Brava!!! Such a rich luscious sound! I LOVE the size and intensity of the bottom notes - and production is consistent throughout! Also, very cool ornaments! Not the same one you always hear, and, consequently, true to the style and expectation. Thank you for attending to the character and imbuing him with such energy. So many singers with beautiful voices seem to forget that opera is not a vocalise, there is a story. Would love to hear you as Angelina - I'm sure you would sing it amazingly, and bring so much life to the character! Your newest fan! 😎😎😎
Музыкальная свобода, интонационное разнообразие и потрясающая артистическая смелость - то, чему можно учиться у Веселины Казаровой! Ни одной пустой ноты, индивидуальность и неповторимость!
Never bet against human creativity!… No limit on human creativity. A great rich-sound conclusion needed. And I’m sure that the Opera-World will be tying itself up in knots trying to answer this Operatic exercise. *What a wonderful interpretation.*
A great artist who unfortunately at a certain point turned into a caricature of herself. She never sang like this in the prime of her career. All those portamenti and howling, the over exaggeration, the affectedness....Funnily in her masterclasses she is very good at teaching the students not to do any of the tasteless things she is displaying here.
Where is Rossini's flow? She seems to be singing individual notes - and playing with them - singing them almost individually strung together rather than a melody.
@@tamerlano More respect please for the opinion of another person. When I felt like this 2 years ago, you can not say bullshit! This is too unfriendly to answer in this aggressive way. One should not treat each one in this negative way - or you have a too high blood - pressure. This is another thing...
Bel Canto is not mere prettiness. People forget this and demand purely mechanical vocal niceness. Kasarova never forgets that she has to express the feelings, personality and dramatic requirements of the character she is representing. Sweetness alone is dull, banal and boring, and it is quite out of character for Kasarova to be any of these things. The aria calls for emotions in the range of indignation with some posturing and some bravado In addition this aria is written for a contralto/mezzo fach and calls for deep and powerful chest notes. People who dislike this interpretation can find many other interpretations more to their liking elsewhere. Why attack an artist for filling out the full scope of the part?
+Jim Johnson Glad you like he Jim. I find that the more I like someone the less critical I am, because I choose what is important for me to like and value. Not objective, I know, but I don't care if it makes me happy and uplifts my spirit. Cheers.
Theinkbrain - So glad to chance upon your comment here! I think that V.K. does a magnificent job in emptying the divine vessel that she is, to receive and embody the essence of a rather heroic Tancredi... A pity that she didn't allow for the exceptionally moving notes which she delivered in other performances - I attach for your delectation the link to another Tancredi - there, one can listen and contrast Ewa Podles, V.K. and Jennifer Larmore - Vesselina's voice can be heard to deliver the aforementioned notes at 5:38-5:40 - I don't think I have ever before heard anything so triumphant, with such an amazing sense of urgency! With warmest regards, as alwaysxxx ua-cam.com/video/42zVcZEbsjI/v-deo.html
Her voice is pulsating, not vibrating. The technical part of singing is beyond terrible. She is constantly so constricted that she can't even make a single note that one would consider singing. I'm sorry, but if you don't have control over your instrument you can't express any emotion or give any kind of interpretation. You need to have solid technique first, else you are just singing bad and wrong, not with emotion...
Зачем это посмешище?! К чему, как в цирке, гле кантилена, шумное дыхание, отрывистые ноты, на стаккато, некрасивые ужимки, такое ощущение, что Оперы уже нет, а есть Quasi культура...
Essayez de chanter le minimum comme elle et après vous pouvez critiquer! Savoir critiquer intelligement est aussi un art que vous ne savez pas maitriser....desolée
Brava!!!
Such a rich luscious sound! I LOVE the size and intensity of the bottom notes - and production is consistent throughout!
Also, very cool ornaments! Not the same one you always hear, and, consequently, true to the style and expectation.
Thank you for attending to the character and imbuing him with such energy. So many singers with beautiful voices seem to forget that opera is not a vocalise, there is a story.
Would love to hear you as Angelina - I'm sure you would sing it amazingly, and bring so much life to the character!
Your newest fan!
😎😎😎
Музыкальная свобода, интонационное разнообразие и потрясающая артистическая смелость - то, чему можно учиться у Веселины Казаровой! Ни одной пустой ноты, индивидуальность и неповторимость!
Never bet against human creativity!… No limit on human creativity. A great rich-sound conclusion needed. And I’m sure that the Opera-World will be tying itself up in knots trying to answer this Operatic exercise. *What a wonderful interpretation.*
Потрясающе! Какая свобода!
今をときめく最高のズボン👖役のメゾソプラノカサ・ロバのリハーサル風景！🌠本番さながらの迫力で素晴らしいですね‼️☺️ブラボー🎵」」
This was very entertaining to watch.
Lack of Rossini's elegant, classical style.
The conductor is awesome.
WWWWWWWOOOOOOOOWWWWWW!!!!
Lovely, I like rehearsals very much. Especially 1. violin that can't keep from smiling.
Totally love her interpretation, but Ewa Podles is still my top favourite for these two arias.
A great artist who unfortunately at a certain point turned into a caricature of herself. She never sang like this in the prime of her career. All those portamenti and howling, the over exaggeration, the affectedness....Funnily in her masterclasses she is very good at teaching the students not to do any of the tasteless things she is displaying here.
Absolutely unstandable.
Che voce! Sicuramente molto "rossiniana"
Where is Rossini's flow? She seems to be singing individual notes - and playing with them - singing them almost individually strung together rather than a melody.
When you relax 🛏 and close your eyes you won't miss anything. Orchestra and singer fit perfekt
@@isabelgirau2678 bullshit
@@tamerlano More respect please for the opinion of another person.
When I felt like this 2 years ago, you can not say bullshit! This is too unfriendly to answer in this aggressive way.
One should not treat each one in this negative way - or you have a too high blood - pressure. This is another thing...
гротескно выглядит, надеюсь, это шутка.....
Не надейтесь.
🗣 Quatsch
Bel Canto is not mere prettiness. People forget this and demand purely mechanical vocal niceness. Kasarova never forgets that she has to express the feelings, personality and dramatic requirements of the character she is representing. Sweetness alone is dull, banal and boring, and it is quite out of character for Kasarova to be any of these things. The aria calls for emotions in the range of indignation with some posturing and some bravado In addition this aria is written for a contralto/mezzo fach and calls for deep and powerful chest notes. People who dislike this interpretation can find many other interpretations more to their liking elsewhere. Why attack an artist for filling out the full scope of the part?
+theinkbrain
Always liked her in general. And I'll base my critical evaluations on performance, not rehearsal.
+Jim Johnson Glad you like he Jim. I find that the more I like someone the less critical I am, because I choose what is important for me to like and value. Not objective, I know, but I don't care if it makes me happy and uplifts my spirit. Cheers.
Theinkbrain - So glad to chance upon your comment here! I think that V.K. does a magnificent job in emptying the divine vessel that she is, to receive and embody the essence of a rather heroic Tancredi... A pity that she didn't allow for the exceptionally moving notes which she delivered in other performances - I attach for your delectation the link to another Tancredi - there, one can listen and contrast Ewa Podles, V.K. and Jennifer Larmore - Vesselina's voice can be heard to deliver the aforementioned notes at 5:38-5:40 - I don't think I have ever before heard anything so triumphant, with such an amazing sense of urgency! With warmest regards, as alwaysxxx ua-cam.com/video/42zVcZEbsjI/v-deo.html
Her voice is pulsating, not vibrating. The technical part of singing is beyond terrible. She is constantly so constricted that she can't even make a single note that one would consider singing. I'm sorry, but if you don't have control over your instrument you can't express any emotion or give any kind of interpretation. You need to have solid technique first, else you are just singing bad and wrong, not with emotion...
Зачем это посмешище?! К чему, как в цирке, гле кантилена, шумное дыхание, отрывистые ноты, на стаккато, некрасивые ужимки, такое ощущение, что Оперы уже нет, а есть Quasi культура...
baš je luda
Quelle horreur!! Quelle vulgarité!! Des notes graves laides au máximum. Terrible! Pas de legato, pas de ligne de chant! Je n'aime pas du tout!!
Essayez de chanter le minimum comme elle et après vous pouvez critiquer! Savoir critiquer intelligement est aussi un art que vous ne savez pas maitriser....desolée
@@snejibianca3253
Well said
Blödsinn!! 😁
She is as good as Cecilia Bartolommeo but more powerful
Charles Bergere
+charles bergere Do you mean Cecilia Bartoli?
@@theinkbrain Yes I do.
Charles Bergere ;-)
je n'aimerais toujours pas cette voix.
de mauvais graves
A clown
Sounds like a countertentor...
No