asks if you have the the recording of her singing the aria, as she does not and would love to hear it in full?
Battle sings CIRCLES around everyone else! It is not even fair to compare her version with the others. Not a single bad singer in this marvelous list, and yet, what a showdown she delivers. The greatest vocal piece ever, indeed! Thank you so much for posting! The longing in the adagio is truly remarkable.
I agree. I came back to Kathleen at the end of the video. There were several singers I really liked, even loved. But no one sings the entire clip as seductively as Kathleen. Truly, there is no comparison.
Hey ! Thanks for this video ! Everytime I see this aria listed, I can't wait to hear whomever sings it. ( It's vocal-decadence. ) Your description is much-more informed AND it's easy to understand why you consider it the greatest soprano aria ; too bad, just because it's a soprano song, doesn't mean every soprano can sing it. A real virtuoso-soprano w / the purest of voices would definitely be more specific ( not being critical of your professional description ). What do you think of _Sophie's_ aria ? I've heard Battle sing it. She was also compared w / other sopranos in that song. Her version was nothing like anything I'd ever heard from a female voice ... w /o exaggeration ... it was unreal that a human voice, in that isolated phrase, could make that sound. If she had been singing in the wild ... the female birds she would have attracted.
Kathleen Battle is the ultimate best! Her voice flows through the notes with such ease, grace and effortless beauty. If angels sing, these is how they must sound! Beautiful!!
This is only live performances, and I don't have Hallstein singing this one live. Only her studio recording. She did sing it live at a Salzburg Festival concert in 1969, but sadly, I don't have that version. Something to keep an eye out for!
Fascinating exercise. While I'm pretty much in awe of anyone who can do this, I definitely heard nuances when presented with these in a compare and contrast format. I was not at all familiar with many of these singers, so that was interesting too. As far as my personal preference - I don't care so much about the Es as I do that the singer sound as if they are inside the song (although I don't care for it when the E sounds like a different vowel than the notes that lead up to it, and nor does our dog!). I understand that this was just live performances - but considering these are recordings, and studio recordings are recordings, that seems slightly arbitrary ;-).
Not arbitrary in my view. I selected live performances because it's make-or-break -- you get one chance, in front of a live audience staring at you. In a studio recording, there is still some pressure (ie, the cost of studio time and orchestra), but the environmental conditions are definitely in the singers' favor, and there is always the option for a retake -- and the engineers can help enhance the voice.
For me it's Reri Grist and Erin Morley who both maintained a vibrato on the top note with a beautiful round sound and seemed to be at ease when reaching it.
@@songbirdwatcher Just love the interpretations from Natalie Dessay. Please, consider comparing the last "d'a-mor non par-la---te" resolution between all of them. As far as I know the resolution from Natalie is the most beautiful for me. By the way, congratulations for the idea of these comparissons.
None of them come anywhere close to Ingeborg Hallstein. She is the only one who brings out the sweetness and beauty of tone of this wonderful aria in the way that Mozart must have intended.
My favorite Mozart concert aria, I’ve loved Sills studio version for many years but I’ve never heard this live one. Thanks for sharing.
Wow... still gruberova my favourite! love her pianissimo notes
Thank you for this wonderful compilation! Very enjoyable.
I have a personal preference for Reri Grist, although that may be because hers was the first rendition I ever heard. That being said, what a beauty!
Sumi jo is clear and perfect note.
Sabine is def my new fav, although I have found better recordings of her singing this. Also I agree with the person who said Ms Battle's interp was "seductive." I love that these are all live - nice apples-to-apples. Thank you for doing this work!! I will be watching your channel from now on. #coloratura
Thanks for being a fan of the channel!
I have a similar appreciation and attention due to this aria, and have to say: best video on youtube!
Sabine for certain. Effortless pure emotion….perfection
agree
Great vocal game! I love this aria and for years it was Sills for me…Sabine is exceptional as well!
Morley wins for me... that crescendo. Thank you again for compiling these!!
The interesting part about this aria is that it exposes the high soprano to not just notes octave leaps legato but also their very tone of voice. Many sopranos who perform this have mosquito voices and the entire thing is often lost to a weird vocalise (Sabine). The aria involves a quandary over a Count so there is supposed to be some nobility in the sound. This is not a saucy maid aria. Gruberova who actually possessed the requisite power decided to express the top as a inner ecstasy quietly. Others give more, some avoid the E6. At either way we must remember that pitch has risen since this was composed in the 18th C. The E6 we hear would had sounded more like a D6. Aloysia Weber was documented to have a fruity high soprano with a glittery high acuti extension like a bird. So the top would had a buzzy higher strung agony versus the pale tiny sound in many of these offerings. Offerings 1,10,14,20-24 are more how this would had gone. With 10 Reri Grist being the likely best version in a similar past example.
We obviously disagree on a number of points about how a coloratura soprano should sound and the artistic point in trying to recreate Aloysua Weber's voice, which largely subjective, so let me just point out an undiscutable error in your post: You exaggerate the difference between Mozart' pitch and the current one quite considerably. An E6 using Mozart's tuning fork wouldn't be anywhere near a D6 - in fact, it would be 26 cents higher than a modern Eb6. Not all that much to fuss about, in oyher words,
Sabine Devieilhe is my favorite ❤
Sadly you have omitted the one soprano who had all the notes and technique to do justice to this aria as it deserves. Ingeborg Hallstein who is virtually unknown in the USA because she did not choose to put up with all the travel that went with an international career but was happy to sing mainly in Munich, Vienna, Berlin, mSalzburg, and a few appearances at La Scala. It, however does not diminish her exceptional quality as a top rated soprano. You can find some of her recordings including one of this aria on UA-cam.
Just to agree with you about the wonderful oboe line with and complimenting the voice, woodwind with the voice was one (just one) of the miracles of Mozart’s vocal writing, another example is the flute in the aria Ruhe Sanft from the opera Zaide.
Regarding a definite appraisal of the different singers and voices, almost impossible, as the recordings are simply too ‘different’ in time (historically) the equipment varies, very clearly the ambience varies greatly, the recording engineers, microphone placement, and very often crucial for voices, the microphones themselves.
From the examples here, for me the 2 French “D”s, albeit 1 is Belgian! Devielhe and Devos are the only ones where the voice doesn’t tend to go to a ‘whistle’ on the very top notes, so they are my preferences.
Sills, Sylvia, Sumi Jo and Morley 🥰🥰🥰
"But fate condemns me to weep in silence." Brava to all the ladies - one of my favorites also!
All were beautiful. But Natalie Dessay and Patricia Petibon's versions are my favorites.
hello! I am a new follower and I was fascinated by your channel, I came here for this video!
I don't know if I already have a comparative video, but I think one similar to this would be very nice over another of Mozart's arias "Ruhe sanft, mein holdes Leben", which, in my opinion, is very beautiful and also difficult to execute. thank you
Kathleen Battle sings the entire passage so seductively! I was captivated with her as I was with no one else. Reri Grist was second for me. There were others I also loved.
Stephen Golden. try Ingeborg Hallstein and you will be amazed. Her voice is truly golden and has a sound both effortless and natural.
Hi why is ingeborg hallstein and Beverly hoch not included and Natalie Dessay. I think those are 3 of the best versions ever
Those 3 sopranos are great in their studio recordings (which are already posted on YT by other channels) -- but I do not have *live* performances by those sopranos and this comparison was only of live performances.
@@songbirdwatcher Dessay's live version can be found on youtuber sour7lemon's channel.
Gruberova is the Best ❤
Could you, please, post Battle's version? I have heard other live recordings of her singing this phenomenal piece, but not this one in particular. Thanks a lot! Also, her picture is gorgeous! Such an impecabble taste you have!
Done!
@@songbirdwatcher I have just heard it! It was fan-tas-tic! Thank you so much! :D
Sabine Devieilhe 💘💗💞❣💘💗💞❣💘💗💞❣💘💗💞❣💘💗💞❣
Ladycomb's phrasing is the most refreshing. she uses staccato elegantly to help her phrasing, and she has a certain innate style that befits Mozart's music that only those studied Mozart's instrumental works for will appreciate.
Really one of TheMost gorgeous arias of the entire repertoire. Dove sono bei momentki fron LeNozze was always my favorite aria until i heard Battle in this! A dream. Anna Scotto bell sound would seem perfect but ive not heard a lit of Mozart from her.Sabine D. not the voice for this.A lot of vibrato in Mozart is not a greatthing.ErinMorley wonderful in this.Sills has a courageous feat of taking the slowest tempo of all the versions here & her control & the vitality of her phrasing put her recording n the same league as Battle. Who was the first to recordcthis music? Honna check your other posts.
Sylvia Greenberg, and Erin Morley
❤Пение Вселенной ,иначе не скажешь это необычное пение .Восторг необыкновенный.❤❤❤ Брависсимо ооо.
@songbirdwatcher
Hi, I am writing this on behalf of Ghillian Sullvian who is a Soprano featured in your video. She asks if you have the the recording of her singing the aria, as she does not and would love to hear it in full?
Sure! I’m happy send the full aria via email. You can send me a note to the email listed on the About tab of my channel.
I loved it. Judith Blegen sings this very well also....
I adore Edita Gruberova❤
Perfect E.
omg it's amazing !
Erin Morley, for sustained top note and depth of feeling, 2nd Sylvia Greenway
I wish Callas sang this song, she had the perfect chest for the low B and all of the high notes, can't wait for the low B comparison!
Callas would not have been very comfortable in the high sustained stuff.
@@tamerlano when she was younger, she would have had no problem
Elizabeth Parcells is my number one. :)
Battle sings CIRCLES around everyone else! It is not even fair to compare her version with the others. Not a single bad singer in this marvelous list, and yet, what a showdown she delivers. The greatest vocal piece ever, indeed! Thank you so much for posting! The longing in the adagio is truly remarkable.
I agree. I came back to Kathleen at the end of the video. There were several singers I really liked, even loved. But no one sings the entire clip as seductively as Kathleen. Truly, there is no comparison.
Sills and Sumi Jo win it for me. But nobody does a pianissimo better than Gruberova.
no Dessay?
❤❤❤
Winners: Reri Grist, Sumi Jo, Erin Morley, Beverly Sills
Edda Moser the best, listen her please. It's fantastic. Thanks, perfect voice compilation
I think Ms. Battle's version with Andre Previn is better than even this version. And that leap at the end is the best part! Why leave it out??
Hey ! Thanks for this video ! Everytime I see this aria listed, I can't wait to hear whomever sings it. ( It's vocal-decadence. ) Your description is much-more informed AND it's easy to understand why you consider it the greatest soprano aria ; too bad, just because it's a soprano song, doesn't mean every soprano can sing it. A real virtuoso-soprano w / the purest of voices would definitely be more specific ( not being critical of your professional description ).
What do you think of _Sophie's_ aria ? I've heard Battle sing it. She was also compared w / other sopranos in that song. Her version was nothing like anything I'd ever heard from a female voice ... w /o exaggeration ... it was unreal that a human voice, in that isolated phrase, could make that sound. If she had been singing in the wild ... the female birds she would have attracted.
... more likely the male one's!
@pjkhunold Yes ! That, too, is possible, but males sing to attract females.
Kathleen Battle is the ultimate best! Her voice flows through the notes with such ease, grace and effortless beauty. If angels sing, these is how they must sound! Beautiful!!
9 Sylvia Greenberg is also amazing
Please also listen to Mariella Devia! She is too often forgotten
I adore Devia. I wish she had included this aria on her Mozart recital/concert disc from 1998.
Not by me. I adore her SO much.
where is Ingeborg Hallstein?
This is only live performances, and I don't have Hallstein singing this one live. Only her studio recording. She did sing it live at a Salzburg Festival concert in 1969, but sadly, I don't have that version. Something to keep an eye out for!
Fascinating exercise. While I'm pretty much in awe of anyone who can do this, I definitely heard nuances when presented with these in a compare and contrast format. I was not at all familiar with many of these singers, so that was interesting too. As far as my personal preference - I don't care so much about the Es as I do that the singer sound as if they are inside the song (although I don't care for it when the E sounds like a different vowel than the notes that lead up to it, and nor does our dog!). I understand that this was just live performances - but considering these are recordings, and studio recordings are recordings, that seems slightly arbitrary ;-).
Not arbitrary in my view. I selected live performances because it's make-or-break -- you get one chance, in front of a live audience staring at you. In a studio recording, there is still some pressure (ie, the cost of studio time and orchestra), but the environmental conditions are definitely in the singers' favor, and there is always the option for a retake -- and the engineers can help enhance the voice.
Not sure what Gruberova is doing but its funny as hell.
13/ 16/ 20/ 22.. wow
Is Gagnon playing on the Sills clip? Lousy playing.
For me it's Reri Grist and Erin Morley who both maintained a vibrato on the top note with a beautiful round sound and seemed to be at ease when reaching it.
What I heard when Katleen B sang, delighted my ears!! Every note had shape!
Greenberg, then Battle
Prob Sabine and Kathleen
There is not even Natalie Dessay ???
I don't have Dessay doing this aria live, only her (wonderful) studio recording. Surprising, but true!
@@songbirdwatcher here is the link : ua-cam.com/video/2U4727JKEpw/v-deo.html
@@songbirdwatcher Just love the interpretations from Natalie Dessay. Please, consider comparing the last "d'a-mor non par-la---te" resolution between all of them. As far as I know the resolution from Natalie is the most beautiful for me.
By the way, congratulations for the idea of these comparissons.
@@songbirdwatcher ua-cam.com/video/UpJmr8h8pgk/v-deo.html
ua-cam.com/video/A81zbskPpkU/v-deo.html Maria Rădeanu, young soprana, 24 years, min: 4,48-5
Reri Grist
What, not even Natalie Dessay ???😪
None of them come anywhere close to Ingeborg Hallstein. She is the only one who brings out the sweetness and beauty of tone of this wonderful aria in the way that Mozart must have intended.
Aquí falta RITA STREICH. La mejor de todas.
This compilation is only of live performances -- Streich's only recording is in a studio.
Sills without a doubt…. But you forgot Margaret Price and Mariella Devia
Gruberova is the worst in my opinion