I’ll never ever forget her legendary Traviata in Hannover so many years ago. So good to see that she is still on the absolute top of her game. Unbelievable performance.
@@juliosoto8729 Vaness is a very good singer but her movement and set of gestures is very much the way this character is usually acted by opera singers. What impresses me about Chevalier's performance is that it works with the sound completely off. This is the only performance I have ever seen of this which makes me believe and sympathise with Elektra in that moment, and also believe that this is the same character from the Sophocles or Euripides plays
Superb soprano and actress! he fury that surrounds this extremely complicated aria by Mozart is totally credible. The phrasing is outstanding and his artistic talents are very notable. The high note C6 is impeccable.
i am quite a fan of his and I am happy to see his directing style has become more naturalistic. also an amazing coup de theatre to add that terrible scream just before "Ah non!" and then have the orchestra play it as if it was the rite of spring or indeed something out of Strauss's Elektra (this is the first time I have felt that the Elettra in Idomeneo is the same person as Strauss's Elektra and I can imagine what this wonderful soprano would do with that role).
the timing and timbre of that scream and the outburst from the orchestra is so devastating - director and this amazing singer have watched something like this happen in real life but also it just follows the music that follows the text
This Electra reaching and sustaining the F# into a F#2 at the end outshining the Queen of the Night though her F6, is an unparalleled feat, never heard before and astonishingly impactful.
It is very funny to read all those critics who are so rigid and not open for a new view on this scene. Opera doesn’t exist to have these “high” standards of 0,0000001% of population. Art is for everyone. And if people like this acting then why not? If she can give us emotions we need then why not? I am not a professional musician, but I am listen almost only to the opera 20 years from 38 years I lived and her scream fits here very well imho. Look for example how Agnes Baltsa screams Amneris when she sings with Domingo in Vienna. I can’t care less that Verdi didn’t write it this way, if it gives me goosebumps and make me want to cry because of compassion for Amneris’ pain.
For those asking : Conductor : Teodor Currentzis Orchestra : Freiburg Barockorchester Mise en scène : Peter Sellars Decor : George Tsypin Place : Salzburg Year : 2019
Unbelievably good Nicole Chevalier. She is called to do great things. She follows the famous version of Joan Sutherland, with exquisite agility, a general forte and the final accute. Very ugly his scream just before the aria. You can see the baton of Teodor Currentzis, on the one hand rich and chromatic, changing, seeks reliefs, on the other hand, very extravagant (those endless silences, etc.).
The C6 at the end of D'Oreste, d'Ajace, like the C6 at the close of Exsultate, jubilate, is not in Mozart's score, and like the one in the motet, has been added by singers wishing to show off their top notes rather than remaining faithful to the music written by the Salzburg genius. Elisabeth Wendling, the first Elettra, was also the singer for whom Mozart wrote the nearly impossible concert aria Sperai vicino il lido, which includes a sustained F6, so obviously C6 was a piece of cake for Mlle Wendling. Had Mozart wanted a C6 at the close of this scena, he'd have written one.
@@jasonhurd4379 and ????? the opera audience is unbearable, she brought a contemporary Elettra, the time when singers stood still singing on the stage, afraid to open their mouths... 2021 the year we are friends.
She's great but this direction is against the Singer and finally destroys the Voice . Listen at Leyla Gencer and Joan Suthetland and you immediately see the difference 🤔🧐
The staging is horrid The borderline hoarse singing and some of the overthetopness are less than desirable Though the singer has a certain electric quality, has to be noted
This is ridiculously over the top acting. It is so obviously forced and applied upon that the characterization projects as caricature. Some will describe it as camp. She doesn’t have much of a voice either so, naturally, she has to ham it up. Another observation: This is how fragile voices will destroy fast. All the screaming, writhing and tumbling about and whatnot are not at all conducive to vocal health, let alone a memorable portrayal. More often than not, less is more.
Per essere brava è brava, ma cavolo!, è Mozart!!! Non si può cantare e interpretare Elettra come se fosse Santuzza!!! Qui ci sono effettacci che si trovano solo nel più becero verismo ( sia vocali che scenici)
Great tension especially in her voice and body (theatre?) with a lot of squeezed and un-free singing in the recitative. Needs to work more with her voice especially to create a steady lower register with chestvoice. She’s after the beat in the end and manage to ”sing” a high C in the end. It’s not a very high note for a soprano. This is average singing but with more than necessary acting.
Achi Akis I apparently know more than you do, that’s obvious. Btw many voice teachers nowadays are responsible for today’s standards as shown on this clip.
@@draganvidic2039 i'll gladly repeat my question: who are you? Are you a singer? A teacher? Someone who is involved in the business of creating opera? Or are you a fan from the "outside" who grew up with recordings?
A Wagner Vibrato….no, much too wide for Wagner too… They told dozens of years to instrumentalists, oh, dont make so much vibrato, this is Mozart!!! Grotesque classical music world. They wonder why so many people say: I dont like opera. Who can like this kind of singing? Why dont they hear the Sinatra vibrato and learn??
That's not art, that's artificial. That's what happens when the director has nothing to do with the piece. No more Mozart style - she screams so that the staccati no longer come. The voice is on the edge the whole time. How boring.
The sheer balls to scream like that during the recitative. Incredible performance.
I'm in total awe. This is real "furia", this is angry, furious Mozart! BraviSSIMA!
This is ABSOLUTELY AMAZING! Wow wow wow! The singing, the characterisation, the intensity! Mind-blowing!!! Brava, brava, brava!!
I’ll never ever forget her legendary Traviata in Hannover so many years ago. So good to see that she is still on the absolute top of her game.
Unbelievable performance.
that scream fits so unbelievably well !!! fantastic!!! should have been written there in the score
I can't believe she went to that finale after rolling on the floor... That is dedication.
The best Elettra I’ve ever seen… I watched it with a big excitement and tears. Congratulations…💕
OK to me this is the best sung and the best characterised version of this whole scene. this is is just amazing on all levels.
also kudos to the fortepiano continuo: loved it.
OMG adding a high C at the end - DIVA
She was truly amazing. But for comparison you should watch Carol Vaness doing the same scene from Glyderborne.
@@juliosoto8729 Vaness is a very good singer but her movement and set of gestures is very much the way this character is usually acted by opera singers. What impresses me about Chevalier's performance is that it works with the sound completely off. This is the only performance I have ever seen of this which makes me believe and sympathise with Elektra in that moment, and also believe that this is the same character from the Sophocles or Euripides plays
Some people sing opera. But she lives opera. BRAVA Nicole, you're the genius everyone can learn from.
so intense, abslolutely stunning, breathtaking. Absolutely the best ever
The ad lib. high C at the end is thrilling!
Acting+Singing. This was masterfully done, for the ages. BRAVA, PrimaDonna.
I'm will remain in shock for a long time. Bravissima!!!!
Superb soprano and actress! he fury that surrounds this extremely complicated aria by Mozart is totally credible. The phrasing is outstanding and his artistic talents are very notable. The high note C6 is impeccable.
Incredibile madness scene.
I’m not a big fan of Peter Sellars, but this Eletra is ON FIRE! Both singing and acting are wonderful.
i am quite a fan of his and I am happy to see his directing style has become more naturalistic. also an amazing coup de theatre to add that terrible scream just before "Ah non!" and then have the orchestra play it as if it was the rite of spring or indeed something out of Strauss's Elektra (this is the first time I have felt that the Elettra in Idomeneo is the same person as Strauss's Elektra and I can imagine what this wonderful soprano would do with that role).
the timing and timbre of that scream and the outburst from the orchestra is so devastating - director and this amazing singer have watched something like this happen in real life but also it just follows the music that follows the text
well, it's not Peter Sellars singing and acting ;) she could do it on her own.
Absolutely stunning. The best Elettra I've ever seen. So intense!
This Electra reaching and sustaining the F# into a F#2 at the end outshining the Queen of the Night though her F6, is an unparalleled feat, never heard before and astonishingly impactful.
It is very funny to read all those critics who are so rigid and not open for a new view on this scene.
Opera doesn’t exist to have these “high” standards of 0,0000001% of population. Art is for everyone. And if people like this acting then why not? If she can give us emotions we need then why not? I am not a professional musician, but I am listen almost only to the opera 20 years from 38 years I lived and her scream fits here very well imho.
Look for example how Agnes Baltsa screams Amneris when she sings with Domingo in Vienna. I can’t care less that Verdi didn’t write it this way, if it gives me goosebumps and make me want to cry because of compassion for Amneris’ pain.
the way i would have screamed at the end if i had been in the audience that night
It is unparalleled. A rare feat.
Phénoménal ! r e s p e c t !!!!
Mais, c'est qui le chef ? C'est dingue, ce truc, d'un bout à l'autre ! Rien à jeter ! Toujours un bonheur à écouter !
For those asking :
Conductor : Teodor Currentzis
Orchestra : Freiburg Barockorchester
Mise en scène : Peter Sellars
Decor : George Tsypin
Place : Salzburg
Year : 2019
Une merveille! Magistral!!
Grandiosa!
Omg ...what a Performance ... that’s how it’s done 😍
Fantástica cantora e actriz!
splendide
Bravissima, è poco, anzi unica in questa interpretazione dell'Idomeneo.
meravigliosa
She has made me speechless
WOW. Just WOW.
Bravissimo
Best Elletra ever!!!! 😱❤️
Omg!!!! Bravissima!!! ❤️ Che emozione!
Bravo ❤❤❤
This is a Callas quality performance on stage !! Can you give details of the forces that participated ?
Very powerful, but why is Idamante wearing pyjamas?
@Marieke de Koker OK, that makes sense.
One of great Idomeneo!!!! Brava
Unbelievably good Nicole Chevalier. She is called to do great things. She follows the famous version of Joan Sutherland, with exquisite agility, a general forte and the final accute. Very ugly his scream just before the aria. You can see the baton of Teodor Currentzis, on the one hand rich and chromatic, changing, seeks reliefs, on the other hand, very extravagant (those endless silences, etc.).
Sutherland never screamed like that. Never. Her coloratura were always brilliant.
@@tristanberger8500 ok bro
Oh. My. God.
real furies in her heart
Any additional info about the orchestra, stage much appreciated. I´m impressed.
Seen hundredth time, still crying. ❤️
Ouch
Holy wow!! Show stopper!
This is now my favorite performance of this aria --- dazzling. And not since Sutherland have I heard anyone attempt the high C at the end. Amazing.
Yes yes yeeeeessssss!!!! ❤❤❤❤❤
Elettra...que difícil aria...solo Edda Moser llego a la perfección vocal. Ella un 9.90...amazing Voice ❤
Does anybody know where to watch it complete?? Pls and thx
I'm torn to pieces by this performance
wow
AMAZING OMG!!!!!!!
damn this production looks SO good
Zseniális alakítás!
Wow! There was no scene stealing of any kind. That whole scene belongs to Elettra!
Why is Idomeneo wearing a pyjama?
5:46, p. 511
3:06 Beginning of the aria
THat high C was so beautiful but why so short?
Because she obviously has taste! ;-)
@@morvil73 Shut up you racist.
@@mavoisine3 Context? Or do you just throw “racist” out there for fun?
The C6 at the end of D'Oreste, d'Ajace, like the C6 at the close of Exsultate, jubilate, is not in Mozart's score, and like the one in the motet, has been added by singers wishing to show off their top notes rather than remaining faithful to the music written by the Salzburg genius. Elisabeth Wendling, the first Elettra, was also the singer for whom Mozart wrote the nearly impossible concert aria Sperai vicino il lido, which includes a sustained F6, so obviously C6 was a piece of cake for Mlle Wendling. Had Mozart wanted a C6 at the close of this scena, he'd have written one.
@@jasonhurd4379 and ????? the opera audience is unbearable, she brought a contemporary Elettra, the time when singers stood still singing on the stage, afraid to open their mouths... 2021 the year we are friends.
What a pity to have such a wonderful performance marred by those ridiculously inappropriate and hideous costumes!
Do you also have tutte nel cor vi sento?
❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️
Is this from the Salzburg festival ?
Perché questi effettacci plateali in contrasto con l’astrattezza e la stilizzazione della musica?
fantastica
😧
Yes Salzburg Peter sellars
Final note as Joan sutherland
Mais on ne crie pas comme ça dans l’opéra !!!
She's great but this direction is against the Singer and finally destroys the Voice .
Listen at Leyla Gencer and Joan Suthetland and you immediately see the difference 🤔🧐
This one is much better!
The staging is horrid
The borderline hoarse singing and some of the overthetopness are less than desirable
Though the singer has a certain electric quality, has to be noted
Mad suicidality is not under the top.
"Though the singer has a certain electric quality" duh it's Elettra.
This is ridiculously over the top acting. It is so obviously forced and applied upon that the characterization projects as caricature. Some will describe it as camp. She doesn’t have much of a voice either so, naturally, she has to ham it up. Another observation: This is how fragile voices will destroy fast. All the screaming, writhing and tumbling about and whatnot are not at all conducive to vocal health, let alone a memorable portrayal. More often than not, less is more.
huh, looked authentic
@@username45739 All that writhing and throwing herself about looks authentic to you?!
@@doGreatartistsgrowontrees Yes.
@@username45739 Fine, then. You and me, we must live on different planets.
@@doGreatartistsgrowontrees yeah lol
Insupportable à regarder …Tout est DÉJÀ écrit dans la musique .
Per essere brava è brava, ma cavolo!, è Mozart!!! Non si può cantare e interpretare Elettra come se fosse Santuzza!!! Qui ci sono effettacci che si trovano solo nel più becero verismo ( sia vocali che scenici)
Great tension especially in her voice and body (theatre?) with a lot of squeezed and un-free singing in the recitative. Needs to work more with her voice especially to create a steady lower register with chestvoice. She’s after the beat in the end and manage to ”sing” a high C in the end. It’s not a very high note for a soprano. This is average singing but with more than necessary acting.
And who are you if i may ask?
Achi Akis It doesn’t really matter to you.
@@draganvidic2039 oh no it does matter to me...i'd just like to know how qualified you are to judge in that way. Are you a voice teacher?
Achi Akis I apparently know more than you do, that’s obvious.
Btw many voice teachers nowadays are responsible for today’s standards as shown on this clip.
@@draganvidic2039 i'll gladly repeat my question: who are you? Are you a singer? A teacher? Someone who is involved in the business of creating opera? Or are you a fan from the "outside" who grew up with recordings?
A Wagner Vibrato….no, much too wide for Wagner too…
They told dozens of years to instrumentalists, oh, dont make so much vibrato, this is Mozart!!!
Grotesque classical music world.
They wonder why so many people say: I dont like opera. Who can like this kind of singing? Why dont they hear the Sinatra vibrato and learn??
That's not art, that's artificial. That's what happens when the director has nothing to do with the piece. No more Mozart style - she screams so that the staccati no longer come. The voice is on the edge the whole time. How boring.
and who are you to say what is and what is not art?!
Awful.
yo ma s awful.