I saw her sing this role in San Francisco in September 1984. She looked like the Amina of ones dreams. Professional malcontent, Martin Bernheimer, traveled up from Los Angeles to complain about less than glittering fioritura. The tenor in SF was Dennis O'Neill.
Wow, lucky you! She now lives in the San Francisco area , doesn't she? A gentleman friend of mine, manager of the classical floor (of a major chain in Québec) saw her in Ottawa in the 70s...he swoons about it and how beautiful she was. He said, when you saw her in Massenet's Cendrillon, you almost believed it. :)
un ottimo esercizio. nella versione di quest'aria per Contralto...affrontata spesso anche dalla Horne ...nei concerti col piano......che sicuramente la spinse poi; verso Rossini dove la sua voce duttile potè Brillare...e trovare una strada più consona....qui siamo agli inizi della carriera verso il bel canto Itaiano ...Mozart...e il repertorio Francese?....
@@RicharddtheStar Point is that a lower/darker mezzo with the healthy technique and good emotion skills CAN sing this. Imagine if Oralia Dominguez sang this? After all, she did sing the contralto aria of "Nacqui all'affanno" very well, for a mezzo.
Definitivamente hermosa voz, pero no para este hermoso personaje, la sensación onírica del aria no se llega a sentir, menos la inconmensurable tristeza, fuera del estilo del maestro Bellini, aunado a que tampoco alcanza la gioia del final, las coloraturas son sin brillo alguno, para nada una buena versión cuando tenemos a la insuperable Callas y después a la Sutherland como primeros ejemplos.
Unfortunately you're incorrect. There's the Malibran version of La Sonnambula, Puritani and Otello by Rossini where she sang Otello having previously sung Desdemona. Look at the history of performances of these operas. There's complete scores in the mezzo version, just as there's one for Maria Stuarda as well
Not wobble but a tremolo ...wobble is what Callas had..a slow wide oscillation of two distinct pitches...tremolo two distinct pitches oscillating in RAPID succession.....
Die Fledermichael Cecilia Bartoli also has the tremolo technique to confront the virtuosism required in this aria It is a choice I guess of mezzo sopranos?
surchoix : No, you are underdeveloped mentally as everybody can read. Miss Von Stare is a mezzo soprano of the highest order. She is singing a version composed by Bellini for what today would be described as a mezzo soprano.
@@johnpickford4222 aha, you obviously know nothing about voices, opera and history but you call people who are over 40 years in the business mentally underdeveloped? Only idiots behave like this. Of course she is a soprano, like all "lyric" mezzos. Quite iall roles which Federica von Stade did sing are named for soprano in the score. Sometimes they called them second soprano. You are not a mezzo because you have no real top. She has NO low notes at all.
@@zdenkas419 its modern "microfone" technique. Sadly today this is standard. Placing the voice in the nose or mask instead of opening the throat like in the old technique.
Von Stade sings with a sort of innocence and sweetness that other sopranos do not have.
she's a mezzo...
Agreed.
This is the most heartbroken 'Ah, non credea" I've ever heard. Brava Flicka!
very lovely to hear a mezzo sing this version
O mein Gott, was für ein Gesangsqualität! Wie schön, Frederica! Brava! Brava! Brava!
Very interesting,she singing the rare sonnambulaversion from maria malibran-Brava simply amazingly-Thank´s operalover9001 for the posting.
It is different from the usual cabaletta, is there any other example of this version?
I saw her sing this role in San Francisco in September 1984. She looked like the Amina of ones dreams. Professional malcontent, Martin Bernheimer, traveled up from Los Angeles to complain about less than glittering fioritura. The tenor in SF was Dennis O'Neill.
Very touching. She sounds so naïve and that really suites this part.
Magnifica Aria de La Sonámbula..
Beautifully done!
j'adore cette voix ,merci.
BRAVA!
¡Qué belleza de voz!
La sonnambula 29.11.1986 Dallas
Amina = Frederica von Stade [Mezzo]
Elvino = Robert Tate
conductor: Nicola Rescigno
Do you know who the Count Rodolfo is?
Sam Ramey I think
gudrunill Thank you very much! He sings very well.
Wow, lucky you! She now lives in the San Francisco area , doesn't she? A gentleman friend of mine, manager of the classical floor (of a major chain in Québec) saw her in Ottawa in the 70s...he swoons about it and how beautiful she was. He said, when you saw her in Massenet's Cendrillon, you almost believed it. :)
Who's the tenor singing with her?
un ottimo esercizio. nella versione di quest'aria per Contralto...affrontata spesso anche dalla Horne ...nei concerti col piano......che sicuramente la spinse poi; verso Rossini dove la sua voce duttile potè Brillare...e trovare una strada più consona....qui siamo agli inizi della carriera verso il bel canto Itaiano ...Mozart...e il repertorio Francese?....
❤❤❤❤❤❤❤❤❤
Is it me or the pitch of the part is put down?
DiomedesDioscuro yes, you’re correct. La Sonnambula, Anna Bolena, and Puritani have Mezzo-Soprano keys
In the opinion of many there is the Anna Moffo 1960 version of this famous aria -- and everyone else's trailing well behind!
JOAN SUTHERLAND DOES NOT TRAIL BEHIND ANYONE
Mmm
she is very light mezzo or she couldn' have sung this.
well Pasta used to sing Tancredi...
antonio martinazzo and what’s your point ?
@@RicharddtheStar Point is that a lower/darker mezzo with the healthy technique and good emotion skills CAN sing this. Imagine if Oralia Dominguez sang this? After all, she did sing the contralto aria of "Nacqui all'affanno" very well, for a mezzo.
are you stoopido or what,she just sang that...
alas, she shrouds her innocence with her tremolo, which cannot capture the moment, only allude to what it could be. Shame.
Definitivamente hermosa voz, pero no para este hermoso personaje, la sensación onírica del aria no se llega a sentir, menos la inconmensurable tristeza, fuera del estilo del maestro Bellini, aunado a que tampoco alcanza la gioia del final, las coloraturas son sin brillo alguno, para nada una buena versión cuando tenemos a la insuperable Callas y después a la Sutherland como primeros ejemplos.
sabrá dios lo que pronunciaba la Sutherland
Quello che dice è giusto e condivido però Bellini ha scritto il ruolo per Giuditta Pasta che aveva voce da mezzosoprano.
@@FranzBlumVan1890...si capisce benissimo cosa pronuncia la Sutherland anche se non è eccezionale.
Lovely. Check out Cecelia Bartoli's stunning version - another mezzo.
This role (Amina from Somnambula) is not for a Mezzo
Unfortunately you're incorrect. There's the Malibran version of La Sonnambula, Puritani and Otello by Rossini where she sang Otello having previously sung Desdemona. Look at the history of performances of these operas. There's complete scores in the mezzo version, just as there's one for Maria Stuarda as well
No one approaches Anna Moffo's recordings of this aria, and here, as usual, Frederica has 'wobble' and pitch problems.
Not wobble but a tremolo ...wobble is what Callas had..a slow wide oscillation of two distinct pitches...tremolo two distinct pitches oscillating in RAPID succession.....
Die Fledermichael
Cecilia Bartoli also has the tremolo technique to confront the virtuosism required in this aria
It is a choice I guess of mezzo sopranos?
@@jimbuxton2187 she doesn't have a tremolo...tremolo is a slow and pronounced vibrato, which she doesn't have.
Daniel Swick no, tremolo is fast, is an Italian word that mean exactly what he said
@@jimbuxton2187 I hear the same in DiDonato... seems to be a thing with mezzos today...
nice! of course she is a undeveloped soprano, as everybody can hear.
surchoix : No, you are underdeveloped mentally as everybody can read. Miss Von Stare is a mezzo soprano of the highest order. She is singing a version composed by Bellini for what today would be described as a mezzo soprano.
@@johnpickford4222 aha, you obviously know nothing about voices, opera and history but you call people who are over 40 years in the business mentally underdeveloped? Only idiots behave like this. Of course she is a soprano, like all "lyric" mezzos. Quite iall roles which Federica von Stade did sing are named for soprano in the score. Sometimes they called them second soprano. You are not a mezzo because you have no real top. She has NO low notes at all.
How can that happen to be undeveloped soprano? Bad vocal technique or something else?
@@zdenkas419 its modern "microfone" technique. Sadly today this is standard. Placing the voice in the nose or mask instead of opening the throat like in the old technique.
She’s out of tune for most of the intro :/
Ya, she is. There has always been a slight tendency towards that in this part of her voice.
chrisz78 she’s bloody flat at the beginning of the piece. Are you deaf???
@@maury0009 She’s not flat! I’ve seen her many times and she has a great figure. She’s only flat when singing a trouser role and had her chest bound.
Not good.