This may the best piano score performance of this aria out of the lot. This can only be described as a textbook performance of this great aria. You could tell that as soon as she opened her mouth to sing the first line. A performance of impeccable taste. She sang this without a single note out of place and with perfect diction and interpretation. The accompanist backed her with an accompaniment of an orchestral standard. I'll bet he has conducted this aria himself in the past. What a treasure! Congratulations and Bravo to both of you!
About the trill... it WAS a trill. Not sure why the generalization regarding today's singers. Some can, some can't. Same as in the past. Caballe who had one of the most strongest and impressive techniques could rarely trill. Most hers, as Callas' "trills" were merely adding a stronger slower vibrato to one note, which is what many other great singers did... and yes, many still do. Some singers just can't do it, no matter how hard they try. It doesn't make them any less of a singer.
She is not under pitch. Many singers have stronger overtones or undertones than the average which to some ears sounds sharp or flat (this has nothing to do with actually singing flay or sharp). The voice has tones above and below the central tone; the central being the actual pitch. These over and undertones are what gives voices their individual sound.
Hey now! I am a singer of today, and I'll admit, my trill is not amazing. So I'm working on the exercises written by Mathilde Marchesi--she taught Dame Nellie Melba, amongst others. I have to tell you, there's not a lot of great resources out there for us, and not too many people still teaching in the true bel canto style. Trust me, we're trying to trill. :)
Excellent work here. The pathos, the weight of the voice and the flow are very well put across. The tempi is taken a little faster than usual.. but there we are it works.. The mordenti used were also intriguing. This is very much in the school of Te Kanawa minus the tempi and short legato. Perez crafts the emission of each note well and it really places things together. Brava.
@mozartlver I wonder if they even bother trying how to trill at all... The majority singers don't, even the coloratura singers have trouble with trills now a days.
This may the best piano score performance of this aria out of the lot. This can only be described as a textbook performance of this great aria. You could tell that as soon as she opened her mouth to sing the first line. A performance of impeccable taste. She sang this without a single note out of place and with perfect diction and interpretation. The accompanist backed her with an accompaniment of an orchestral standard. I'll bet he has conducted this aria himself in the past. What a treasure! Congratulations and Bravo to both of you!
My favorite Aria! One of my favorite singers! oMG
Heard her this friday in hamburg in this role... Her trills were fine, her perirmance exeptional
Gorgeous voice！
Gorgeous! ;)
About the trill... it WAS a trill. Not sure why the generalization regarding today's singers. Some can, some can't. Same as in the past. Caballe who had one of the most strongest and impressive techniques could rarely trill. Most hers, as Callas' "trills" were merely adding a stronger slower vibrato to one note, which is what many other great singers did... and yes, many still do. Some singers just can't do it, no matter how hard they try. It doesn't make them any less of a singer.
She is not under pitch. Many singers have stronger overtones or undertones than the average which to some ears sounds sharp or flat (this has nothing to do with actually singing flay or sharp). The voice has tones above and below the central tone; the central being the actual pitch. These over and undertones are what gives voices their individual sound.
The Contessa is not a coloratura role. Aside from the minor trill this is a straight full lyric role. This role fits this singers voice quite well.
Hey now! I am a singer of today, and I'll admit, my trill is not amazing. So I'm working on the exercises written by Mathilde Marchesi--she taught Dame Nellie Melba, amongst others. I have to tell you, there's not a lot of great resources out there for us, and not too many people still teaching in the true bel canto style. Trust me, we're trying to trill. :)
Excellent work here. The pathos, the weight of the voice and the flow are very well put across. The tempi is taken a little faster than usual.. but there we are it works.. The mordenti used were also intriguing. This is very much in the school of Te Kanawa minus the tempi and short legato. Perez crafts the emission of each note well and it really places things together. Brava.
Legato please!!!!
Please upload a video of your singing please so that we may learn from you. Thanks,
A fan.
@mozartlver I wonder if they even bother trying how to trill at all... The majority singers don't, even the coloratura singers have trouble with trills now a days.
Preciosa voz.Pero está fuera de estilo.