Gluck’s "Amour, viens rendre à mon âme" from Orfeo ed Euridice
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- Опубліковано 29 вер 2024
- Renowned mezzo-soprano Joyce DiDonato presents a series of three master classes focusing on opera arias. Here Ms. DiDonato coaches countertenor Keymon Murrah with pianist Shannon McGinnis on Gluck’s "Amour, viens rendre à mon âme" from Orfeo ed Euridice.
To watch more videos from Carnegie Hall’s Workshops and Master Classes, visit • Joyce DiDonato Master...
Mezzo-soprano Joyce DiDonato’s performances have been called “a model of singing in which all components of the art form-technique, sound, color, nuance, diction-come together in service to expression and eloquence” by The New York Times. The revered singer presents a series of three public master classes for young opera singers who were chosen from an international pool of applicants. To learn more about Carnegie Hall’s Workshops and Master Classes and to apply, visit www.carnegiehall.org/workshops.
Джойс , восхищаюсь Вами. !!! Впервые увидела и услышала Вас в Севильском и .... влюбилась в Ваш голос.! Такой Розины я не видела. Вы создали образ такой яркий и непохожий на все другие. После этого я стала следить за Вашими новыми ролями и работами .Мастер классы какие потрясающие!!! Вы отличный педагог!!! Спасибо за Ваш труд !❤❤❤
Joyce DiDonato rules !
Di Donato a d'excellentes qualités pédagogiques
An amazing instrument! I love every bit of this performance! Your upper register is beautiful and well placed.
Thanks for your comment, and we're happy to hear that you enjoyed this performance.
It is somewhat ironic that a counter tenor is singing this aria; when gluck made readjustments for his great opera for the French it was improved (personal opinion) since the French had no use for the castrati he rewrote Orphee as a high tenor. He also added a great deal of very beautiful music and since this aria is very difficult it is frequently omitted.
This guy is living proof that Countertenors still LIVE and our gifted.
I watched him compete at operalila 2021 and thought he should have won. He is amazing
BRAVO, Key'mon!!!!!
Wow, what a voice! Bravo
What a brilliance voice!
Thanks visiting our channel and listening!
A brilliant voice indeed
Bellissima voce, mi piace davvero molto
Bravo!!!!!
A beautiful voice. He should have acknowledged the pianist.
Morbidezza, rimane quasi costantemente morbido,insolita caratteristica per una voce controtenorile.BRAVO
Wow... arrepiei! 👏👏👏
No chest voice? why? If he is a man, he must use the chest voice in combination with the falsetto.
Hey ! I need more explanation of what you said. Please.
@@Febr.89 www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000052464
He did use chest voice but mostly on just the lowest dips into the lower register. Countertenors typically do not use as much chest voice as you would expect from a female voice in the same register. It's a different approach to making sound in that range.
@@JackieLanceTenor that’s correct ! As a counter tenor myself, that’s what happens. Chest voice would be used in the lower register towards the passagio and even there it would be kind of mixed not fully chest because the transitions back to the higher register are more efficient.
@@Febr.89 I am also a countertenor. Well, I'm working on it. I went to school for performance as a tenor but never felt comfortable with that and always leaned towards being a CT but wasn't able to really study it in school. It's a work in progress. Lol anyway, I do use a good bit more chest voice starting at around Eb or D right above middle C. I try to navigate the passaggio more like a low mezzo/contralto. But I still can't always mix the same way they do. I really try to work on my transitions so it's not too heavy but it's difficult. Most of the time I feel I'm pretty successful though.