I hope no one minds hearing from some one who has never been to an opera but loves to listen to it. Miss Stemme as far as I'm concerned is one of the best aida's of today. I love the beauty and clairity of her voice. Her highnotes are flawless.
Cool it, people. It doesn't sound nearly as bad as you're describing it. I hear evenness of tone, a healthy, non-wobbly vibrato (can't say that these days), and the high notes, especially the ones at the end were in-line with the rest of the voice; she's not Leontyne Price for heaven's sake.
fantastically large and warm voice with such great control over it through the full voice..a nice surprise to hear a voice of this size and power sing this aria INHO :)
Everyting was so beautiful except c3, but that is what happens to most of dramatic sopranos....rich middle range and when it comes tu upper second octave approaching c3 then it is a pure hell.
@Bigman240 This is a mess.. It is tremulous.. because the tessitura is wrong for her.. The High c was not dolce.. and the high A at the end was not floated ( piano).. This is not a soprano voice any longer.. it is a mezzo... Her upper registers sound stressed..the only place the voice sounds right is the bottom and middle.. Thats the definition of a mezzo.. She should not be singing Aida.
I find this anything but fabulous. Nina Stemme´s vocal registration is far to heavy, so she has to push the notes out one at a time instead of singing legato. She is completely unable so sing a floated note without vibrato, and the high C is disastrous. Having a big voice just is not enough to be a great singer.
Yes, she is over-compressed and her phrasing and attack often suffer because of it. The compression gives her apparent facility on the high notes for such a dark, heavy voice, but the tradeoffs are sometimes not acceptable. I agree, lower tessiture flatter her much more at this point.
I hope no one minds hearing from some one who has never been to an opera but loves to listen to it. Miss Stemme as far as I'm concerned is one of the best aida's of today. I love the beauty and clairity of her voice. Her highnotes are flawless.
Listen to her Wagner. Simply stunning
Unfortunately what you mean as being today is actually the past. She does not sing like this anymore, unfortunately. 😕
@@NemesisTheInevitable I still think she sounds good as a surprise now even today so I hope you won’t mind a respectful disagreement
@@rachelberrythegleequeen.3221, obviously not. I adore her also, don't get me wrong. I love powerful voices and she had a huge one.
Cool it, people. It doesn't sound nearly as bad as you're describing it. I hear evenness of tone, a healthy, non-wobbly vibrato (can't say that these days), and the high notes, especially the ones at the end were in-line with the rest of the voice; she's not Leontyne Price for heaven's sake.
My goodness, you're deaf.
Stupenda
fantastically large and warm voice with such great control over it through the full voice..a nice surprise to hear a voice of this size and power sing this aria INHO :)
Everyting was so beautiful except c3, but that is what happens to most of dramatic sopranos....rich middle range and when it comes tu upper second octave approaching c3 then it is a pure hell.
Her notes above high G (in general and not just in this aria) are too dark for me; but that high C is the brightest high note I've heard from her.
MAGNIFICA
fabulous!!!
Nice except for the high C. It wasn't free and ringing like the rest of the aria. Too bad!
@Bigman240 This is a mess.. It is tremulous.. because the tessitura is wrong for her.. The High c was not dolce.. and the high A at the end was not floated ( piano).. This is not a soprano voice any longer.. it is a mezzo... Her upper registers sound stressed..the only place the voice sounds right is the bottom and middle.. Thats the definition of a mezzo.. She should not be singing Aida.
Comment peut on à ce point se fourvoyer dans le choix des rôles ....incompréhensible....
I find this anything but fabulous. Nina Stemme´s vocal registration is far to heavy, so she has to push the notes out one at a time instead of singing legato. She is completely unable so sing a floated note without vibrato, and the high C is disastrous. Having a big voice just is not enough to be a great singer.
Yes, she is over-compressed and her phrasing and attack often suffer because of it. The compression gives her apparent facility on the high notes for such a dark, heavy voice, but the tradeoffs are sometimes not acceptable. I agree, lower tessiture flatter her much more at this point.
I would have asked for my money back.