One of the best Medeas around (the only one actually?) Great performer despite some vocal weaknesses, but the role is a taxing one and she scores a superb job.
Actually, after watching this again, I have to say that Antonacci is actually the best part of this production! It is quite clear from seeing the staging, the costumes the sets, everything about it...that this production has NOTHING to do with the story of Medea. So might as well cast someone who is not suited for the role, since nothing else matches either.
Madre de Dios... MANCA TERRIBILITÀ pero por favor... señoras sopranos, ESCUCHEN A CALLAS AL MENOS EN ESE FINAL... por el amor de Dios... ha matado a sus hijos, con desprecio y terror demenciales se los arroja con "eran tus hijos" y con maldad suprema le anuncia su espera en el infierno... TERROR! donde está?? No es lucia por Dios.
Antonacci is not Callas, nor does she try to be. Her concept and vocality are completely different that Callas. Antonacci is a coiled snake, Callas, a pit bull. I love both. STOP comparing and look at what each do well. I could say that Callas barked her way through this scene if I wanted to be picky: not even a reference to classical style. This is NOT Mascagni, nor should it be sung like Verismo.
Christopher Lacy I disagree a bit with what you said (though it's been 5 years since, ha). While Antonacci is quite good and quite effective in this difficult scene, Callas didn't quite bark her way through this scene. Actually, she was one of the few singer who didn't resort to coup de glotte or other extra musical effects to be dramatically effective, not even in verismo. A singer who did it, for example, was Magda Olivero, and a lot. Now, I am not saying it's wrong to do so, but accusing Callas of doing that wouldn't make much sense considering she kept the column of sound she made from bottom to top, even with her 3 registers; no shrieks, or spoken text to give a dramatic impact, nor was there loss in the diction. In the first part of this scene, Antonacci uses spoken voice at around 2:33, and loses a lot of diction singing 'Atre furie volate a me', among other things. If you want to hear a more measured version by Callas, her 57 studio recording finds her more classical.
That tenor.. why??? He sings as if he were in some performance different than the one everyone else is in. Is the conductor deaf? How wasn't this fixed in rehearsal? That nonsensical set... why?? His suit...why?? That ending... why??? One really gets the impression people staging operas today have no idea what should be going on on the stage. Al sacro fiume io vo, cola t'aspetta l'ombra mia. She burns the temple down and dies.They run away from the flames and destruction. How is that sung out and she left standing on the stage perfectly alive?? At this point it's almost moot to add that though some of the interpretation is alright, the soprano doesn't have the vocal stamina to carry this part through the finale. I can hear sections modelled on Callas' Medea, but not only did Maria not tire, she was strongest in the finale. It was fireworks, while this is just an already weak candle going out.
come fate a dire favoloso, ma dai.......forse tutt' al più è una brava attrice, quello basta. So di essere ripetitivo, ma ascoltatae maria callas in questa scena e rifatevi le orecchie.
While I agree that Antonacci is wonderful, and not to compared with Callas, in my opinion this is not a good role for her. She just doesn't have the fire that this role requires. Either vocally or dramatically. My guess is that it was deliberately played this way, in which case I just disagree with the interpretation. Medea was an evil and vengeful sorceress, and should be portrayed as such.
In casa avremmo necessita' di una colf...pero' sul finale gli e' saltato il frullatore con lo sciroppo di fragole...questa pare la chiave interpretativa della piece...una cuoca maldestra...mio Dio che tristezza...e poi senza voce...e quel poco calante e preoccupata...al mondo c'e' tanto lavoro in altri campi...
STRAORDINARIA LA ANTONACCI NON HO PAROLE! GRANDE ATTRICE GRANDE VOCE! BELLA IN SCENA! STUPENDA!!!!!!
una delle poche vere grandi dei nostri tempi. Lunga vita alla Antonacci!
brava!!!! muy buena interpretación
One of the best Medeas around (the only one actually?) Great performer despite some vocal weaknesses, but the role is a taxing one and she scores a superb job.
Bravissima, Antonacci! Perfetta Medea!
Brava! Thank you Antonacci! The one and only!
The greatest singing actress of our time. Grandissima AnnaCat.
GREAT job!! GREAT job!! BRAVOOO!!
Fabulous!
The libretto says " Atre furie VOLATE A ME" and not "O...A...E..." ... Diction .... Please ... ! Opera is not only about voice and sounds !
Actually, after watching this again, I have to say that Antonacci is actually the best part of this production! It is quite clear from seeing the staging, the costumes the sets, everything about it...that this production has NOTHING to do with the story of Medea. So might as well cast someone who is not suited for the role, since nothing else matches either.
Madre de Dios... MANCA TERRIBILITÀ pero por favor... señoras sopranos, ESCUCHEN A CALLAS AL MENOS EN ESE FINAL... por el amor de Dios... ha matado a sus hijos, con desprecio y terror demenciales se los arroja con "eran tus hijos" y con maldad suprema le anuncia su espera en el infierno... TERROR! donde está?? No es lucia por Dios.
Antonacci is not Callas, nor does she try to be. Her concept and vocality are completely different that Callas. Antonacci is a coiled snake, Callas, a pit bull. I love both. STOP comparing and look at what each do well. I could say that Callas barked her way through this scene if I wanted to be picky: not even a reference to classical style. This is NOT Mascagni, nor should it be sung like Verismo.
Christopher Lacy I disagree a bit with what you said (though it's been 5 years since, ha). While Antonacci is quite good and quite effective in this difficult scene, Callas didn't quite bark her way through this scene. Actually, she was one of the few singer who didn't resort to coup de glotte or other extra musical effects to be dramatically effective, not even in verismo. A singer who did it, for example, was Magda Olivero, and a lot. Now, I am not saying it's wrong to do so, but accusing Callas of doing that wouldn't make much sense considering she kept the column of sound she made from bottom to top, even with her 3 registers; no shrieks, or spoken text to give a dramatic impact, nor was there loss in the diction. In the first part of this scene, Antonacci uses spoken voice at around 2:33, and loses a lot of diction singing 'Atre furie volate a me', among other things. If you want to hear a more measured version by Callas, her 57 studio recording finds her more classical.
That tenor.. why??? He sings as if he were in some performance different than the one everyone else is in. Is the conductor deaf? How wasn't this fixed in rehearsal? That nonsensical set... why?? His suit...why?? That ending... why??? One really gets the impression people staging operas today have no idea what should be going on on the stage. Al sacro fiume io vo, cola t'aspetta l'ombra mia. She burns the temple down and dies.They run away from the flames and destruction. How is that sung out and she left standing on the stage perfectly alive??
At this point it's almost moot to add that though some of the interpretation is alright, the soprano doesn't have the vocal stamina to carry this part through the finale. I can hear sections modelled on Callas' Medea, but not only did Maria not tire, she was strongest in the finale. It was fireworks, while this is just an already weak candle going out.
come fate a dire favoloso, ma dai.......forse tutt' al più è una brava attrice, quello basta. So di essere ripetitivo, ma ascoltatae maria callas in questa scena e rifatevi le orecchie.
Che noiaaaa 😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂😂
I competenti venditori di fumo..Medea? Siete impazziti o impasticcati?
She is a great actress but when you close the eyes you don t hear the drama....a liitle bit too light....Still not bad....
While I agree that Antonacci is wonderful, and not to compared with Callas, in my opinion this is not a good role for her. She just doesn't have the fire that this role requires. Either vocally or dramatically. My guess is that it was deliberately played this way, in which case I just disagree with the interpretation. Medea was an evil and vengeful sorceress, and should be portrayed as such.
Si...mi chiamano Mimi....
brava
ahahahahahahh she's ridicoulos!!! ahahahahah
In casa avremmo necessita' di una colf...pero' sul finale gli e' saltato il frullatore con lo sciroppo di fragole...questa pare la chiave interpretativa della piece...una cuoca maldestra...mio Dio che tristezza...e poi senza voce...e quel poco calante e preoccupata...al mondo c'e' tanto lavoro in altri campi...
No tiene sentido entrar en comparaciones vocales, cada una tiene la voz que tiene, pero el montaje no me gusta.. le falta movimiento
Il tenore è insopportabile, canta per se stesso. E pure male