Dragan Vidic Go to Chicago or San Francisco first my dear Lady. Milano Verona etc. The MET can wait they HAVE NETREBKO?$?$ & they deserve THAT GREAT INTERNATIONAL PRIMA DONNA???$$$ Arnold Bourbon Amaral ✋😎😘
Brava, bravíiiiisima!!!! Desde la gran Aprille Millo que no escuchaba una Amelia de esta calidad.. Qué maravilla, Saioa....esta nueva voz conmueve y llega al alma... Brava! VIVA V.E.R.D.I.
Elle ose cette voix de poitrine que seules les grandes sopranos du passe utilisaient Comme c'est beau.! BRAVO BRAVISSIMO POUR CETTE MAGNIFIQUE INTERPRETATION
This is the right voice for this Aria, Nice and big and warm, Thank you, one of my favorites to sing, although I would not have done the turn on che the last phrase, does not suit the drama, excellent thank you
Stephen Beale The Met is run by a bunch of Administrative IDIOTS. Arnold Bourbon Amaral. This lady will be & La Scala singing TOSCA Her second appearance. BRAVA Arnold Bourbon Amaral
I think it's because few know how to teach the proper way to used chest voice. Many avoid it saying it's dangerous. Not using it and singing in a woofy production is what's dangerous.
Dragan Vidic You have. To have the capability to use your chest voice. Many sopranos will never use because they can't sustain it though our thier career. Basically you're born with it. Once you have a good voice teacher that understands how to use it correctly the rest is gravy. But we have to realize that not every soprano can produce a good chest voice. Obviously this lady has it and has been shown how to use it properly. If she continues this way I can see her doing singing Nabucco, Macbeth, Turandot just to name a few. I enjoy your comments my friend sincerely Arnold Bourbon Amaral 🌿👱🌍🌎🌏
@@gayoperadude63 I don't know why is so hard, I figured out for myself just by listening to Callas, I tried for months to get the sound out until it had projection. I knew I got it when it was naturally loud, didn't hurt in the throat, relaxed in the muscles, also got easier with high and low register. In the beginning I was hoarse for the next 2-3 days, I probably forced a little, but in time that went away. All of a sudden I could sing arias I couldn't do before without unnatural effort and when I sing in piena voce in a small room, the sound that comes back feels a little too strong for my ears even though I never believed I had a naturally strong voice. So, I believe is not so much about the voice type, but the right technique.
@@arnoldamaral7406 Every soprano, including soprano leggiero can produce a good chest voice. It is a matter of developping it, something that is rarely done at all today in opera.
Sitting Duck, that is such an interesting observation about the unmatchable Birgit Nilsson, and not a comparison I had previously considered. Thank you. I can see what you mean, with Hernandez’s spear-point precision (a Nilsson trademark) and the generous richness in the lower register. Birgit was better known for her Wagner and Richard Strauss, of course, due to what may be called her sometimes metallic lack of warmth: her Donna Anna on vinyl is magnificent but arguably wrong for an ‘Italian’ Mozart opera, her Aida too cold, and her Tosca simply too strident, whereas her Turandot - which I saw at La Scala - demands those very characteristics. As Isolde, Brunnhilde, Elektra (and Turandot), all of which I had the joy of seeing, Nilsson was unparalleled. We are blessed, are we not, to have Hernandez, who combines some of Nilsson’s qualities with the generous warmth and ‘soul’ needed for Verdi and Puccini. Thank you for such an interesting thought.
I see that a commentator noted that she is headed to the Met. I sincerely hope she listens to NO ONE there, but rather to her own outstanding vocal pedagogy, and does her own thing vocally. All the Met cares about is filling that hall with vocal noise making and is the destroyer of great young voices. Some singers can manage it if they are extremely smart and disciplined in technique (Isabel Leonard and Lisette Oropesa are exceptional examples), others get eaten alive vocally (Netrebko sounding like she’s 70 at age 40). As long as it’s LOUD, anything seems to go at the Met.
But there’s no fear of her NOT being heard, without them having to push her. By contrast, Aleksandrs Antonenko as Don José and Radames sounds so forced, strident and colourless.
¿Por qué no? Alfredo Kraus era tenor y tuvo una maestra de canto que era soprano, y bien que se formó como cantante, nadie lo duda. A fin de cuentas, la técnica de canto no cambia tanto seas hombre o mujer, los registros de la voz son los que son, aunque la tesitura cambie, todos tenemos (potencialmente al menos) una voz de pecho, una voz de cabeza y una voz mixta que, según la tesitura y el rango vocal, nos permitirán emitir unas u otras notas musicales. Para ser un buen cantante se necesita un buen maestro, que no necesariamente tiene que compartir tesitura, sino saber enseñar la técnica para sacarle el máximo partido a la voz y tener una carrera muy longeva.
I JUST DISCOVER THIS GREAT SOPRANO!!! GO TO THE MET NOW!!!!!! YOU ARE THE FUTURE OF THE OPERA!!!
OperaMyWorld But the MET has little to offer for true artists nowadays... ;-)
But I know what you mean.
Dragan Vidic Go to Chicago or San Francisco first my dear Lady. Milano Verona etc. The MET can wait they HAVE NETREBKO?$?$ & they deserve THAT GREAT INTERNATIONAL PRIMA DONNA???$$$ Arnold Bourbon Amaral ✋😎😘
MET don’t deserve her !!
I think so too!!!!!!!
OperaMyWorld Madame Hernandez👑 will be @ the Seattle Opera May 8---23 2021 performing TOSCA.We will be there. Arnold Bourbon Amaral
Brava, bravíiiiisima!!!! Desde la gran Aprille Millo que no escuchaba una Amelia de esta calidad..
Qué maravilla, Saioa....esta nueva voz conmueve y llega al alma...
Brava!
VIVA V.E.R.D.I.
OPERA isnt lost if there are singers like Miss Hernandez.huge voice huge squillo clear and dark vowels.this is asinging to the highest level!!
4:45 Nowadays Who can demostrate the smoothness in the registers like this? None
FENOMENALE. Saioa Hernandez al giorno d'oggi l'unico soprano degno di essere chiamato tale.
finalmente una voce diversa da tutte quelle molto simili che circolano in giro!
perché a differenza di tutte le altre ha una tecnica sana!
@@mminlovewithflo bien dicho
@@mminlovewithflo E, oltre alla tecnica, ha quello che voleva Rossini dai cantanti: VOCE VOCE VOCE!
Saioa, as always you impress. I have joined your legions of fans. One can only hope you go to the recording studio soon!
Questa è una voce! Bravissima!
FINALLY A REAL LYRICO SPINTO!!!!!! BRAAAAAVAAA!!!!
Elle ose cette voix de poitrine que seules les grandes sopranos du passe utilisaient Comme c'est beau.! BRAVO BRAVISSIMO POUR CETTE MAGNIFIQUE INTERPRETATION
Que gran Don tienes mi niña. Un remanso en estos tiempos de dolor.
This is the right voice for this Aria, Nice and big and warm, Thank you, one of my favorites to sing, although I would not have done the turn on che the last phrase, does not suit the drama, excellent thank you
Voce fantastica. Il futuro de la opera.
Peccato che e sola
I was really happy to see your videos from Scala))
Another stunning performance! BRAVA!
Bravissima e bellissima interpretazione.❤
Brava ma che voce. what a great artist and voice.
She is wonderful and needs to be at the met!!!
she needs to be... bt the met needs to want her
Stephen Beale The Met is run by a bunch of Administrative IDIOTS. Arnold Bourbon Amaral. This lady will be & La Scala singing TOSCA Her second appearance. BRAVA Arnold Bourbon Amaral
She is too good for the met standards. For her it is Scala or nothing.
I just love her solid singing. Nowadays almost all singers sing very vaguely.
Fantástica Saoia!!!!
Nice to hear a correct use of chestvoice, why are so many sopranos afraid of using it or cannot do it the right way?
I think it's because few know how to teach the proper way to used chest voice. Many avoid it saying it's dangerous. Not using it and singing in a woofy production is what's dangerous.
Dragan Vidic You have. To have the capability to use your chest voice. Many sopranos will never use because they can't sustain it though our thier career. Basically you're born with it. Once you have a good voice teacher that understands how to use it correctly the rest is gravy. But we have to realize that not every soprano can produce a good chest voice. Obviously this lady has it and has been shown how to use it properly. If she continues this way I can see her doing singing Nabucco,
Macbeth, Turandot just to name a few. I enjoy your comments my friend sincerely Arnold Bourbon Amaral 🌿👱🌍🌎🌏
@@gayoperadude63 I don't know why is so hard, I figured out for myself just by listening to Callas, I tried for months to get the sound out until it had projection. I knew I got it when it was naturally loud, didn't hurt in the throat, relaxed in the muscles, also got easier with high and low register. In the beginning I was hoarse for the next 2-3 days, I probably forced a little, but in time that went away. All of a sudden I could sing arias I couldn't do before without unnatural effort and when I sing in piena voce in a small room, the sound that comes back feels a little too strong for my ears even though I never believed I had a naturally strong voice. So, I believe is not so much about the voice type, but the right technique.
@@arnoldamaral7406 Every soprano, including soprano leggiero can produce a good chest voice. It is a matter of developping it, something that is rarely done at all today in opera.
@@arnoldamaral7406 Nonsense, like every register of the voice it must be properly developed.
Wowwowwow can't get enough of your voice
Bella, Bella interpretación….por favor suban la ópera completa. Gracias.
hanno esagerato con il stereo ...
Saioa Nernández - una voce meravigliosa e una attrice generosa .
brava !
BRAVA Dear Saioa!!
FANTASTICA.!!!!!!!!!
Es una grande, grande soprano.
Verdi would be proud.
Verdi estaría orgulloso.
Verdi saria orgoglioso!!!
Stunning ....SUBLIME ❤🙏👑madame Hernandez 👑❤
She sounds like a dark Brigit Nilsson, or is it just modern recording technology. She’s wonderful.
Sitting Duck, that is such an interesting observation about the unmatchable Birgit Nilsson, and not a comparison I had previously considered. Thank you. I can see what you mean, with Hernandez’s spear-point precision (a Nilsson trademark) and the generous richness in the lower register. Birgit was better known for her Wagner and Richard Strauss, of course, due to what may be called her sometimes metallic lack of warmth: her Donna Anna on vinyl is magnificent but arguably wrong for an ‘Italian’ Mozart opera, her Aida too cold, and her Tosca simply too strident, whereas her Turandot - which I saw at La Scala - demands those very characteristics. As Isolde, Brunnhilde, Elektra (and Turandot), all of which I had the joy of seeing, Nilsson was unparalleled. We are blessed, are we not, to have Hernandez, who combines some of Nilsson’s qualities with the generous warmth and ‘soul’ needed for Verdi and Puccini. Thank you for such an interesting thought.
Brava....SUBLIME ❤
La opera completa ? Por que no en YT y si en Facebook ?
This lady has reminded me once again, why I adore opera specifically Sopranos.
Bravissima, perfetta!!!!!!
SUPERBE
Per me e la mia piu grande cantante !
Bravussimo
Que extraordinaria cantante. Magnífica interpretación
Rudolph Bing would hire her in a nanosecond...
Great singing from Saioa. Wonderful voice and perfect technique. The baritone is fine but not a true verdian voice.
Grandísima cantante!!! Auténtica soprano verdiana!!
Bravi!!
Back support. Brava.
Une vraie voix d'opéra.
Вот это да.... новая Мартон) Брава
Bravi !
I see that a commentator noted that she is headed to the Met. I sincerely hope she listens to NO ONE there, but rather to her own outstanding vocal pedagogy, and does her own thing vocally. All the Met cares about is filling that hall with vocal noise making and is the destroyer of great young voices. Some singers can manage it if they are extremely smart and disciplined in technique (Isabel Leonard and Lisette Oropesa are exceptional examples), others get eaten alive vocally (Netrebko sounding like she’s 70 at age 40). As long as it’s LOUD, anything seems to go at the Met.
You said it my friend. Peter Gelb & the so called conductors appeal to the ignorant masses. But we have Madame Hernandez 🤔🤔🤔
But there’s no fear of her NOT being heard, without them having to push her. By contrast, Aleksandrs Antonenko as Don José and Radames sounds so forced, strident and colourless.
brava saioa great artist
太棒了
Forse l'opera non e del tutto morta. Belle voci.
Bravissima
Si hubiera nacido chica me hubiera gustado tener a Saioa de profesora pero como no tendré que buscar un buen tenor para que me forme
Pero porque? Depende de la sabiduría del profesor, no de la sua voz.
¿Por qué no? Alfredo Kraus era tenor y tuvo una maestra de canto que era soprano, y bien que se formó como cantante, nadie lo duda.
A fin de cuentas, la técnica de canto no cambia tanto seas hombre o mujer, los registros de la voz son los que son, aunque la tesitura cambie, todos tenemos (potencialmente al menos) una voz de pecho, una voz de cabeza y una voz mixta que, según la tesitura y el rango vocal, nos permitirán emitir unas u otras notas musicales.
Para ser un buen cantante se necesita un buen maestro, que no necesariamente tiene que compartir tesitura, sino saber enseñar la técnica para sacarle el máximo partido a la voz y tener una carrera muy longeva.
2:29
Bravissima.
Purtroppo Renato e' inascoltabile. Solo grida e urla… Oddio.
Un caro saluto!
Me gusta el baritono
Kaiserjäger Si canta muy bien. Arnold Bourbon Amaral
Aquí solo usted!
@@indeserto Rodríguez es un buen barítono, pero tendría un mal día.