Legato, legato, legato. Sheer perfection. The woman was a genius. On the interpretive level of a Callas. Some contemporary opera stars could benefit by trying to imitate this kind of singing. It's like listening to an art form that is no longer available to us.
She knew how to sing, this ravishing lady. Her intonation is just perfect. And her interpretation is spot on. We get the drama, everything. Absolutely stunning.
This is my absolute favorite version of the recit. The tempo is perfect. Most conductors choose to do it so slowly and really milk it, but I think it reflects the Countess’s thoughts if done at a tempo like this. She probably has a million thoughts flooding her mind and she’s trying to figure out where her relationship with her husband went south. It really is one of the saddest arias when you take into account the context of where Rosina finds herself in life and love at such a young age. Popp sings this exceptionally.
I still regard Popp's singing of this aria at the 1986 Salzburg Festival in the Levine 'Figaro' with Morris, Battle and Furlanetto as the greatest performance that I have ever heard of it, while the fusion of musicality, passion and control was breathtaking! This later 4 years on interpretation reprises that, while Popp easily ranks as one of the greatest Mozart singers to have ever lived! It was a utter tragedy that she was taken from the world too soon - and like Ferrier - by cancer.
Because Lucia never would like to be cloned. She also had no children with intension. She didn t took herself so important. And if she would not became ill, she would have changed profession. She wanted still sing three other roles :Jenufa, Sieglinde, Fidelio. And than she want to study something like psycology. And her clone would not have had automatically her charisma, her warmth, her humor, her intelligence. her musicality and her voice could not exist without the whole study again. And her optimal conditions to study in Bratislava doesn t exist anymore in 1993. It was a great lost for me too, which shocked me till now.
@@Iatraviata69 TY for the exquisite upload. (gently, I suggest you educate yourself on the 'how's and 'what' 'the powers that be' are cloning these days, and how certainly they've perfected it. Not usually to do with choice, as that implies a certain amount of personal 'freedom' versus utility.) But it is for the Sounds of Lucia Popp that I pine for in today's world full of ugliness. You have been most generous, making that possible. TY.
I surrender to the splendor of your soprano ， Popp ！ i want to finish my last life under cherry blossoms in full bloom while listening to Popp,s soprano and blowing in the storm of cherry,s petals . 🍎
To be honest, I think she makes a better Susanna than she does a Countess. Not because her voice isn't good, because it is, probably one of the best there's ever been, but I think her natural fun, bubbly way of singing suits Susanna more. Kiri Te Kanawa will always be my ideal Countess!
Sorry jamesings, but her voice had only lost its brilliance insofar as you expect its timbre here to be MUCH brighter:) Still absolutely brilliant, and befitting a woman of her age:)
I heard (and met) her live till end of 1992 also in recitals. During her illness her voice became even brighter, also because of the cortison. She never lost her charme too.
leggo che e' stata accomunata dallo stesso destino crudele di Dima entrambi ci sono stati portati via da un cancro al cervello . Perché privarci di queste meravigliose voci con un male tremendo rip Lucia
Mozart tends to be conducted in two tempi: presti and a longer rubato style. This often is overall or preferably a combination of both where appropriate in one aria. Here this entire aria was very fast. But really her voice would have to be up against a very light Susanna to really be taken seriously as La Contessa throughout an evening. Popps voice got a little more dark at this stage of her life but not much. She still sounds at least to myself, a Susanna versus what one is come to expect. Tragic she was dead only a few years after this.
Perhaps let go of those expectations? The drama of Nozze depends on the Countess and Susanna switching identities and being believable enough to fool their respective spouses. As such, Popp maintained that the voices should be similar, more similar than we often hear. Indeed, when I heard Popp live as Susanna, she did a wonderful imitation of the Countess in the garden scene. She is the best Susanna ever, but very believable as the Countess.
@@gattiniregola That is only the story of the libretto. It is not reflected ANYWHERE in the score. I think it is charming to have them look similar in size physically as that is where the pretending is. The voice at that scene just artificially charactered and only for a very brief moment. One is a servant the other a noble. It is absurd also her very fast tempo here to hide she lacks the weight in the voice is glaring. Read the score both are vastly different not everyone transitions.
@@orion8835 Prima le parole. I think you are missing the main point of Beaumarchais' revolutionary play and DaPonte's slightly amended for the censors' libretto. There is no real difference between the aristocrats and their servants; that difference will be swept away by the French Revolution. Yes the action is moved to Seville, but that was also to get around the censors Mozart and DaPonte faced. Also: given that the action flows from Barber of Seville, Almaviva is younger than his servant Figaro, and it is thus very possible that the Countess is younger than Susanna. Your expectations are your expectations, not a definitive word on this opera.
Auger is not adapted to the jugendlich dramatisch soprano.. also Lucia was a bit too light for it. But Auger was a very fine lyric coloratura ideal for brillant Konstanze, perfect virulent in Mitridate, but like all coloraturas her lacks a full bright loading emission of a radiant middle register which Contessa efforts also to differ from Susanna. Perfect Contessa are Janowitz, Schwarzkopf, Grümmer, Varady. Lucia had the darker register and a bigger range than typical coloraturas to the lower registers and got especially from 1986 much more bright sound singing Marenka Marschallin , Eva, Elsa, Elisabeth and Arabella, Fiordilligi, the youth dramatic soprano roles ,but only if the brass cast in partitura allowed. But nonetheless she kept her lighter lyric sound . What was special for her the deep inner natural expressive agogic which live each emotion and tone.
Cool Germans dont know when they hear the best soprano when they hear one. Must have been difficult to sing for Germans who dont even understand Italian
It's not "way too fast". It's a sensible tempo, both in terms of hearing real phrases (as distinct from mere note-to-note continuity) and the meaning of the words.
Legato, legato, legato. Sheer perfection. The woman was a genius. On the interpretive level of a Callas.
Some contemporary opera stars could benefit by trying to imitate this kind of singing.
It's like listening to an art form that is no longer available to us.
She knew how to sing, this ravishing lady. Her intonation is just perfect. And her interpretation is spot on. We get the drama, everything. Absolutely stunning.
Immortal Lucia Popp - she is not forgotten!
This is my absolute favorite version of the recit. The tempo is perfect. Most conductors choose to do it so slowly and really milk it, but I think it reflects the Countess’s thoughts if done at a tempo like this. She probably has a million thoughts flooding her mind and she’s trying to figure out where her relationship with her husband went south. It really is one of the saddest arias when you take into account the context of where Rosina finds herself in life and love at such a young age. Popp sings this exceptionally.
An amazing voice. She died 3 years after this. So sad
I still regard Popp's singing of this aria at the 1986 Salzburg Festival in the Levine 'Figaro' with Morris, Battle and Furlanetto as the greatest performance that I have ever heard of it, while the fusion of musicality, passion and control was breathtaking! This later 4 years on interpretation reprises that, while Popp easily ranks as one of the greatest Mozart singers to have ever lived!
It was a utter tragedy that she was taken from the world too soon - and like Ferrier - by cancer.
She is amazing
Wunderbar! Ich liebe Mozart und Lucia Popp ist eine großartige Interpretin. Danke für hochladen.
Mozart‘s works she songs are immortalized forever, and off the charts.
It's never enough to be regretted that Mozart died at such a young age
Lucia is one of my favorite singers.
Mine too
Mine three. Her tone's so warm, not at all screeching on the high notes
With all the 'clones' we're forced to endure these days, why or Why couldn't they have cloned THIS Beautiful and Talented Lady with the magical voice?
Because Lucia never would like to be cloned. She also had no children with intension. She didn t took herself so important. And if she would not became ill, she would have changed profession. She wanted still sing three other roles :Jenufa, Sieglinde, Fidelio. And than she want to study something like psycology.
And her clone would not have had automatically her charisma, her warmth, her humor, her intelligence. her musicality and her voice could not exist without the whole study again. And her optimal conditions to study in Bratislava doesn t exist anymore in 1993.
It was a great lost for me too, which shocked me till now.
@@Iatraviata69 TY for the exquisite upload. (gently, I suggest you educate yourself on the 'how's and 'what' 'the powers that be' are cloning these days, and how certainly they've perfected it. Not usually to do with choice, as that implies a certain amount of personal 'freedom' versus utility.) But it is for the Sounds of Lucia Popp that I pine for in today's world full of ugliness. You have been most generous, making that possible. TY.
Lucía, extraordinaria,maravillosa, de voz celestial.
Beautiful!! Great soprano!!
Desde España,mil gracias a todos los que me permiten escuchar y ver a mi siempre querida y admirada LUCIA.POR SIEMPRE LUCIA POPPOVA.
Geniale Sängerin! 💝💝💝💝💝💝💝💝💝
Man hört das Alter nicht-angeblich ist man ja mit 50 zu alt 😮
I surrender to the splendor of your soprano ， Popp ！
i want to finish my last life under cherry blossoms in full bloom while listening to Popp,s soprano and blowing in the storm of cherry,s petals . 🍎
People who put an thumb down really should see a doctor soon... something terribly wrong with their ears!
quelle voix magnifique....quelle maîtrise de cette voix...divine Lucia Popp !!!
Exquisita versión!! La voz no puede ser más bonita, limpia, perfecta en su técnica y una interpretación extraordinaria... Me maravilla esta soprano!!
She has lost nothing. Her outstading voice and muischianship is still there.
My favourite version of this area! Thanks for posting this video!
This is sublime!
Beautiful legato singing.
Brava!!
Lucia’s husband gave me a tkt for the RFH when it was sold out
Que Bella voce.
Walter Berry? Unforgotten!
My heart calm down and becomes peaceful.
To be honest, I think she makes a better Susanna than she does a Countess. Not because her voice isn't good, because it is, probably one of the best there's ever been, but I think her natural fun, bubbly way of singing suits Susanna more. Kiri Te Kanawa will always be my ideal Countess!
類いまれなる天才オペラ歌手の美しい歌声は人生にはりをもたせてくれます。
❤❤😊😊
Transcendent
Obrigado por compartilhar
Sorry jamesings, but her voice had only lost its brilliance insofar as you expect its timbre here to be MUCH brighter:) Still absolutely brilliant, and befitting a woman of her age:)
I heard (and met) her live till end of 1992 also in recitals. During her illness her voice became even brighter, also because of the cortison. She never lost her charme too.
leggo che e' stata accomunata dallo stesso destino crudele di Dima entrambi ci sono stati portati via da un cancro al cervello . Perché privarci di queste meravigliose voci con un male tremendo rip Lucia
Mozart tends to be conducted in two tempi: presti and a longer rubato style. This often is overall or preferably a combination of both where appropriate in one aria. Here this entire aria was very fast. But really her voice would have to be up against a very light Susanna to really be taken seriously as La Contessa throughout an evening. Popps voice got a little more dark at this stage of her life but not much. She still sounds at least to myself, a Susanna versus what one is come to expect. Tragic she was dead only a few years after this.
Perhaps let go of those expectations? The drama of Nozze depends on the Countess and Susanna switching identities and being believable enough to fool their respective spouses. As such, Popp maintained that the voices should be similar, more similar than we often hear. Indeed, when I heard Popp live as Susanna, she did a wonderful imitation of the Countess in the garden scene. She is the best Susanna ever, but very believable as the Countess.
@@gattiniregola That is only the story of the libretto. It is not reflected ANYWHERE in the score. I think it is charming to have them look similar in size physically as that is where the pretending is. The voice at that scene just artificially charactered and only for a very brief moment. One is a servant the other a noble. It is absurd also her very fast tempo here to hide she lacks the weight in the voice is glaring. Read the score both are vastly different not everyone transitions.
@@orion8835 Prima le parole. I think you are missing the main point of Beaumarchais' revolutionary play and DaPonte's slightly amended for the censors' libretto. There is no real difference between the aristocrats and their servants; that difference will be swept away by the French Revolution. Yes the action is moved to Seville, but that was also to get around the censors Mozart and DaPonte faced. Also: given that the action flows from Barber of Seville, Almaviva is younger than his servant Figaro, and it is thus very possible that the Countess is younger than Susanna. Your expectations are your expectations, not a definitive word on this opera.
This performance leaves me spellbound.She was ravishing and solemn.From where are you watching this video ？
No one sings this aria better than Arlene Auger.
Auger is not adapted to the jugendlich dramatisch soprano.. also Lucia was a bit too light for it. But Auger was a very fine lyric coloratura ideal for brillant Konstanze, perfect virulent in Mitridate, but like all coloraturas her lacks a full bright loading emission of a radiant middle register which Contessa efforts also to differ from Susanna. Perfect Contessa are Janowitz, Schwarzkopf, Grümmer, Varady. Lucia had the darker register and a bigger range than typical coloraturas to the lower registers and got especially from 1986 much more bright sound singing Marenka Marschallin , Eva, Elsa, Elisabeth and Arabella, Fiordilligi, the youth dramatic soprano roles ,but only if the brass cast in partitura allowed. But nonetheless she kept her lighter lyric sound . What was special for her the deep inner natural expressive agogic which live each emotion and tone.
Arie 2:02
Cool Germans dont know when they hear the best soprano when they hear one. Must have been difficult to sing for Germans who dont even understand Italian
Good for you that you´re an expert.
Es ist MOZART, keine italienische Oper!
...aber auch keine deutsche Oper !
Su voz inconfundible de un verdadero ángel ;me encanta escucharla. Los Ángeles Chile.
@@soniasalinas7034 Tienes razon !
This is when her meowing mannerism started to take hold. She was such a good singer before.
Elisabeth Schwartzkopf said to Lucia "Miss you are phenomenal " need anymore be said? I doubt it.
@@mervynhardy6161 Schwatzkopf certainly knew a thing or two about meowing attacks. That seems completely plausible to me.
I wonder who Mr.Harvey likes?
@@mervynhardy6161 I can't fix that.
What an awful thing to say.
This is later in her career, and her voice has lost much of its brilliance. I also think the tempo is way too fast.
every soprano declined when 40 years old around。coloratura sopranos are even more fast
It's not "way too fast". It's a sensible tempo, both in terms of hearing real phrases (as distinct from mere note-to-note continuity) and the meaning of the words.
задолбали вы, грёбаные "эстеты"
I could not disagree more with your comment about her voice. It's richer and creamier than when she was younger.