No. There is no flow. No line. Sorry, but this is not the right voice at all. The voice should really soar and float in long lines. Check Gundula Janowitz.
I really like Asmik Grigorian, but not in this. Almost yelling and no sense of line. I think she is trying to prove she has a big voice more than just focusing on the text and letting it guide her. She's a wonderful artist, though, and I bet she will figure it out. For now I'll stick with Schwarzkopf, Norman or my true favorite - Lucia Popp. Their sense of line and sensitivity to the text leaves me breathless. But Popp's recording with Tennstedt is my " if I could only take one album to a desert island" recording. Pure magic.
So many roles she has done beautifully with a superb voice. Sadly (as well as when she did this earlier) it is not flattering at all. ((And why that vibrato smeared all over?))
Tone instability at certain passages and lots of jaw involvement... A bad day perhaps. I don't know if Papano's jaw movement, a constant chewing, has influenced :D An amazing voice and singer otherwise!
I have heard numerous recordings of these exquisite works of art and even got to perform them as principal horn with Marion Anderson in the audience. Asmik Grigorian is absolutely superb in every aspect but I must say I nearly choked when the horn soloist breathed before the concert d at the end of the phrase of the horn solo at the end of September! Sorry for the rant.
She just does nt have the right voice for it. This work needs a dramatic, at least youthfully dramatic soprano. Her voice sounds strained from the beginning, lacks range, and struggles against the orchestra. Nowadays there are just no conductors who know which voice can be used for what. Sad. ( and her German is a mess...sorry to say that, but if you sing in houses like she does, she should do better. )
@@martinatherton3018 I was and am very impressed by her unconditional acting, especially in these two roles, which is a pleasure. She pushes herself to her physical limits, which can be inspiring. I can hear that she is also pushing her vocal limits. In Strauss and Wagner it needs especially more mid-range and low voice because the orchestra is huge. Her high notes are on their absolut limits, what gets punished sooner or later. The fact that she is hyped as a dramatic soprano today just shows that most people no longer know big voices and how impressive a real dramatic voice can be . Today acting and creating a star is more important.- She could start a career as a movie star as well, she´s got have it all for it- but no dramatic voice.
Auwendig ist für Künstler heutzutage offensichtlich ein no Go .. gruselig man versteht nicht ein einziges Wort.. könnte auch serbokroatisch sein.. was würde Frau Schwarzkopf dazu sagen 😂😂
Asmik Grigorian is a fantastic opera singer. I experienced her several times on Stage which was fantastic! But….and a big but, as a German Lied Singer she is Not ready yet! Her vocalising and pronunciation is still not of that high quality, the Liedgesang requires! I guess she is still á bit too young for that branch and demanding Supreme discipline of vocal-music at all. She still has to work on the precise pronunciation of the German Language and has to think about the words she is singing, Not singing the notes only. Plenty of work to do!
it is not a matter of age or experience... it is a matter of Fach. These songs are not suited for a dramatic soprano, which she is. The tessitura is simply too high. I find it surprising that she chose to sing them.
@@cadenza5374 A dramatic soprano has a strong voice from low to high for singing parts like Elektra or Brünnhilde and big Verdis. they uses chest voice. this repertoire needs more power, colors and a real long breath to fill out those parts. the 4 last songs could sing any soprano. But not any soprano has the power for it while singing with the orchestra.Using a looooong breath is needed. otherwise the magic of that music doesn't come out. If you don't have it, you shouldn't sing it.
J'aime bien Asmik Grigorian par ailleurs, mais elle me déçoit totalement ici. Le chant est raide, poussé, l'interprétation manque de poésie, de profondeur, d'émotion. De la poésie, Pappano et l'orchestre de Santa Cecilia n'en manquent pourtant pas, mais elle ne parvient pas à s'y fondre. Ou est-ce simplement un manque de préparation ?
Not yet! Listen to the recording of the late Soprano, Chloe Owen. The recording is available through the Boston University library. You can also hear Chloe sing Berg on UA-cam.
The voice just slips away on many phrases, it can't also hold the ending consonants (Fleming has that problem too at times), it also doesn't seem intellectually penetrated at all, because this is poetry being sung, not banal opera text. I stand by it - Janowitz and Norman are my two benchmarks and will probably remain so for the rest of my life. In the absence of strong competition, voices like Grogorian´s are pushed to become stars today.
"...poetry being sung, not banal opera text"? Asmik Grigorian (sp) excels as Salome (Oscar Wilde) and Chrysothemis (Hofmannsthal) among much else. Banal? I don't think so.
I worry that Mme. Grigorian has sung too much dramatic repertoire. She’s singing these songs like you would sing Salome or Elektra. The top is really metallic and the vibrato a little wide and wobbly. This is not the rep for her.
Outstanding voice, some difficulties with the German language. Thank you so much for sharing, it’s a treasured souvenir of Pappano’s farewell concert as Music Director of this orchestra, which I had the privilege to attend live at Auditorium al Parco della Musica on April 14, 2023.❤
Outstanding voice.....das kann man so sagen und könnte für Ironie durchgehen. Asmik Grigorian sollte dergleichen nicht veranstalten oder verunstalten, es gibt weniger gehypte Sänngerinnen, die das vokal angemessener können, beginnend mit der Beherrschung der Sprache, denn diese Texte sind doch recht diffizil......einfach nur schrecklich zersungen, ihre Turandot z b ist auch keine Rolle für sie, aber das ist ja heute im Musikbetrieb üblich : alles irgendwie herunterkrächzen, die PR Kampagne sorgt für die Anpreisung und das inzwischen ungebildete Publikum lässt sich alles vorsetzen und applaudiert , Karriere gesichert als outstanding voice .....in Wirklichkeit ist es, wie es jemand zutreffend genannt hat : Schwund- und Schundstufe des Kunstgesangs.
@@dagmarstaub806 erst einmal danke für Ihre Meinung.....es wäre viel zu sagen über Oper, Stimmen, Singen , Kunstgesang heute....manche Entwicklungen sind wirklich bedenklich. Aber, Dagmar, Hand aufs Herz des passionierten Opernfreundes : die Turandot in Wien Dez 23 war doch schrecklich , ganz schlicht gesagt : schrecklich. Die Inszenierung völlig gegen diese Oper und der Cast noch schlimmer....Jonas Kaufnann ist kein Calaf . Na ja usw Ich bin mit Oper verbunden jetzt 50 Jahre und lasse mir diese gehypten Stimmchen nicht als Sänger verkaufen.....ich verstehe auch das einst gebildete Publikum nicht...das Publikum in Wien oder in Mailand. Mehr oder weniger wird alles beklatscht und bejubelt ....und die Musikkritiker ? Tote Hose. Man nehme einmal Herrn Kaufmanns Stimme auseinander nach gesangstechnischen Parametern , dann bleibt nicht viel übrig .....
@@meisterwue Es ist selten, dass ich nicht applaudiere. Mich störte auch, dass sie das nicht auswendig hinkriegte und offensichtlich die Texte nicht wirklich verstand. Das Orchester fand ich tadellos.
@@dagmarstaub806 Anna Netrebko ist noch schlimmer mit diesen 4 letzten Liedern. Ich habe zu diesem Zyklus alte vertraute Beziehung ( meine Referenzaufnahme ist Schwarzkopf , ich habe noch die LP ). Zumal ich Eichendorff-Leser bin und Hesse-Fan. Montserrat Caballe war eine ideale Strauss-Stimme und sprach exzellent Deutsch Domingo by the way verstand auch nicht Deutsch , das hört man ihm an , wenn er Wagner versucht ( versucht , n b ). Di Stefano z b sprach so gut Deutsch, dass er bei Everding Dacapo keinen Übersetzer im Ohr brauchte Übrigens, DAS lobe ich an Jonas Kaufmann : er spricht die Sprachen, die er singt. Fließend. Ich bewundere sowieso Kaufmanns Karriere.....bin aber sehr skeptisch, was das Kerngeschäft bei ihm betrifft : die Stimme. Overrated in jeder Hinsicht. Falsche Technik. Kein exzeptionell gutes vokales Material, das Ruf und Ruhm verdient, die er als sog Startenor hat....Star ok, Tenor nein.
Exactly thought the same .....Netrebko or Grigorian. Listen to Netrebko, the worst is the one by Netrebko, listen to Grigorian, the worst is the one by Grigorian, we have this choice of luxury.....😢
@@martinatherton3018 because it is very diplomatic of opera-connaisseurs like me to say it friendly....ok , then I will express it a bit sharper : Mrs Netrebko or Mrs Grigorian should not sing this. Their voices are not able to manage those challenges composed by Strauss. Their voices are overrated. Their careers are half made by media.....and so on. It that clearly enough ? Best wishes , always welcome
Nein, so singt man ihn eben nicht. Ich verstehe kein Wort vom Text, den ich auswendig kenne. Da strömt nichts, alles ist viel zu unruhig, die Stimme zu scharf, das Vibrato zu groß und ich glaube auch nicht, dass Grigorian weiß, was sie da eigentlich singt.
She is amazing!! I adore her!! Try to sing YOU these pieces and the result we know already....That's why don't hit her and try to appreciate this magical exhibition...!!😉
As a professional opera singer, I think that this is incredibly musical and lovely and legato. She will only develop and the fact that she is doing this with Tony Pappano at her age and with her voice, shame on you for thinking that you could do it better or there is a wobble. This is healthy and gorgeous singing. Im abendrot is gorgeous and young and strong and incredibly beautiful. I have heard Kiri, whose German was ahem..., Jesse who was fab, Leontyne who was terrific, Renee was beautiful. I heard them all live in New York. Asmik has something really special and the batton has been passed. Thank you.
It is very clear that she is a mezzo-soprano, a really small one, trying to squeeze herself in the soprano fach, this is why she tries to sell herself as a dramatic soprano. But She is neither a soprano nor a dramatic one. Let her sing something by Mozart. You will immediately hear that She does not have any technique. That's why she went to the "drama" department, where she screams with the excuse that she can get away with scre - I mean »drama«. Plus, She needs 20 microphones to even be heard on a normal headphones set. This is usually seen most in Strauss and Wagner, where they think that because the orchestration is big, that you have to shout at the top of your lungs, and do excessive drama and power, even though it is a 100% lyrical repertoire. Salome, Senta, Elsa, Strauss lieder, those, and many more, are all exquisitely very lyrical... feminine roles that must be gentle, feminine, beautiful, soft, etc. Neither her body figure nor the face have absolutely anything about them that could be called a soprano.
give me a break..Mezzosopran...A.G. is a typical voice for Tatyana, Firodiligi and other lyric roles. I agree, she shouldn't sing big Strauss and Wagner repertoire, but really not because of being a mezzo.
@@tristanberger8500 You had your break, and now comes reality. Tatjana is a low soprano, like Fleming is. Fiordiligi, Mozart in general, means this is only for a coloratura soprano. If you can sing Fiordiligi you can also sing Strauss and Wagner with great ease. But the point is she is no soprano. She is just a mezzo pushed into the zwischen fach. This is a Dalila, a Carmen, perhaps even a Cenerentola. But never in a milion years is this a soprano. That is why she has a gigantic wobble, because she has no technique and sings the wrong repertoar. This voice is to be dead in the next months. Kaput.
utter nonsense - you sound very confused- bless your heart!! mezzos cant cope with the tessitura of these lieder - if they can then they are not mezzos.
@@Yves_Ka Well you got it. Mezzos can't cope with this high soprano tessitura. Neither can she, so this makes her a mezzo, what she actually is. A mezzo. And on top of that a bad one.
Gorgeous singing; it's unfortunate that the colour of her dress matches neither the shade of her lipstick nor the colour of the carpet on the conductor's podium!
first of all, her voice doesn't match to that masterpiece by Strauss. And before he wrote it, there was the poem- this singer doesn't care either music or text
No. There is no flow. No line. Sorry, but this is not the right voice at all. The voice should really soar and float in long lines. Check Gundula Janowitz.
Well below the average, sorry. Better look elsewhere for a good rendition of these songs.
I really like Asmik Grigorian, but not in this. Almost yelling and no sense of line. I think she is trying to prove she has a big voice more than just focusing on the text and letting it guide her. She's a wonderful artist, though, and I bet she will figure it out. For now I'll stick with Schwarzkopf, Norman or my true favorite - Lucia Popp. Their sense of line and sensitivity to the text leaves me breathless. But Popp's recording with Tennstedt is my " if I could only take one album to a desert island" recording. Pure magic.
Lucia Popp is certainly my second favourite. Gundala Janowitz is my reference. I'll have her at my funeral.
So many roles she has done beautifully with a superb voice. Sadly (as well as when she did this earlier) it is not flattering at all. ((And why that vibrato smeared all over?))
I’m not sold on this! It’s too strident. Her voice isn’t a good fit.
Tone instability at certain passages and lots of jaw involvement... A bad day perhaps. I don't know if Papano's jaw movement, a constant chewing, has influenced :D
An amazing voice and singer otherwise!
@@anastasio.tebaldi she never had a good technique
@@predickament True
I have heard numerous recordings of these exquisite works of art and even got to perform them as principal horn with Marion Anderson in the audience. Asmik Grigorian is absolutely superb in every aspect but I must say I nearly choked when the horn soloist breathed before the concert d at the end of the phrase of the horn solo at the end of September! Sorry for the rant.
She just does nt have the right voice for it. This work needs a dramatic, at least youthfully dramatic soprano. Her voice sounds strained from the beginning, lacks range, and struggles against the orchestra. Nowadays there are just no conductors who know which voice can be used for what. Sad. ( and her German is a mess...sorry to say that, but if you sing in houses like she does, she should do better. )
I disagree about the dramatic bit. One of the most beautiful renderings are by Elly Ameling who had an extremely light and bright voice
@@margaretham5832 I prefer Margaret Price - I have always found Janowitz‘s tight vibrato rather distressing
But her voice IS "youthfully dramatic" - have you heard her extraordinary Salome? Or Chrysothemis?
@@martinatherton3018 I was and am very impressed by her unconditional acting, especially in these two roles, which is a pleasure. She pushes herself to her physical limits, which can be inspiring. I can hear that she is also pushing her vocal limits. In Strauss and Wagner it needs especially more mid-range and low voice because the orchestra is huge. Her high notes are on their absolut limits, what gets punished sooner or later. The fact that she is hyped as a dramatic soprano today just shows that most people no longer know big voices and how impressive a real dramatic voice can be . Today acting and creating a star is more important.- She could start a career as a movie star as well, she´s got have it all for it- but no dramatic voice.
@@martinatherton3018 I think she is another pushed lyric soprano and well-suited for lighter roles.
I was present that day at Santa Cecilia… Asmik was divine.
So was I❤
😂😂😂😂
Auwendig ist für Künstler heutzutage offensichtlich ein no Go .. gruselig man versteht nicht ein einziges Wort.. könnte auch serbokroatisch sein..
was würde Frau Schwarzkopf dazu sagen 😂😂
🤣
Christa Ludwig würde jedenfalls sagen: "Kindchen, so kannst du das nicht singen!"
Asmik Grigorian is a fantastic opera singer. I experienced her several times on Stage which was fantastic!
But….and a big but, as a German Lied Singer she is Not ready yet! Her vocalising and pronunciation is still not of that high quality, the Liedgesang requires! I guess she is still á bit too young for that branch and demanding Supreme discipline of vocal-music at all.
She still has to work on the precise pronunciation of the German Language and has to think about the words she is singing, Not singing the notes only.
Plenty of work to do!
it is not a matter of age or experience... it is a matter of Fach. These songs are not suited for a dramatic soprano, which she is. The tessitura is simply too high. I find it surprising that she chose to sing them.
@@cadenza5374 A dramatic soprano has a strong voice from low to high for singing parts like Elektra or Brünnhilde and big Verdis. they uses chest voice. this repertoire needs more power, colors and a real long breath to fill out those parts. the 4 last songs could sing any soprano. But not any soprano has the power for it while singing with the orchestra.Using a looooong breath is needed. otherwise the magic of that music doesn't come out. If you don't have it, you shouldn't sing it.
Quand'è che s'accorgeranno di questa bella voce?
😂😂😂😂😂
J'aime bien Asmik Grigorian par ailleurs, mais elle me déçoit totalement ici. Le chant est raide, poussé, l'interprétation manque de poésie, de profondeur, d'émotion. De la poésie, Pappano et l'orchestre de Santa Cecilia n'en manquent pourtant pas, mais elle ne parvient pas à s'y fondre. Ou est-ce simplement un manque de préparation ?
Very bad.
outstanding voice in Salome in Hamburg, but not ready for the last four songs …
Who are you to say that?
I miss inwardness. Listen for example to Gundula Janowitz (Karajan), she is my favorite of all those who tried „Vier letzte Lieder“.
Good, but too young..not Jesse yet..
Never will be Jessye. Sad but true.
Not yet! Listen to the recording of the late Soprano, Chloe Owen. The recording is available through the Boston University library. You can also hear Chloe sing Berg on UA-cam.
Mah, a me pare che balli molto, specie per la sua giovane età e che striduli sotto pressione ed in zona acuta.
Chaqu'un a son goût.
Giovane età? 42 anni?
@@anne-louiseluccarini4530 si, nella lirica/classica, 42 è ancora un'età ritenuta giovane. A quell'età è prematuro che la voce balli in quel modo.
Urla, urla, urla!...
Gran voce, la trovo adatta a Puccini.
Anche.
😂😂😂😂🙈🙈🙈🙈
The voice just slips away on many phrases, it can't also hold the ending consonants (Fleming has that problem too at times), it also doesn't seem intellectually penetrated at all, because this is poetry being sung, not banal opera text. I stand by it - Janowitz and Norman are my two benchmarks and will probably remain so for the rest of my life. In the absence of strong competition, voices like Grogorian´s are pushed to become stars today.
"...poetry being sung, not banal opera text"? Asmik Grigorian (sp) excels as Salome (Oscar Wilde) and Chrysothemis (Hofmannsthal) among much else. Banal? I don't think so.
Yup -- stick with Norman and Janowitz. They are polar opposites, but both are wonderful and dominate the field.
Exactly 😄@@critic9216
+1 for Janowitz
@@critic9216 And that´s exactly why I think they are the best 🙂
È beava , ma qui manca la 'Poesia" nel suo canto.
Bravo ! Շնորհակալություն 🌹
I worry that Mme. Grigorian has sung too much dramatic repertoire. She’s singing these songs like you would sing Salome or Elektra. The top is really metallic and the vibrato a little wide and wobbly. This is not the rep for her.
Outstanding voice, some difficulties with the German language. Thank you so much for sharing, it’s a treasured souvenir of Pappano’s farewell concert as Music Director of this orchestra, which I had the privilege to attend live at Auditorium al Parco della Musica on April 14, 2023.❤
Outstanding voice.....das kann man so sagen und könnte für Ironie durchgehen. Asmik Grigorian sollte dergleichen nicht veranstalten oder verunstalten, es gibt weniger gehypte Sänngerinnen, die das vokal angemessener können, beginnend mit der Beherrschung der Sprache, denn diese Texte sind doch recht diffizil......einfach nur schrecklich zersungen, ihre Turandot z b ist auch keine Rolle für sie, aber das ist ja heute im Musikbetrieb üblich : alles irgendwie herunterkrächzen, die PR Kampagne sorgt für die Anpreisung und das inzwischen ungebildete Publikum lässt sich alles vorsetzen und applaudiert , Karriere gesichert als outstanding voice .....in Wirklichkeit ist es, wie es jemand zutreffend genannt hat : Schwund- und Schundstufe des Kunstgesangs.
So deutlich wollte ich es nicht sagen. Aber ich gebe Ihnen in jedem Punkt recht. Danke, dass Sie dagegen anschreiben.
@@dagmarstaub806 erst einmal danke für Ihre Meinung.....es wäre viel zu sagen über Oper, Stimmen, Singen , Kunstgesang heute....manche Entwicklungen sind wirklich bedenklich. Aber, Dagmar, Hand aufs Herz des passionierten Opernfreundes : die Turandot in Wien Dez 23 war doch schrecklich , ganz schlicht gesagt : schrecklich.
Die Inszenierung völlig gegen diese Oper und der Cast noch schlimmer....Jonas Kaufnann ist kein Calaf .
Na ja usw
Ich bin mit Oper verbunden jetzt 50 Jahre und lasse mir diese gehypten Stimmchen nicht als Sänger verkaufen.....ich verstehe auch das einst gebildete Publikum nicht...das Publikum in Wien oder in Mailand.
Mehr oder weniger wird alles beklatscht und bejubelt ....und die Musikkritiker ? Tote Hose.
Man nehme einmal Herrn Kaufmanns Stimme auseinander nach gesangstechnischen Parametern , dann bleibt nicht viel übrig .....
@@meisterwue Es ist selten, dass ich nicht applaudiere. Mich störte auch, dass sie das nicht auswendig hinkriegte und offensichtlich die Texte nicht wirklich verstand. Das Orchester fand ich tadellos.
@@dagmarstaub806 Anna Netrebko ist noch schlimmer mit diesen 4 letzten Liedern.
Ich habe zu diesem Zyklus alte vertraute Beziehung ( meine Referenzaufnahme ist Schwarzkopf , ich habe noch die LP ).
Zumal ich Eichendorff-Leser bin und Hesse-Fan.
Montserrat Caballe war eine ideale Strauss-Stimme und sprach exzellent Deutsch
Domingo by the way verstand auch nicht Deutsch , das hört man ihm an , wenn er Wagner versucht ( versucht , n b ).
Di Stefano z b sprach so gut Deutsch, dass er bei Everding Dacapo keinen Übersetzer im Ohr brauchte
Übrigens, DAS lobe ich an Jonas Kaufmann : er spricht die Sprachen, die er singt. Fließend.
Ich bewundere sowieso Kaufmanns Karriere.....bin aber sehr skeptisch, was das Kerngeschäft bei ihm betrifft : die Stimme. Overrated in jeder Hinsicht. Falsche Technik. Kein exzeptionell gutes vokales Material, das Ruf und Ruhm verdient, die er als sog Startenor hat....Star ok, Tenor nein.
There are no more language coaches?
Too expensive or not important any more. It´s horrible when I as a German native speaker don´t understand one single word.
Still not sure if this is the worst rendition of this wonderful piece of music on youtube or the one sung by Anna Netrebko...
Exactly thought the same .....Netrebko or Grigorian. Listen to Netrebko, the worst is the one by Netrebko, listen to Grigorian, the worst is the one by Grigorian, we have this choice of luxury.....😢
Jessye Norman owns these songs.
Why don't you just say that you're not sure you know what you're talking about?
@@martinatherton3018 because it is very diplomatic of opera-connaisseurs like me to say it friendly....ok , then I will express it a bit sharper : Mrs Netrebko or Mrs Grigorian should not sing this. Their voices are not able to manage those challenges composed by Strauss. Their voices are overrated. Their careers are half made by media.....and so on. It that clearly enough ? Best wishes , always welcome
@@meisterwue- what is an "opera-connaisseur"? If you mean connoisseur, then you're clearly not. Is that clear enough for you?
Déesse venu de l'Univers de la musique pour nous enchanter...Merci mister CooK .
Wunderbare Stimme, vor allem viele Farben im piano. 💖 Leider ziemlich unverständliches Deutsch.
Madame je vous adore vous êtes une grande artiste je suis certain que votre talent honore le compositeur ❤
Poor and wrong phrasing.
Worrying wobble
She sings it like she would sing Salomé. These are lieders not opera
...insomma...
Sublime interpretación a esta gran obra. He pedido a mi familia que quiero oírla cuando yo esté muriendo.
Asmia pour qualia, asmik grigorian (lanlg?)
Voice eternally stunning. Didn't need the lip augmentation...ah well.
È meravigliosa! Ammalia e commuove
Yes her bad singing is realy moving. Moving to turnof.
08:27
❤️❤️❤️
Brava ,ma e' suo repertorio !
Brava Archibrava danke, danke so singt man Strauss
Nein, so singt man ihn eben nicht. Ich verstehe kein Wort vom Text, den ich auswendig kenne. Da strömt nichts, alles ist viel zu unruhig, die Stimme zu scharf, das Vibrato zu groß und ich glaube auch nicht, dass Grigorian weiß, was sie da eigentlich singt.
fabulous, overwhelming - transcendental
...bad, yes!
@@vitabella6481 horrible bad...level of our time in the field of singing ....but we have other artists with better skills , f ex Nadine Sierra
She is amazing!! I adore her!! Try to sing YOU these pieces and the result we know already....That's why don't hit her and try to appreciate this magical exhibition...!!😉
As a professional opera singer, I think that this is incredibly musical and lovely and legato. She will only develop and the fact that she is doing this with Tony Pappano at her age and with her voice, shame on you for thinking that you could do it better or there is a wobble. This is healthy and gorgeous singing. Im abendrot is gorgeous and young and strong and incredibly beautiful. I have heard Kiri, whose German was ahem..., Jesse who was fab, Leontyne who was terrific, Renee was beautiful. I heard them all live in New York. Asmik has something really special and the batton has been passed. Thank you.
You forgot ELISABETH SCHWARZKOPF or LISA DELLA CASA......
Je suis d’accord avec votre opinion 😊
Sublime !
Cordialement
Rosalba Trentin
It is very clear that she is a mezzo-soprano, a really small one, trying to squeeze herself in the soprano fach, this is why she tries to sell herself as a dramatic soprano.
But She is neither a soprano nor a dramatic one. Let her sing something by Mozart. You will immediately hear that She does not have any technique. That's why she went to the "drama" department, where she screams with the excuse that she can get away with scre - I mean »drama«. Plus, She needs 20 microphones to even be heard on a normal headphones set.
This is usually seen most in Strauss and Wagner, where they think that because the orchestration is big, that you have to shout at the top of your lungs, and do excessive drama and power, even though it is a 100% lyrical repertoire. Salome, Senta, Elsa, Strauss lieder, those, and many more, are all exquisitely very lyrical... feminine roles that must be gentle, feminine, beautiful, soft, etc.
Neither her body figure nor the face have absolutely anything about them that could be called a soprano.
give me a break..Mezzosopran...A.G. is a typical voice for Tatyana, Firodiligi and other lyric roles. I agree, she shouldn't sing big Strauss and Wagner repertoire, but really not because of being a mezzo.
@@tristanberger8500 You had your break, and now comes reality. Tatjana is a low soprano, like Fleming is. Fiordiligi, Mozart in general, means this is only for a coloratura soprano. If you can sing Fiordiligi you can also sing Strauss and Wagner with great ease. But the point is she is no soprano. She is just a mezzo pushed into the zwischen fach. This is a Dalila, a Carmen, perhaps even a Cenerentola. But never in a milion years is this a soprano. That is why she has a gigantic wobble, because she has no technique and sings the wrong repertoar. This voice is to be dead in the next months. Kaput.
utter nonsense - you sound very confused- bless your heart!! mezzos cant cope with the tessitura of these lieder - if they can then they are not mezzos.
@@Yves_Ka Well you got it. Mezzos can't cope with this high soprano tessitura. Neither can she, so this makes her a mezzo, what she actually is. A mezzo. And on top of that a bad one.
@@marieantoinette3857 you obviously don’t understand the word “cope“ - so much confusion in your mind
Gorgeous singing; it's unfortunate that the colour of her dress matches neither the shade of her lipstick nor the colour of the carpet on the conductor's podium!
first of all, her voice doesn't match to that masterpiece by Strauss. And before he wrote it, there was the poem- this singer doesn't care either music or text
Oh dear! tut, tut!
@@tristanberger8500 So true.
ziemlich spießiger Kommentar🙈
Jeder hat das Recht auf eine Meinung.@@gretchenweiss1925