That was beautiful. Fully in character, heartfelt, musically phrased with wonderful dynamics and shadings. Fine legato, clean sustained trills, and sounding new and fresh as if I was hearing it for the first time. Brava! Total package.
Very beautiful! If a soprano can sing this aria, she can sing anything. Gorgeous high pianissimo. But the trills need a little more polish, and I’m not fond of the glottal attacks. Verdi didn’t make it easy!
Thank you. this is the common approach so often now. All the coaches seem to encourage this as THE operatic style, while insisting that they are improving the acting. Leonora is not 50 year old. That is fundamental to her character. Azucena is 50. Also it is Leonora's great love and her desire to conceal her sorrow that is the acting source of the aria. Expressing the sorrow so darkly does not make the interpretation more accurate when the entire message is the noble desire that the beloved only hear the beauty of love and not the sorrow.
I think this is darkly beautiful and characterful singing. Verdi often forces his ingenue sopranos to "grow up" in the second half of an opera - this is true also for Gilda in Rigoletto and Luisa in Luisa Miller. Leonora in Trovatore is no exception. War has hit home, her husband has been captured and may be tortured in the prison behind her. She is carrying poison and is prepared to end her own life if she cannot save him. And all this in an opera that is set almost entirely at night (this scene in particular). To me, it makes absolute sense that Ms. Perez's tone is darker here than perhaps earlier in the opera. And the fact that she floats an incredible, pianissimo high C at the climax of this aria after the previous "angst" is absolutely stunning. I say, good for her! I'm only sorry I can't see this production in person with this cast.
@@richardlewisoperaandbroadw384 The words to the text are, Do not allow him to hear my pain, only my love. That is a loving and noble sentiment equal to the greatness of Verdi and the true luminous beauty of her love for him. She is a beam of light, transfigured by love, not a pool of dark and mournful misery. She says she does not fear. This early Verdi is not edging toward Verismo. The beautiful tragedy occurs when such a loving and sweet soul dies in her innocence, technically her virginity, before consummation of love, before babies. Her only consummation will be when they meet in the heavens. It is a modern affectation of theater to no longer believe in love that can walk gloriously to the edge and leave in a blaze of spiritual beauty, but instead must show the angst of the lesser human. It means that although they create sincere emotions, they are not the emotions told in the actual story. Acting 101 encourages one to believe in the story that the play tells. If there are scary witches that can see the future, they are real. If a woman can sing her soul to leaver he body and go find her beloved with the same melody that took them to the realms of love, she can do that. If a hero/ine can lovingly sacrifice themselves happily to rescue the one they love the most, the do it with the glow of salvation that tinges the human spirit with gold when love is much, much bigger than fear.
Very impressive. This is one of the hardest arias in the repertoire and she overcomes the many hurdles with ease. It's wonderful to hear someone who can float the sound on the breath like that!
@@roberthorn1838 If she sang the rest of the aria with the beauty she used for the peak moments, the author of the original comment would not have had to observe the forced darkness of the rest of her sound. It is a common stye today, but I agree with the comment still. Yes, she nailed the pianissimo. then she creates that darker, older, wider vibrato sound through the rest of the piece. The piece is not those two notes. It is an expression of a love so pure that she willingly offers her life for her beloved. It is not an expression of dark unhappiness.
That was beautiful. Fully in character, heartfelt, musically phrased with wonderful dynamics and shadings. Fine legato, clean sustained trills, and sounding new and fresh as if I was hearing it for the first time. Brava! Total package.
OMG OMG OMG CONGRATULATIONS AILYN ON SUCH A MARVELOUS RENDITION!!!! VERDI WOULD BE PROUD!!!❤
Impressive! Gorgeous piani, beautiful line. Interesting timbre. Just right for this role
I am going Sunday afternoon!!! I can’t wait!!!
She’s in fantastic voice. Heard her Tosca here in San Francisco. She’s a true lirico-spinto soprano.
Spinto? Do you know what a real spinto sound like?
@ apparently you don’t
she is not a spinto
@ I disagree. God bless.
@@matthewtravisano1097 A voice the size of Tebaldi is a typical spinto, not Perez. She is a beautiful Mimi, Micaela, etc.
Very beautiful! If a soprano can sing this aria, she can sing anything. Gorgeous high pianissimo. But the trills need a little more polish, and I’m not fond of the glottal attacks. Verdi didn’t make it easy!
BRAVI!
bravissima
Gobs of tongue, but a clear and beautiful sound nevertheless, astonishingly.
Die singt aber sehr schön finde ich....
I love her voice but why darken the sound??? Makes her sound much older and the vibrato more pronounced and slow
Thank you. this is the common approach so often now. All the coaches seem to encourage this as THE operatic style, while insisting that they are improving the acting. Leonora is not 50 year old. That is fundamental to her character. Azucena is 50. Also it is Leonora's great love and her desire to conceal her sorrow that is the acting source of the aria. Expressing the sorrow so darkly does not make the interpretation more accurate when the entire message is the noble desire that the beloved only hear the beauty of love and not the sorrow.
I think this is darkly beautiful and characterful singing. Verdi often forces his ingenue sopranos to "grow up" in the second half of an opera - this is true also for Gilda in Rigoletto and Luisa in Luisa Miller. Leonora in Trovatore is no exception. War has hit home, her husband has been captured and may be tortured in the prison behind her. She is carrying poison and is prepared to end her own life if she cannot save him. And all this in an opera that is set almost entirely at night (this scene in particular). To me, it makes absolute sense that Ms. Perez's tone is darker here than perhaps earlier in the opera. And the fact that she floats an incredible, pianissimo high C at the climax of this aria after the previous "angst" is absolutely stunning. I say, good for her! I'm only sorry I can't see this production in person with this cast.
@@richardlewisoperaandbroadw384 The words to the text are, Do not allow him to hear my pain, only my love. That is a loving and noble sentiment equal to the greatness of Verdi and the true luminous beauty of her love for him. She is a beam of light, transfigured by love, not a pool of dark and mournful misery. She says she does not fear.
This early Verdi is not edging toward Verismo. The beautiful tragedy occurs when such a loving and sweet soul dies in her innocence, technically her virginity, before consummation of love, before babies. Her only consummation will be when they meet in the heavens. It is a modern affectation of theater to no longer believe in love that can walk gloriously to the edge and leave in a blaze of spiritual beauty, but instead must show the angst of the lesser human. It means that although they create sincere emotions, they are not the emotions told in the actual story. Acting 101 encourages one to believe in the story that the play tells.
If there are scary witches that can see the future, they are real. If a woman can sing her soul to leaver he body and go find her beloved with the same melody that took them to the realms of love, she can do that. If a hero/ine can lovingly sacrifice themselves happily to rescue the one they love the most, the do it with the glow of salvation that tinges the human spirit with gold when love is much, much bigger than fear.
Very impressive. This is one of the hardest arias in the repertoire and she overcomes the many hurdles with ease. It's wonderful to hear someone who can float the sound on the breath like that!
@@roberthorn1838 If she sang the rest of the aria with the beauty she used for the peak moments, the author of the original comment would not have had to observe the forced darkness of the rest of her sound. It is a common stye today, but I agree with the comment still. Yes, she nailed the pianissimo. then she creates that darker, older, wider vibrato sound through the rest of the piece. The piece is not those two notes. It is an expression of a love so pure that she willingly offers her life for her beloved. It is not an expression of dark unhappiness.
Tebaldi got to make so many recordings all because of the stupidity of DECCA/LONDON.
😡
I could do without the yodels and the graffiti.
Regular voice
I have listened to her live in Houston
Listen to Netrebko instead
Listen CALLAS in this aria. Athens Greece