This is by far the closest portrayal to the character of Violetta , Damrau expresses so clearly her fears , doubts, hopes. despair and joy. . It's all in her body movements.She brings the inner rhythm in to her voice , giving us a vivid vocal portrayal of this tragic character , in the Sempre Libera , one of the tour de force arias in the soprano repertoire. Most singers just get through it. But she brings out in her voice not only exceptional vocal colour ,amazing vocal dexterity ,, but also her terrible dilemma in choosing Alfredo over the life she thought was the only thing she could handle. with her dreadful illness. Damrau definitely has the genius to be able to portray a wide variety of emotions and indeed a variety of characters into her voice, bringing extra-ordinary tone co;lour to every phrase she utters. For me, she is by far, the greatest singer we have today.I was totally riveted by this performance of La Traviata !1
Diana Damrau performance of Violeta is really great, and her technique is perfect, but if you want to see a 21st century Violeta you can watch the performance of Stefania Bonfadelly: her technique is not so incredibly perfect, but she sings and acts much better than Gheorghiu e.g. to talk about another of the nowadays leading sopranos.
No soy culta en ópera, pero la primera que escuché, fue en el silencio de la tarde de un Domingo, después supe que era Madame Butterfly... No entendía nada, pero terminé llorando como cuando se llora en acto de contrición. Esta SEÑORA es INCREÍBLE!!!!... QUE TALENTO SOBRE HUMANO DIOSSSS!!!!!!
Han existido tantas Violeta a lo largo de los años, mejores y peores, pero Diana hace su propia versión. Poder escénico, voz viva, radiante y gran originalidad actoral, grande Diana!!!!!
es impecable su actuación e interpretación del personaje y la obra 8:27 constantemente fluctúa desde el desconsuelo, la desesperanza, la resignación... hacia el júbilo, la alegría, la dicha de un deseo concedido; y en un milisegundo recae nuevamente. expresa todo con gestos muy sutiles, y jamás sobreactúa. refleja todas sus emociones y los distintos estados de ánimo con los ojos. y como si fuera poco, canta una ópera clásica como *la mejor soprano del planeta*
I would not have thought that this perfect Mozart coloratura would have the technical and emotional chops to become a true Violetta. I am happy to be proven wrong here. She has captured the ambivalence, pain, hope and strength of Violetta here in both her vocal interpretation and her physical presentation of the character.
Suzanne Derringer omg yes that’s what I thought when I met her in person here in Los Angeles a couple of years ago she even talks like her a little bit…😍
The opening music from 6:27 to 6:39 is really catchy . It is like you are flying freedomly through the air , and it makes you feel so free just like what violetta has felt
Meravigliosa cantante che amo immensamente ma che pesantezza nel lento di "croce e delizia"!!! così non è violetta. le emozioni per esprimerle non bisogna rallentarle...ma esprimerle pienamente con il loro fluire naturale.... ....tecnicamente è strabiliante e la amo tanto...ma forse la Traviata meglio lasciarla fare ad altre...
The tempo was a bit too slow for my taste, but she was in great form. And FINALLY a soprano that takes the high E-flat at the end! I would rather not hear the aria without it. Brava!!!
I don't see where I posted it was REQUIRED. I merely stated my preference was to hear it with the E-flat or not hear it at all. I coached opera singers college and beyond, and I know it is optional.
Flyinghow when Cotrubas sang Traviata she would put the HI e she knew it was optional. But it suited her voice a pure lyric soprano a great Traviata. This lady doesn't have the quality. I'm sorry to say. She's not all that bad if you stop making comparisons. Let's face it the Golden Era of Opera is gone. And we have to settle for these voices. I'm sure I offended some people but it's true learn to accept it. When Cotrubas turn 40 her voice started declining. She struggled with a high e. She knew when to retire. The one her prime she was incredible the best Traviata I ever heard. Thank you for posting your Opera loving friend Arnold Bourbon Amaral
@Flyinghow true! I actually prefer the tempo a little faster (like the version of Montserrat Caballe) but Diana's technique is superb, she controls her voice very well and I really like the E-flat. That was very satisfied.
Todas las emociones, facial, manos, cuerpo y en su voz. SI alguien dice que porque corto en los legatos... invito a que lo hagan y hagan lo que hace ella. Es maravillosa. Y por supuesto el fiato es necesario para eso, y ella lo usa todo, casi creí que se desmayaba en el final.
No they're from people who heard Muzio, De Los Angeles, Callas, Sutherland, Sills and Gheorghiu sing this piece and now have the misfortune of hearing circus actress D. Damrau.
josé caballero is that good or bad? My wife wanted to go see it and December 5th. I told my wife while she's not Cotrubas. Please advise thank you Arnold Bourbon Amaral
@@alkiskarmpaliotis2776 Florez sounds fine He had one really nice moment - his C st the end of O Mio Rimorso His Bb at the end of the Brindisi was swallowed up, and he was late on the cut off.....what I find most problematic is his "acting"
I like her tone and diction. I can’t get past her vibrato and her acting is over the freakin top. It’s hard to watch. Let alone endure her screaming of the Eb. It’s just too much. I miss Joan
Everything is perfect but an awkward painting above the bed. Why? I have never seen that a servant showed up during this aria in many other productions. I am quite surprised. What is the purpose?
This "awkward" painting is a huuuuge reference. Olympia is a painting by Édouard Manet, first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a bed being brought flowers by a servant. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute. It may not follow the taste of that era, but it's contemporary to Verdi (the premiere of the opera took place in 1853). By the way, Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer's and librettist's original wishes were carried out and "realistic" productions were staged... To me, that element gives even more meaning to Manet's painting in this set as a reflect of that era.
Hopefully you're right. She's unsubtle, graceless, classless, and talentless. She oversings everything, overacts, and is generally overrated. The one thing I can't decide is if she's a light voice trying to make her voice sound heavy by screaming, or if she has a larger voice and is trying to trip through coloratura like a hippopotamus ballerina.
Its all depend on the conductor.. Here diana damrau very strict and too much vibrato... With yannick.. Diana more human and less robotic... Its all. Depend on the conductor
"she delivered the tension, pain, despair blah blah blah of Violetta really well", yeah, through her vocal strain, of course, she's physically tense anyway.
Nuestra Dianita, es una gran soprano Belcantista, la Traviata, es la última de, la trilogía romántica de Verdi, Rigoletto Il Trovatore y la Traviata. Basada en la Dama de las camelias,, Alejandro Dumas, mi Maestro en la Dirección Escénica Emilio Sagi, el Maestro Belcantista. La posicióno, como, una de las mejores, en el Bel Canto. La pobre, tuvo la desgracia recientemente, de compartir cartel con el tupamaro!!!Es berlinesa Berlin, tedesco, es muniques, como mi chico, Jonas Kaufmann, lo firma la chica de la gala y Sra Kaufmann!!! Que arrogancia, nivel más bajo.!!!
Come on, she is not that bad. Well done. Still, there will never be another Giusy Devinu, who left us far too early. She lived the role of Violetta like no other, her voice and acting were simply flawless. Check it out!
Alkis Karmpaliotis Agreed, to a certain point. Callas's voice sounded more metallic, not as soft as Devinus or even Damraus. Still, Callas' rendition of Tosca's Aria "Vissi d'arte" is unrivalled to this date.
Diana is clearly a great singer and artist. But this is a mess. Couldn’t the director or conductor tell her to pay more attention to the voice than to her hands and other physical twitches?
Dave Glo This type of “acting” gestures garbage is all the rage in the singing world right now, because 99.999% of singers can't really sing, and the ones who can are barely hanging on. It's not like violin where so many young virtuosos can play flawlessly with near-perfect intonation and tasteful, creative phrasing… Most of the means to beautiful singing has been lost and replaced with “support” and “singing in the mask.” And everyone overcompensates with this s*t.
Her singing and acting reminds me of Renato Scotto, and I don't mean that as a compliment. The way she pushes those high notes into the house and her self-conscious acting, which is all indication. Her voice is much more steady than Scotto's, but every so often, there's an unpleasant vibrato on those ear-piercing high notes.
DavidAsset78 She basically sucks. Lets face it. And now she's lost her voice & sounds even worse.In her prime she was very adequate etc. Arnold Bourbon Amaral
@@arnoldamaral7406 Lost her voice? Forgive me whilst I titter - she may not be singing 'O Zittre Nicht' anymore, but Diana's voice is far from gone. She still has wonderful control to a little above high C, is much better about dynamics and emotional control, and given that it's been about twenty years since her debut in classical music, I'd say she's doing just fine.
The acting, the voice, the techniques. Everything!!!!
Marvelous, but then again, have we not come to expect such things from Ms. Damrau?! Priceless, priceless! An International gift for the ages.
This is by far the closest portrayal to the character of Violetta , Damrau expresses so clearly her fears , doubts, hopes. despair and joy. . It's all in her body movements.She brings the inner rhythm in to her voice , giving us a vivid vocal portrayal of this tragic character , in the Sempre Libera , one of the tour de force arias in the soprano repertoire. Most singers just get through it. But she brings out in her voice not only exceptional vocal colour ,amazing vocal dexterity ,, but also her terrible dilemma in choosing Alfredo over the life she thought was the only thing she could handle. with her dreadful illness. Damrau definitely has the genius to be able to portray a wide variety of emotions and indeed a variety of characters into her voice, bringing extra-ordinary tone co;lour to every phrase she utters. For me, she is by far, the greatest singer we have today.I was totally riveted by this performance of La Traviata !1
Diana Damrau performance of Violeta is really great, and her technique is perfect, but if you want to see a 21st century Violeta you can watch the performance of Stefania Bonfadelly: her technique is not so incredibly perfect, but she sings and acts much better than Gheorghiu e.g. to talk about another of the nowadays leading sopranos.
😂😂😂
No soy culta en ópera, pero la primera que escuché, fue en el silencio de la tarde de un Domingo, después supe que era Madame Butterfly... No entendía nada, pero terminé llorando como cuando se llora en acto de contrición. Esta SEÑORA es INCREÍBLE!!!!... QUE TALENTO SOBRE HUMANO DIOSSSS!!!!!!
Han existido tantas Violeta a lo largo de los años, mejores y peores, pero Diana hace su propia versión. Poder escénico, voz viva, radiante y gran originalidad actoral, grande Diana!!!!!
es impecable su actuación e interpretación del personaje y la obra 8:27 constantemente fluctúa desde el desconsuelo, la desesperanza, la resignación... hacia el júbilo, la alegría, la dicha de un deseo concedido; y en un milisegundo recae nuevamente. expresa todo con gestos muy sutiles, y jamás sobreactúa. refleja todas sus emociones y los distintos estados de ánimo con los ojos. y como si fuera poco, canta una ópera clásica como *la mejor soprano del planeta*
I'm speachless! She really is amazing
In an era where screaming Sopranos are taking over, Diana is a breath of fresh air. I love her repertoire.
Angel Blue is amazing!
You know nothing !
She's literally screaming.
she’s screaming but i’m not mad.
Diana is a great light for us in this century, she gives me the feeling that at last all wasn't lost. Thank you Diana.
I would not have thought that this perfect Mozart coloratura would have the technical and emotional chops to become a true Violetta. I am happy to be proven wrong here. She has captured the ambivalence, pain, hope and strength of Violetta here in both her vocal interpretation and her physical presentation of the character.
On her live HD interview at the Met, she sad that watching La Traviata at 12 is what got her to become an opera singer
She was also a fabulous Gilda in Rigoletto at The Met. A different type of role I know, but great nonetheless.
Amazing how in this production, she looks so much like Meryl Streep.
completely agree!
OMG you got me hahhahah
Suzanne Derringer omg yes that’s what I thought when I met her in person here in Los Angeles a couple of years ago she even talks like her a little bit…😍
@@shanevance8910 That's rea6 interesting! Maybe she IS Streep. I mean, Streep is so multitalented....
what a twist
was expecting something rather different after "amazing how in this production..." lol
She is singing singing siempre libre with such joy and exuberance. Awesome. Her acting moments are fully realized. Her torment is real. Love her
Sempre libera
As atuações de Diana sempre impecáveis. Encantadora como sempre.
The opening music from 6:27 to 6:39 is really catchy . It is like you are flying freedomly through the air , and it makes you feel so free just like what violetta has felt
Diana Damrau ist eine der besten Darstellerinnen. Die Stimme ist sicherlich sehr gut aber Geschmacksache.
That is one goddamn big bed. So extra. I love it.
Emperor size
Comment sections on opera postings are always the saltiest.
That was amazing.
How right you are lol
Ikr im literally crying- most of em are just so rude and stupid jsjsjsqq😂
@@kairitkolk6641 I would guess they are from the "this is opera" school of music.
That's because the divas aren't just on the stage!
After Sills, the world needed a Damrau to do young and frolicky so amazingly.
Magnifica esecuzione
Meravigliosa cantante che amo immensamente ma che pesantezza nel lento di "croce e delizia"!!! così non è violetta. le emozioni per esprimerle non bisogna rallentarle...ma esprimerle pienamente con il loro fluire naturale....
....tecnicamente è strabiliante e la amo tanto...ma forse la Traviata meglio lasciarla fare ad altre...
Amoooooooooo demais está Cantora Magnífica!!!!!!
The tempo was a bit too slow for my taste, but she was in great form. And FINALLY a soprano that takes the high E-flat at the end! I would rather not hear the aria without it. Brava!!!
That E-flat is optional. It isn't in the score. Opera fanatics refer to it as the "optional/obligatory E-flat."
I don't see where I posted it was REQUIRED. I merely stated my preference was to hear it with the E-flat or not hear it at all. I coached opera singers college and beyond, and I know it is optional.
Flyinghow when Cotrubas sang Traviata she would put the HI e she knew it was optional. But it suited her voice a pure lyric soprano a great Traviata. This lady doesn't have the quality. I'm sorry to say. She's not all that bad if you stop making comparisons. Let's face it the Golden Era of Opera is gone. And we have to settle for these voices. I'm sure I offended some people but it's true learn to accept it. When Cotrubas turn 40 her voice started declining. She struggled with a high e. She knew when to retire. The one her prime she was incredible the best Traviata I ever heard. Thank you for posting your Opera loving friend Arnold Bourbon Amaral
@@arnoldamaral7406 I didn't care for Cotrubas.
@Flyinghow true! I actually prefer the tempo a little faster (like the version of Montserrat Caballe) but Diana's technique is superb, she controls her voice very well and I really like the E-flat. That was very satisfied.
Todas las emociones, facial, manos, cuerpo y en su voz. SI alguien dice que porque corto en los legatos... invito a que lo hagan y hagan lo que hace ella. Es maravillosa. Y por supuesto el fiato es necesario para eso, y ella lo usa todo, casi creí que se desmayaba en el final.
Amazing. Simply amazing
Amazing
My husband's gonna freak out when I'm singing this like no one cares!
Words aren’t enough to honour this fantastic singing! Bravissimo Diana!
Bravo!!!!💐
I just love her 💕🎼
1:45 it's absolutely amazing😍
She is so tale ted i LOVE her so much!!!!!
I guess 96 dislikes are from Giorgio Germont
No they're from people who heard Muzio, De Los Angeles, Callas, Sutherland, Sills and Gheorghiu sing this piece and now have the misfortune of hearing circus actress D. Damrau.
How many people would that bed hold? 17?
In her line of business a bed like that has its own uses
Grande! Grande! Grande Diana! ❤👏👏👏
She’s truly exceptional.
Omg she is a beast. Unbelievable emotion
I just wanna know the square footage of her bedroom tho
💐Too great to give any comment
Lovely ..Appreciated
Let me see you try to do this first and then you can leave your hate comments. She is magnificent!
EXCELENTE
Master!
Diana Damrau and Juan Diego Flórez with the Traviata at the Met in december 2018
josé caballero is that good or bad? My wife wanted to go see it and December 5th. I told my wife while she's not Cotrubas. Please advise thank you Arnold Bourbon Amaral
She's amazing....he sounds fine, but *can't* act
😎
Whole cast is spectacular
@@alkiskarmpaliotis2776
Florez sounds fine
He had one really nice moment - his C st the end of O Mio Rimorso
His Bb at the end of the Brindisi was swallowed up, and he was late on the cut off.....what I find most problematic is his "acting"
@@rugby8-Philadelphia I could not agree more!
It's "è strano" not "estrano"
As far as I am concerned, Diana Damrau is the ultimate coloratura.
I like her tone and diction. I can’t get past her vibrato and her acting is over the freakin top. It’s hard to watch. Let alone endure her screaming of the Eb. It’s just too much. I miss Joan
@Charlie Charlie she's a very good actress if not the best
Joan's technique is clearly better. but her character is non-existent and her diction is almost to say poor.
She is amazing
Qué maravilla
I think that this Interpretation, with one of Renata Scotto I've recently heard, is the best one ever sang!!!!
BRAVISSIMA DIANA!!!!!!!!!
Messer Cristian agree. And how is it rude?? I just miss Dame Joan
Brava
Hermoso, maravillosa interpretación!!!
Meravigliosa, Brava
She has raised the bar!
OperaLAV I think she beat everyone over the head with said bar 😉
Think you need to do some research...
not at all
a black mammy???
PolishViking Riiiiiiight! That's Rediculous.
Hideous
Like u
шикарно
미쳤다!!!
maravillosa!!!!!
What a mess.
Beautiful voice, but I see queen of the night and not a traviata.
Agree,rude comment,but true..
Then you need to grow up a little.
@@vittoriocopponi Hahahah yeah, I totally agree with you
She’s grown up and moved on.
👍
Everything is perfect but an awkward painting above the bed. Why? I have never seen that a servant showed up during this aria in many other productions. I am quite surprised. What is the purpose?
This "awkward" painting is a huuuuge reference. Olympia is a painting by Édouard Manet, first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a bed being brought flowers by a servant. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute.
It may not follow the taste of that era, but it's contemporary to Verdi (the premiere of the opera took place in 1853).
By the way, Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer's and librettist's original wishes were carried out and "realistic" productions were staged... To me, that element gives even more meaning to Manet's painting in this set as a reflect of that era.
Gesù, che pesantezza... amo molto Damrau ma se muore già su “Ah forse è lui”...
E che ti aspettavi? Un canto alla tedesca, duro come un sasso. Non ci siamo.
👏👏👏👏👏👏👏
!!!!!!
The world will never have another soprano like Diana
Why would the world need one, when there are Edita Gruberova and Natalie Dessay?
Thank GOD for His infinite mercy!
Teu cu.... Existe melhores só que não são famosas, seu fanático
not really shes a screamer
Hopefully you're right. She's unsubtle, graceless, classless, and talentless. She oversings everything, overacts, and is generally overrated. The one thing I can't decide is if she's a light voice trying to make her voice sound heavy by screaming, or if she has a larger voice and is trying to trip through coloratura like a hippopotamus ballerina.
She makes sense of all those arpegii that are between sparkling diamonds, palpitations of love wnd its tortured madness
A very robust and fierce Violetta ready to stab someone. May be I am thinking the queen of the night is singing E Strabo.
... one of the emoters, every sylable, has a corresponding facial expression combined with a mosquito voice ... I guess it's compensation.
담라우의 감정이입, 음악성, 피아니시모는 너무 완벽하다!! Brava~😍
1:45
Brava! Io non sono all'altezza di cogliere i difetti
Its all depend on the conductor.. Here diana damrau very strict and too much vibrato... With yannick.. Diana more human and less robotic... Its all. Depend on the conductor
Is that a real Manet?
È STRANO.
Not, ESTRANO.
"she delivered the tension, pain, despair blah blah blah of Violetta really well", yeah, through her vocal strain, of course, she's physically tense anyway.
Nuestra Dianita, es una gran soprano Belcantista, la Traviata, es la última de, la trilogía romántica de Verdi, Rigoletto Il Trovatore y la Traviata. Basada en la Dama de las camelias,, Alejandro Dumas, mi Maestro en la Dirección Escénica Emilio Sagi, el Maestro Belcantista. La posicióno, como, una de las mejores, en el Bel Canto. La pobre, tuvo la desgracia recientemente, de compartir cartel con el tupamaro!!!Es berlinesa Berlin, tedesco, es muniques, como mi chico, Jonas Kaufmann, lo firma la chica de la gala y Sra Kaufmann!!! Que arrogancia, nivel más bajo.!!!
Wonderful!
Excellent
who is the tenor ?
his name is Francesco Demuro, a really good italian operasinger
Слава богу,оркестр дожил до конца арии!! Тенор чудесный.
Не свой репертуар петь трудно
6:38
Come on, she is not that bad. Well done. Still, there will never be another Giusy Devinu, who left us far too early. She lived the role of Violetta like no other, her voice and acting were simply flawless. Check it out!
Callas
Alkis Karmpaliotis Agreed, to a certain point. Callas's voice sounded more metallic, not as soft as Devinus or even Damraus. Still, Callas' rendition of Tosca's Aria "Vissi d'arte" is unrivalled to this date.
There will never be another anyone. They're all unique.
@@Feisenbach that much is true!
Qu'est ce que c'est long ... On s'ennuie ferme !
1:45 8:46
Diana is clearly a great singer and artist. But this is a mess. Couldn’t the director or conductor tell her to pay more attention to the voice than to her hands and other physical twitches?
Dave Glo This type of “acting” gestures garbage is all the rage in the singing world right now, because 99.999% of singers can't really sing, and the ones who can are barely hanging on. It's not like violin where so many young virtuosos can play flawlessly with near-perfect intonation and tasteful, creative phrasing… Most of the means to beautiful singing has been lost and replaced with “support” and “singing in the mask.” And everyone overcompensates with this s*t.
UA-cam maldito que passa propaganda no meio da música!
Классно,молодец
헉!
Questa canta più consonanti che vocali:ss,nn,ll,rre fa "corona "sopra intonazione desidera il meglio...)))
The excessive moment is distracting. She seems to be overthinking the role. Sometimes less movement is better and can even be better acting.
Do I see a hint a blackface??????
Wtf?
Blatantly did black face and it wasn't even necessary smsh
Why use blackface??? Just get a real black person to walk on and walk off. What a turn off.
No tienen micrófono?
Daniel Mateo Osorio Lopez te re quiero
Buena esa.
Her singing and acting reminds me of Renato Scotto, and I don't mean that as a compliment. The way she pushes those high notes into the house and her self-conscious acting, which is all indication. Her voice is much more steady than Scotto's, but every so often, there's an unpleasant vibrato on those ear-piercing high notes.
She is like Scotto, you're right. Only it IS a complement.
DavidAsset78 She basically sucks. Lets face it. And now she's lost her voice & sounds even worse.In her prime she was very adequate etc. Arnold Bourbon Amaral
@@arnoldamaral7406 Lost her voice? Forgive me whilst I titter - she may not be singing 'O Zittre Nicht' anymore, but Diana's voice is far from gone. She still has wonderful control to a little above high C, is much better about dynamics and emotional control, and given that it's been about twenty years since her debut in classical music, I'd say she's doing just fine.
Diction is horrible, phrasing is unmusical, though a sturdy voice. More of a Zerbinetta than a Violetta.
Diana this is not the role you
Preferisco le grandi Violette del passato
E' orribile, viva Tebaldi Moffo Zeani Callas Freni Moser Moldoveanu.
5:13, 8:35, 10:19
Isterica qualsiasi cosa canti
Io parlo da profano, ma a me lei piace molto!!
Is this a joke ? Poor Verdi
Buena interpretación de canto aunque un poco sobreactuada. Stephania Bonfadeli sigue siendo la mejor Traviata