I am in Bali. Days with nothing to do for anyone but me. Stumbled here. I have discovered a treasure. Thank you Anna so very much. Headphones on. Sitting having cocktails at Seminyak beach. Mixture of tears and smiles. Just as all opera lovers have as our private treasured experience of touching on being fully human.i am ready to die.
I COMPLETELY think this aria is a big meta joke on Puccini’s part. He wrote so many Suffering Soprano Arias (TM) that I think he’s poking fun at himself here, with this beautiful, tragic sounding music in service of a teenage girl who has her dad wrapped around her finger. I feel like Verdi does the same with Ford’s aria in Falstaff, he wrote so many Jealous Baritone Arias (TM) that he does another, only the husband there is just making a fool of himself and there’s no danger to anyone.
Loved this one. You get unlimited brownie points for showing off the older singers even if the recordings are "iffy" by current standards. Not enough people appreciate the likes of Scotto or de los Angeles both of whom navigated the material written during the drift out of bel canto and into verismo so skillfully. When they were at their prime they could pull off both the vocal beauty of the bel canto and the acting and emotional content of verismo successfully. I sort of suspect that coloratura isn't really your thing, but one of your casts covering the big three "oldish" bel canto singers: Sills, Sutherland and Caballe, would be wonderful. I don't think anyone has ever floated a pianissimo note like Caballe in the Stuarda prayer. Sills and Sutherland did it very well, but not like Montsy. Her Norma was fantastic, but that note in the prayer is beyond compare. Nobody has ever demonstrated greater vocal decoration, speed and accuracy than Sills in her famous Tempest which some consider over the top but which I love simply because to my ear it is the ultimate showpiece for the trained coloratura operatic soprano voice and Sills could take it to greater heights and lengths than anyone else was capable of. She considered herself a Donizetti heroine but I think her vocal gifts and skills were shown off to best advantage in some of the Baroque and Rossini operas. Then there was Sutherland. She could simply do it all and probably do it better than anyone else in most cases depending on where one's musical taste lies. Tastes vary in music. Sutherland and her husband disliked Sills because they thought she over decorated everything, threw in too many notes and went for flashy leaps and trills. I love listening to Sills for just those reasons. She was able to do it and she did. Like I said, musical tastes vary but all three of those ladies were singing at the same time and I doubt if the world will ever see three voices of that skill level and beauty singing on stages at the same time again. Talk about an embarrassment of riches if you enjoy bel canto and coloratura sopranos. Let us know when your patreon goes live. I'll sign up instantly.
Thank you so much for your comment! I'm a big coloratura lover and am working on an episode of one of the most amazing Rossini tenors ever 🤫 I will definitely work in the singers you listed soon, because I agree they're all phenomenal!! ❤️❤️❤️❤️
I am afraid to say that as an opera pleb, with no Italian language beyond gelato flavors, I also believed that this was a genuinely tragic piece, used entirely appropriately by Mr Bean. But it makes so much sense that this almost overly emotional piece is a manipulative and ironic (totally ott) faux tragedy, and yes, the Scotto performance made me chuckle too. Context is everything! Thank you for educating me.
I first heard it whistled by Woodstock in a Charlie Brown cartoon, where he does it to provide a score for Peppermint Patty to do figure skating. It's very sweet.
Sissel does a suprisingly good version, particularly for a popular singer. She correctly (IMO:) interprets the aria as a spoiled daughter manipulating her father, which of course is exactly what it’s about. Love your site! Any chance for Le Nozze de Figaro? My personal favorite…. Talk about laughing out loud!
I don’t know who your Italians friends are but actually…actually…it is unlikely that the word Babbino could have the meaning of sucker. Babbino, a sweeter way to say Babbo (dad) is a word essentially used only in Tuscany and not even all of Tuscany. The word for sucker is Babbeo. …. But you are amazing , your videos are informative, funny, full of love for the opera. Please make more of them.❤❤❤ btw I prefer Mirella Freni in this aria. 😊
Oohh I look at her on the Patreon once it goes live! ☺️☺️ So..they did say it was very colloquial and not likely, but the fact that it can mean that at all was enough for me, especially the way Scotto plays it
And should say i attended Il Trittico at Sudney Opera House a few eeeks back. Loved it but did feel the humour in O Mio Babbino was not fully captured as you so wonderfully inform. But it was a great night nonetheless.
Wonderful job! My wife and I loved this. When you described the mouth shape with Miss Scotto, I was thinking, "That's how I shape my mouth when I shave my mustache."😅
Few seems to care about the story when a kid, Amira Willighagen with mr Rieu, could steal the show and now is the, by far, most viewed version of the Aria and now owns it putting all hard working trained sopranos in the shadow, and that with almost no training. It's gone so viral mr. Rieu made millions from it. One opera aficionado got so angry and upset in the matter he made a whole YT-video about it 😀.
You mentioned older singers had a certain way of approaching certain vowels and you further stated: "the second bello to me is practically bella. That's how open the vowel sounds" That reminds me that every time I saw Martina Arroyo sing Butterfly at the Met, in the Vogliatemi bene duet, she sang "si per la vita" as si per la "aaaaahta". That obviously was because singing vita (pronounced vee-ta) is difficult to sing as it is a closed "eee" sound on a high B-flat whereas the open "Ah" sound is, I believe easier and can be projected fuller and louder. That is similar to tenors who sing the final interpolated high "C" or if the aria is transposed down, a "B" or "B-flat" "all'armi" at the end of the Il Trovatore Di quella pira as "alaaaaaaa" without the concluding "rmi". Incidentally regarding your comment about Rita Streich's rolled "R"s, I can't think of anyone whose rolled "R"s were more exaggerated than Richard Tucker's.
I think that there are a lot of classical music lovers who don't know they are because they are not exposed to it, so if arias are used inappropriately it does not bother me that much. I remember driving with a friend of mine who dismissed classical music without really listening to it just because of the environment in which he grew up. When I got into his car he was playing Swan Lake. I asked what was going on. He said that his daughter had started learning ballet and when he picked her up one day from practice they were playing Swan Lake and he immediately fell in love with it.
I agree. Like I said in the video, I like that they use it, but I mainly had an issue with Saphira Crystal changing the words and turning it into something completely vulgar and unnecessary. My point is that we should know the context, and then people will know that this piece they've been listening to for years and really enjoy is something that they thought they didn't like. Happens all the time with older cartoons like Bugs Bunny. The example you give doesn't really sound like it is out of context to me, he actually heard it in the correct context and was able to appreciate it, but that's just how it reads to me.
@@operaanna I understand what you are saying - I think. At 61 I am ¾ of my way through life and I’m lucky enough to have had one rich in the variety of music I have been able to enjoy. I am frustrated, though, at how music gets divided between genres and who is allowed to enjoy them. It is sad how classical music is considered elitist as this precludes a lot of people from enjoying it for itself, outside of a cultural context. I did not know who Sapphira Cristal was and had to listen to her for the first time. It was a difficult video to watch but one thing life has taught me is that one ought to be relatively comfortable at how rusty the hook may be that catches the fish. If the vulgarity of what the eyes see opens the ears to the beauty of the music it is a job half done. If some of those whose ears have been opened go on to explore the world of opera arias that must be a win and context can be learned later. If not, nothing has been lost. Btw - I felt more connected to Sapphira’s singing, if one closes one’s eyes, than to the aria in Mr Bean’s parody. Not knowing Italian may have helped with her but I could never separate Mr Bean’s antics from the music. If Sapphira is just too vulgar for others, that’s understandable.
Well, Renata Scotto does one thing very few singers do: They act. The only one I have seen, that does this full time is Cecilia. Just look here: ua-cam.com/video/SJRZxSclj70/v-deo.html She completely wipes the floor with Thomas Hampson. She does this with her eyebrows and glances - and she fixates Hampson (that is technically very stiff to begin with - Ok his teacher was Elizabeth Schwarzkopf - probably the toughest battleaxe that ever adorned a broom on an opera stage) with her cleavage, and what doesn't heave and sink - it rocks and rolls - and Hampson is not a moment in doubt that his parade duet has been turned upside down. She hits every note (as far as I can heard) precisely and make Thompson look like an idiot. There is one thing you never do: Upstage La Bartoli. She just opens her charm valve and drowns you. She knows exactly where the critical in the audience are located - her hearing is excellent. There is another thing about Scotti and that is her age: The higher the voice, the shorter the carrier as a singer. You might still have the looks, but the voice meter is harder to manipulate. Is opera singing or acting? Well, if you can't do both - then.... What I don't get in this aria is: She is talking about buying a ring at Ponte Rosso - and jump off Ponte Vecchio. Why move location?? Coming from a country where jumping off bridges is the favoured way to avoid prosecution the particular bridge matters little - they are all around the place - and there is a rather strong northbound current in most places.
“O daddy, please … (sucker)” I don’t understand why people misunderstand this Aria. Not being a great Italian speaker I look up Arias I don’t understand, doesn’t everyone? A death scene or lullaby would make no sense for its use in the stolen kiss scene in glorious Merchant-Ivory movie ‘A Room With A View’, whereas the themes of pleading, desire, unlikely marriage make it just right.
You would think people look it up, but honestly I think that's one of the barriers of opera. People don't want to or don't care enough at the beginning to do so...
OK. I see that I didn't see your huge asterixis that says "only comic opera". Apologies. His last opera Falstaff is a very famous comic opera. The strangest pairing of Gianni Schcchi is with Bartok's very grim opera "Bluebeard's Castle-which the MET in NY did in the 70's. I'm sure there are wieder ones@@operaanna
It's ironic that it comes from a comedy. Often, it is used as a parody, as if the original context was a tragic one, or it's use in dramas/tragedy. I remember hearing it in the movie "Les bons debarras" during a suicide scene.
It's a charming film, well worth seeing. This aria is used in the opening credits and perfectly sets the stage for the start of the film, fittingly set in Florence.
Hi Gabriel, im so sorry, I always want to include her with every Aria Explained, but people may think I'm playing favorites 😏 I hope I can react to her version for you one day!
Do opera singers sometimes improvise? Like at that point in time at 23.03 you could very well slide from G#4 to G#5 and could even sound better. For example As Dimash did in O Sole mio : ua-cam.com/video/sZSTk2uzNIE/v-deo.html
to my untrained ear this aria sounds astoundingly similar to Là ci darem la mano…maybe on purpose as we have two manipulative subjects…maybe not…maybe I am just tone deaf
I feel absolutely blessed that we got another analysis this soon! However I sadly just cannot stand to listen to this particular song. I never could and I don't understand why. So I will try to sit through it, but if I can't I will see you in the next one
@@leadingblind1629 I mean the phenomenon of movies and mainstream media choosing this aria to accompany tragic material as is the case with Mr. Bean (even though it's funny). At the same time, why would they care about the context as long as it gives a certain atmosphere. I would be curious to know how many people who were involved in any of these decisions actually knew the words before choosing it for a scene. Nothing against you!! That's not what I meant at all 🙏
@@operaanna oh no. I just couldn't listen to the whole analysis because my ears were trying to bleed. But now I get the context. It's like calling the flower duet a love song, yea? Or how our American wedding March was adopted from an opera?
I enjoyed that for all the right reasons, but also, as the slave to three cats, all the wrong reasons too! It appears that you have competition as the star of this show...
Изумително е, колко хора, които нищо не разбират от пеене и вокална техника си позволяват така грозно да критикуват безспорни вокални постижения! Тази Анна трябва първо да се научи поне да говори по-прилично, защото като я слушам, имам чувството, че някой ме души--толкова е натиснат и грозен гласът й.
The way Montserrat caballe sang it always made it feel like a mother singing to her child
I am in Bali. Days with nothing to do for anyone but me. Stumbled here. I have discovered a treasure. Thank you Anna so very much. Headphones on. Sitting having cocktails at Seminyak beach. Mixture of tears and smiles. Just as all opera lovers have as our private treasured experience of touching on being fully human.i am ready to die.
What an amazing message to awake to 🥹 let me know if you'd like me to look at anything in particular for you 🙏
I COMPLETELY think this aria is a big meta joke on Puccini’s part. He wrote so many Suffering Soprano Arias (TM) that I think he’s poking fun at himself here, with this beautiful, tragic sounding music in service of a teenage girl who has her dad wrapped around her finger. I feel like Verdi does the same with Ford’s aria in Falstaff, he wrote so many Jealous Baritone Arias (TM) that he does another, only the husband there is just making a fool of himself and there’s no danger to anyone.
When I was young, I thought it was an operatic lullaby. And when she says she wants to die, it's because her baby/toddler won't sleep.
Oh wow...
And after being back ftom Bali have just joined Patreon Anna. Looking fwd to more wonderful and engaging posts from you.
Loved this one. You get unlimited brownie points for showing off the older singers even if the recordings are "iffy" by current standards. Not enough people appreciate the likes of Scotto or de los Angeles both of whom navigated the material written during the drift out of bel canto and into verismo so skillfully. When they were at their prime they could pull off both the vocal beauty of the bel canto and the acting and emotional content of verismo successfully.
I sort of suspect that coloratura isn't really your thing, but one of your casts covering the big three "oldish" bel canto singers: Sills, Sutherland and Caballe, would be wonderful. I don't think anyone has ever floated a pianissimo note like Caballe in the Stuarda prayer. Sills and Sutherland did it very well, but not like Montsy. Her Norma was fantastic, but that note in the prayer is beyond compare. Nobody has ever demonstrated greater vocal decoration, speed and accuracy than Sills in her famous Tempest which some consider over the top but which I love simply because to my ear it is the ultimate showpiece for the trained coloratura operatic soprano voice and Sills could take it to greater heights and lengths than anyone else was capable of. She considered herself a Donizetti heroine but I think her vocal gifts and skills were shown off to best advantage in some of the Baroque and Rossini operas. Then there was Sutherland. She could simply do it all and probably do it better than anyone else in most cases depending on where one's musical taste lies. Tastes vary in music. Sutherland and her husband disliked Sills because they thought she over decorated everything, threw in too many notes and went for flashy leaps and trills. I love listening to Sills for just those reasons. She was able to do it and she did. Like I said, musical tastes vary but all three of those ladies were singing at the same time and I doubt if the world will ever see three voices of that skill level and beauty singing on stages at the same time again. Talk about an embarrassment of riches if you enjoy bel canto and coloratura sopranos.
Let us know when your patreon goes live. I'll sign up instantly.
Thank you so much for your comment! I'm a big coloratura lover and am working on an episode of one of the most amazing Rossini tenors ever 🤫 I will definitely work in the singers you listed soon, because I agree they're all phenomenal!! ❤️❤️❤️❤️
This channel is worthy of a lot more viewers and subscribers. Happy to have found it, don't stop, keep going and thank you!
I am afraid to say that as an opera pleb, with no Italian language beyond gelato flavors, I also believed that this was a genuinely tragic piece, used entirely appropriately by Mr Bean. But it makes so much sense that this almost overly emotional piece is a manipulative and ironic (totally ott) faux tragedy, and yes, the Scotto performance made me chuckle too. Context is everything! Thank you for educating me.
You are not alone!! Mr. bean was entirely convincing, like scarily so 😂
I first heard it whistled by Woodstock in a Charlie Brown cartoon, where he does it to provide a score for Peppermint Patty to do figure skating. It's very sweet.
Okay that one I kinda like 😂
È un’ aria molto conosciuta qua in Italia, spesso usata anche come sottofondo in alcuni film o nelle pubblicità televisive. Video interessante.
Sissel does a suprisingly good version, particularly for a popular singer. She correctly (IMO:) interprets the aria as a spoiled daughter manipulating her father, which of course is exactly what it’s about.
Love your site! Any chance for Le Nozze de Figaro? My personal favorite…. Talk about laughing out loud!
I don’t know who your Italians friends are but actually…actually…it is unlikely that the word Babbino could have the meaning of sucker. Babbino, a sweeter way to say Babbo (dad) is a word essentially used only in Tuscany and not even all of Tuscany. The word for sucker is Babbeo. …. But you are amazing , your videos are informative, funny, full of love for the opera. Please make more of them.❤❤❤ btw I prefer Mirella Freni in this aria. 😊
Oohh I look at her on the Patreon once it goes live! ☺️☺️
So..they did say it was very colloquial and not likely, but the fact that it can mean that at all was enough for me, especially the way Scotto plays it
Hello,
You are very wright.
She forgot Maria Callas too.
Another beautiful video. I watch it on loop. Thank you so much.
❤🙏
And should say i attended Il Trittico at Sudney Opera House a few eeeks back. Loved it but did feel the humour in O Mio Babbino was not fully captured as you so wonderfully inform. But it was a great night nonetheless.
Wonderful job! My wife and I loved this. When you described the mouth shape with Miss Scotto, I was thinking, "That's how I shape my mouth when I shave my mustache."😅
😂😂
Few seems to care about the story when a kid, Amira Willighagen with mr Rieu, could steal the show and now is the, by far, most viewed version of the Aria and now owns it putting all hard working trained sopranos in the shadow, and that with almost no training. It's gone so viral mr. Rieu made millions from it. One opera aficionado got so angry and upset in the matter he made a whole YT-video about it 😀.
You mentioned older singers had a certain way of approaching certain vowels and you further stated: "the second bello to me is practically bella. That's how open the vowel sounds"
That reminds me that every time I saw Martina Arroyo sing Butterfly at the Met, in the Vogliatemi bene duet, she sang "si per la vita" as si per la "aaaaahta". That obviously was because singing vita (pronounced vee-ta) is difficult to sing as it is a closed "eee" sound on a high B-flat whereas the open "Ah" sound is, I believe easier and can be projected fuller and louder. That is similar to tenors who sing the final interpolated high "C" or if the aria is transposed down, a "B" or "B-flat" "all'armi" at the end of the Il Trovatore Di quella pira as "alaaaaaaa" without the concluding "rmi".
Incidentally regarding your comment about Rita Streich's rolled "R"s, I can't think of anyone whose rolled "R"s were more exaggerated than Richard Tucker's.
Sorry for typos
I think that there are a lot of classical music lovers who don't know they are because they are not exposed to it, so if arias are used inappropriately it does not bother me that much. I remember driving with a friend of mine who dismissed classical music without really listening to it just because of the environment in which he grew up. When I got into his car he was playing Swan Lake. I asked what was going on. He said that his daughter had started learning ballet and when he picked her up one day from practice they were playing Swan Lake and he immediately fell in love with it.
I agree. Like I said in the video, I like that they use it, but I mainly had an issue with Saphira Crystal changing the words and turning it into something completely vulgar and unnecessary. My point is that we should know the context, and then people will know that this piece they've been listening to for years and really enjoy is something that they thought they didn't like. Happens all the time with older cartoons like Bugs Bunny.
The example you give doesn't really sound like it is out of context to me, he actually heard it in the correct context and was able to appreciate it, but that's just how it reads to me.
@@operaanna I understand what you are saying - I think. At 61 I am ¾ of my way through life and I’m lucky enough to have had one rich in the variety of music I have been able to enjoy. I am frustrated, though, at how music gets divided between genres and who is allowed to enjoy them. It is sad how classical music is considered elitist as this precludes a lot of people from enjoying it for itself, outside of a cultural context. I did not know who Sapphira Cristal was and had to listen to her for the first time. It was a difficult video to watch but one thing life has taught me is that one ought to be relatively comfortable at how rusty the hook may be that catches the fish. If the vulgarity of what the eyes see opens the ears to the beauty of the music it is a job half done. If some of those whose ears have been opened go on to explore the world of opera arias that must be a win and context can be learned later. If not, nothing has been lost. Btw - I felt more connected to Sapphira’s singing, if one closes one’s eyes, than to the aria in Mr Bean’s parody. Not knowing Italian may have helped with her but I could never separate Mr Bean’s antics from the music. If Sapphira is just too vulgar for others, that’s understandable.
Obraztsova's performance is the best.
Well, Renata Scotto does one thing very few singers do: They act. The only one I have seen, that does this full time is Cecilia. Just look here:
ua-cam.com/video/SJRZxSclj70/v-deo.html
She completely wipes the floor with Thomas Hampson. She does this with her eyebrows and glances - and she fixates Hampson (that is technically very stiff to begin with - Ok his teacher was Elizabeth Schwarzkopf - probably the toughest battleaxe that ever adorned a broom on an opera stage) with her cleavage, and what doesn't heave and sink - it rocks and rolls - and Hampson is not a moment in doubt that his parade duet has been turned upside down. She hits every note (as far as I can heard) precisely and make Thompson look like an idiot.
There is one thing you never do: Upstage La Bartoli. She just opens her charm valve and drowns you. She knows exactly where the critical in the audience are located - her hearing is excellent.
There is another thing about Scotti and that is her age: The higher the voice, the shorter the carrier as a singer. You might still have the looks, but the voice meter is harder to manipulate.
Is opera singing or acting? Well, if you can't do both - then....
What I don't get in this aria is: She is talking about buying a ring at Ponte Rosso - and jump off Ponte Vecchio. Why move location?? Coming from a country where jumping off bridges is the favoured way to avoid prosecution the particular bridge matters little - they are all around the place - and there is a rather strong northbound current in most places.
“O daddy, please … (sucker)”
I don’t understand why people misunderstand this Aria. Not being a great Italian speaker I look up Arias I don’t understand, doesn’t everyone?
A death scene or lullaby would make no sense for its use in the stolen kiss scene in glorious Merchant-Ivory movie ‘A Room With A View’, whereas the themes of pleading, desire, unlikely marriage make it just right.
You would think people look it up, but honestly I think that's one of the barriers of opera. People don't want to or don't care enough at the beginning to do so...
You mean Puccini didn't write "Suor Angelica" or "Il Tabarro" (the other two operas in "Il Trittico" ? My vocal score says Puccini on the cover?
Of course he did! What did I say to give you that idea? 😮
OK. I see that I didn't see your huge asterixis that says "only comic opera". Apologies. His last opera Falstaff is a very famous comic opera. The strangest pairing of Gianni Schcchi is with Bartok's very grim opera "Bluebeard's Castle-which the MET in NY did in the 70's. I'm sure there are wieder ones@@operaanna
I’d love if you reacted to ella giammai mamo by ferrucio furlanetto. Your videos are awesome
Ill put it on the list!!! Thank you 🙏🙏
It's ironic that it comes from a comedy. Often, it is used as a parody, as if the original context was a tragic one, or it's use in dramas/tragedy. I remember hearing it in the movie "Les bons debarras" during a suicide scene.
🫣🫣🫣 I always thought she WAS being super dramatic but after seeing Scotto do it there's no way I want to see it any other way 😅
Very engaging video, but no reference to the delicious use of this aria (sung by a creamy Kiri Te Kanawa) in A Room With A View?
I've never seen this! Someone else mentioned it too.
It's a charming film, well worth seeing. This aria is used in the opening credits and perfectly sets the stage for the start of the film, fittingly set in Florence.
Hello,
You have forgot Maria Callas.
It is not fair.
Gabriel D. -a big Callas fan from Romania
Hi Gabriel, im so sorry, I always want to include her with every Aria Explained, but people may think I'm playing favorites 😏 I hope I can react to her version for you one day!
Do opera singers sometimes improvise? Like at that point in time at 23.03 you could very well slide from G#4 to G#5 and could even sound better. For example As Dimash did in O Sole mio : ua-cam.com/video/sZSTk2uzNIE/v-deo.html
to my untrained ear this aria sounds astoundingly similar to Là ci darem la mano…maybe on purpose as we have two manipulative subjects…maybe not…maybe I am just tone deaf
I know what gives you the idea but if you compare the sheet music you will find that it’s quite different. But both are beautiful!
I feel absolutely blessed that we got another analysis this soon! However I sadly just cannot stand to listen to this particular song. I never could and I don't understand why. So I will try to sit through it, but if I can't I will see you in the next one
This is what happens when movie scorers don't branch out smh
@@operaanna I am not sure what you mean by that. My reaction to this song or Callas are Independent of your reply?
@@leadingblind1629 I mean the phenomenon of movies and mainstream media choosing this aria to accompany tragic material as is the case with Mr. Bean (even though it's funny). At the same time, why would they care about the context as long as it gives a certain atmosphere. I would be curious to know how many people who were involved in any of these decisions actually knew the words before choosing it for a scene. Nothing against you!! That's not what I meant at all 🙏
@@operaanna oh no. I just couldn't listen to the whole analysis because my ears were trying to bleed. But now I get the context. It's like calling the flower duet a love song, yea? Or how our American wedding March was adopted from an opera?
Anna, do you enjoy how Kiri Tekanawa sings O mic bambino Caro?
I would appreciate it, if you ki dly let us hear you singing.....❤
I enjoyed that for all the right reasons, but also, as the slave to three cats, all the wrong reasons too! It appears that you have competition as the star of this show...
They are secretly divos I think!
That first soprano is really grim and completely miscast
👀 👀 👀 👀
Изумително е, колко хора, които нищо не разбират от пеене и вокална техника си позволяват така грозно да критикуват безспорни вокални постижения! Тази Анна трябва първо да се научи поне да говори по-прилично, защото като я слушам, имам чувството, че някой ме души--толкова е натиснат и грозен гласът й.
You are very wright