Saw this live at the premiere on Saturday the 26th. She was absolutely spectacular! Can not think of a better soprano singing today. What a voice and what a technique! Could go on for days talking about the brilliance of her performance. Absolutely thrilling voice and a compelling actress too! Thank you Radvanovsky for being born! Hoping that this Anna Bolena is going to be available somewhere to listen to in the future. CANNOT WAIT for Stuarda and Devereux!!!
Such an AMAZING singer! I will never forget her performances of this at the met. Probably my favorite soprano I've ever seen live. The whole audience was buzzing about how great this woman was. Love it.
She has a wonderful voice for this repertoire, though I always feel that she's essentially more of a Puccini and late-Verdi soprano who's getting through these parts by sheer force of will rather than relying on a complete florid technique, rather like Milanov getting through Norma. Her coloratura always seems approximate and a bit labored rather than accurate and effortless. And to do justice to this scene, you also need to have a full mastery of the trill. The Cavatina is full of sad, longing trills, and the cabaletta demands a series of five hurricane force, furious trills. She is able to approximate a trill, but they never fully take shape or develop the Brrrrrr of the true trills one heard from the real bel canto masters of the past. I think this makes Bolena the trickiest of the three queens vocally. I think she does an absolutely marvelous job with Devereaux, which showcases her remarkable virtues without exposing the few shortcomings. And she's a hell of a lot better than Netrebko in Bolena.
UPDATE: I finally saw her and she was absolutely stunning. I could tell that in this video she was probably tired, but on the night of the performance she was absolutely flawless. She omitted the high E flat, but the rest of her performance was so perfect that I couldn't care less!
You ALL need to relax. This footage is from the DRESS REHEARSAL and not a live performance. The only thing questionable about it is why the MET would release foottage that is less than flattering for the artist they are trying to promote and who has since been quite well reviewed by all major publications.
Love her. I don't think this her best. And yet, her not the best is still stupendous in my book. If this was my first exposure to her, I might be more reticent. But even though I am not there in person, her heft does come through here. Operatic talent, timing, technique, singing live like this is mercurial.I do think she is consistent and this is at the end of a bel canto marathon. She is a wee bit pitchy and a tad screamy, but I still like her work here.
Understanding this was not her best performance of this run I find it sad that you all consider yourselves in a position to judge a singing actor having a less than stellar night. Shame on you all. Reducing her enormous accomplishments to be judged by one UA-cam clip. What a sad world you all must live in. Making musical theatre like this about a questionable execution of a trill or an under pitched note. For the record, most of us were enthralled by her trilogy of Queens in one season. Brilliant work and fearless vocalism. Sadly, in spite of her having an off night, most of you would be raving if this audio was dubbed into a Video of Callas singing. Of course, all “in my humble opinion”
+Nolan Go You mean like Joan Sutherland or Maria Callas, I presume? Good point however! She seemed to just suddenly not be there. I think she has so much potential but she needs to find a vocal coach who really can bring her into her own.
+Ole Nielson Yes just like them. In fact I am ok even if she or other singers does not sing the final high note. But if she decided to go for it, NAIL IT! I listened to her Bolena last night on the Met's Saturday radio broadcast and it was better! She didn't go for the high note at the end but overall the vocal control and projection is more refined, the voice was more round and richer.
Nolan Go Speaking of high notes, here's a quote from the late humourist Anna Russell: “This example is for the singer who can’t count, and has a loud note at either end of the voice and nothing much in the middle. It’s the job of the conductor and the orchestra to follow you, and if you don’t end up together, you are perfectly justified in throwing a fit of temper. And why should you have to bother yourself with such boring details as correct tempo, anyway? In fact, one of the reasons you have such a great voice is that you have resonance where your brains ought to be.”
The length of the last note was more than likely dictated by the conductor. She hit it square on pitch with nice full sound. No need to hold it for 6 months.
@@spyridonroumeliotis7831 This was around the time when Eb was becoming high for her, but it is an immense sound. She would have buried Gruberova had they sung it together side-by-side.
BRAVA~! Not the 'loveliest' of sounds she can make, for me it fits. I assume that was intentional, shows off the drama of THAT moment of Anna Bolena. Pure emotion.
I was lucky enough to see her Norma live on stage and yesterday's live transmission of Reberto from the MET. I consider the this is how it should be sang and performed and the future of bel-canto, rarher than Devia who is a perfect machine of singing, absolutly boring and cold and difficult to hear if you're seating far from the stage. From someone who began her career singing Verdi and Puccini is more than amazing that she even attempt to do the high Eb, specially whith such a big voice as hers; it's true is short and unstable....but it's quite effective and dramatic, specually how she end it....it's a cabaletta full os rage and vendetta but she's afraid of the execution too....you can have both feelings!
So much wasted talent this woman has. A potential five star voice which in reality is under pitch, sloppy and worst of all- unmusical! Those interpolations are awful and the trills sound absolutely deranged.
+Pe Callahan Stuarda and Elisabetta still require keen dynamics and immaculate extension of a line, and also a fully produced range. Sondra seems to struggle even singing in tune these days. I can't believe someone let a singer this erratic sing Norma either. Ridiculous.
Radvanovsky says Sills’s voice “was completely different from mine. I think my voice is more in the vein of Maria Callas, a more substantial dramatic voice, Beverly Sills being more of a coloratura. Callas, like myself, was more of a spinto, full lyric soprano.” Pretentious pipsqueak!
Was not expecting that E-Flat... But with her voice, to be able to offer one, even if it only lasts one second, I'll take it. People need to relax about making appropriate "musical choices." You make appropriate musical choices when you are in school, working your way up the performance totem pole to understand the composer and appease your conductors. When you arrive at the Met, you have earned and are granted the artistic liberty to make your own damn choices and take your own damn risks. I hope she received musical advice from Armiliato and decided against it anyway just cuz she can without risking her contract. Go see a Jiuliard, MSM, or Mannes Opera if you want the cookie cutter version. Shes a spinto singer just barely able to fit herself into the dramatic bel canto roles. I'm glad she's given us her rendition while she still can. ...And by saying something as asinine as "Well, if this is the best the Met can offer they need to keep looking," you are only contributing to the view that opera today is excluding audiences rather than including them. There is no single "best" bolena in the world. The "top tier" of sopranos singing at the top houses are FAR outdone everyday in not only vocal prowess but also stage presence and acting abilities by STUDENTS who are hungry to get their careers started but simply aren't given the chance because they have yet to "prove themselves." And counter to popular belief, our schools are filled with just as many dramatic, spinto, and helden singers as are opera houses, its just the incompetent voice teachers who force inappropriate rep on them. Look at Christian Goerke. She has always been a dramatic, yet when she was in Lindemann they had her sing Donna Anna and other Mozartian rep, and she was BOOED. People are so afraid of pushing voices too early, but that's a reflection of teachers and coaches who have not the confidence in themselves to teach that rep in a way that is not harmful for a young big voice. Rant over.
I think you have made a very good case and, interestingly, it is one that Birgit Nilsson would agree with you. She said in many interviews that after her first encounter at the music academy in Stockholm, where they wanted her to sing mezzo, she had to teach herself or she would have lost her voice entirely. Look also at Sutherland. Her original teachers saw her as just a big voice destined for Wagner. It took Bonynge to push her into the great dramatic coloratura that she became. Granted she was not the greatest actress but boy could she deliver on the vocal part of the opera, never disappointing the audience and doing her best with her minimal acting skills.
As much as I like her voice, I agree with all the comments about her singing being slightly under the pitch. Plus, putting the blindfold on her before the final few notes is ridiculous. And I hear fear in her voice, not defiance. It's all a bit off.
I agree. But I dont know how, still fits to this opera. Not as elegant or "cold performed" like maestra Devia but also very realistic and moving. I did enjoy it ;)
My thoughts exactly! In fact, I just posted the same comment before I saw yours. I actually think vocally she could sing Bel Canto very effectively, if she first would study the technique and style.
@@artdanks I don’t think there’s that much difference between between her and Callas in terms of raw vocal material. Both are penetrating, dark, and high, but actually not that heavy. Different schooling though.
In Chicago in 2019 much more controlled, not at all screamy, better in tune, and no final E flat. (At this point she still has the D, but seems unable to sustain it.) Altogether I thought it extraordinary for a 50 year old soprano who has sung just about everything. And she can still be very loud, filling the cavernous Chicago house.
@@bodiloto tristezza infinita! Non c’è la voce, non c’è il ruolo, non c’è il porgere non c’è il gusto non c’è la dizione… spero seriamente Donizetti non la senta
@@bodiloto certo proprio quello che dicevo, “il porgere” ha la voce costretta, stretta, in questo modo la voce non è ancorata in nessun punto e stona di brutto. La voce deve essere libera di fluire! Libera il più possibile dagli artefatti! La mia maestra mi faceva prima parlare, poi mi diceva di sentire dove risuona il suono mentre parlavo e poi mi diceva di ancorare i suoni nello stesso punto di dove li sentivo quando parlavo! Maestro è sempre un onore parlare con lei
A voice like hers should have an overwhelming chest..but 🤷🏾♂️... It flies very well and soars incredibly well.. But one gets the impression of a lack of anchoring in the sound.... Which is what a developed chest does... I have been looking forward to Lady Macbeth coz that's coming up soon.... And this only because I'm a huge fan of hers... But I do worry if her lack of chest will carry Verdi's very commanding music well.
Contemporary audiences won't admit that the fix is in because they are doling out $$$ for this nonsense. The fix is big time marketing to generate hype around mediocre to substandard singers. Case in point.
she's certainly loud. But under pitch. And why does she cry like a little girl at the end? It's an aria of vengeance (l'estrema vendetta!) not of fear, she must remain defiant to the end. Plus cutting that E flat short is very unmusical, sounds like a crack.
+tklogan t She probably cut it short because this was the final dress rehearsal. Usually, the final dress rehearsal is when the performer is the most tired, so naturally, they aren't at their best.
+Sarah Nalty wrong I was there opening night and she cut it short again. I wonder who's giving her lousy advice, Armiliato? Just blast the damn note woman! You have the goods, DO IT.
+tklogan t I agree with everything you said, tklogan t. I wonder what is wrong with her. She is not just doing it for the dress rehearsal. She also did it on opening night and I have heard her sing Ebs this way the past few years. Is this an acting choice she is making or can she simply not reach the note unless she forces her voice to vault up to that pitch and then quickly let go with a whimpering crack? If that is the case then it's not a healthy way to sing. I have heard her live and her voice can be incredibly large and expressive. She's a strong singer but I don't understand such an unmusical choice like this.
+Pe Callahan Honestly it's as if we were at 2 different performances. I found Radvanovsky to be thrilling! And although Barton is STUPENDOUS, I would never say that she showed up Radvanovsky. Also, I think that this video does 0 justice for Sondra and the intensity of her live performance.
Very very bad, probably the worst I've ever heard her. No comparison with the greatest in this role, Gencer, Devia, Callas, Sills. And I love Radvanovsky in many things, in particular her Norma, which I find at the very top. She's very erratic. I found her Roberto Devereux to be equally bad, but to see her in Poliuto in Barcelona was wonderful, and I like her Trovatore, too. Unpredictable.
why is Sondra screaming the role like that? I mean Anna didn't and was amazing. Reminds me the wagnerians, I hope she won't be like this at Roberto Devereux that I'm waiting so much to see!! (sorry for my poor English, it's not my mother tongue)
Quel supplice! Another great example of the decadence of singing. An instrument fully organized on throat, incapable of singing "sul fiato", displaying an uncontrolled, often "stonato", sound in each zone of the voice, from screamed high, to empty and "tubate" low and middle notes. Considering this wrong vocal emission, she's not able to sing any kind of agility properly, nor having a clear diction, nor singing legato, nor nuancing or coloring the sound, nor having refined phrasing and accents...Not exhaustive list.
Worse than that, she has no idea of how to express this music or how to bring the nobility of a queen to this role. It's sad that she and the even worse Meade are the preeminent singers of this repertoire in our time.
La Pompadour and Shahrdad....Both of you beautifully described the problem with this performance. And I agree...there are no REAL representatives today of the Bel Canto School! Especially not Radvanovsky or Meade. Also not even Netrebko. Sad.
Just mediocre... but good marketing of a product in poor condition. The opera is in danger. 0 phrasing, poor vocal technique, strained voice, poor performance, poor legato, sung phrase all the same without difference , and worse your sound swallowed, inaccurate agilities, sharp end of screaming and lacking air support. She is the opposite of a great opera singer. Any student of singing can win her.
Absolutely does NOT make a difference. Sutherland, Caballe, Sills, and even La Callas sang out in rehearsals, and they all sounded fabulous. I know, because I heard them all. Do the math, I'm OLD.
I agree this specific scene of this specific opera, at this specific moment, Sondra is far from ideal. Having said that, judging her abilities in general, as well as her entire career over one bad clip is premature and ignorant. Sondra has delivered a large body of work in which she is matchless. Her pianissimo, her messa di voce, her long, silky-smooth legato lines show a technique that many sopranos (or other fach) are envious of. Conductors, critics and fellow singers alike have praised Sondra through the roof for her unique voice *AND* singing ability. It truly is sad that you'd allow a 2-minute clip alone to colour your impression of one of the best singers of our generation.
@@tristanhnl I have heard all 3 of her Tudor Queen trilogy. And still have to say that while she has a magnificent voice and artistry, she unfortunately does not possess the technique or style to properly sing the Bel Canto repertoire. I believe she DOES have the voice for it, but sadly does not have the technical skill required for this genre and needs to develop it. On the other hand, in Verismo opera she's phenomenal!
Yh, I agree, but she has to fill a whole opera house at 50 years old and did a better one in 2019 in Chicago. Also she has done better performances in other operas.
C'est bien au niveau du défi vocal ,avec toutes ses transpositions dans le suraigu et avec le mi bémol final . Malgré tout et dans ce style ,Beverly Sills est supérieure .Pour ce qui est du style ,je préfère les interprétations plus sages et plus musicales : Gencer ,Callas , Caballé et même Netrebko .
This is the weirdest rendition of the aria I've ever heard since a long time.. Awful.. If she's today the best Bolena we can find.. Well.. It's time to look for better, definitely...
Sondra Radvanovsky does many things brilliantly (check out the Robert Devereu finale) but JC!... Was Mariella Devia the last soprano able to do a proper half note and full tone trill in full voice? Why, in modern tuition, do teachers allow singers to skip over that part? Yes, I know, fast-paced 21st Century. Still, hold them back a year or two. The opera stages aren't running away. Sloppy.
Terrible singing. Terrible acting. Total destruction of a great role! Bottom line, she really is not a Bel Canto singer, and should stick with Verismo, which she does very well.
She has a voice you have to hear live in the theater. She's incredible. The voice is IMMENSE.
Nowhere near the size of Sutherland's voice
i heard her Amelia live in Paris Bastille, theatre is very big, her voice was ok but not huge … and she had some pitch problems but it was ok
@@WelshHomo87 who cares
She is bad, actually horrible. This is not bel canto. Listen to Marina Rebeka.
I agree, I heard her Amelia in Teatro alla Scala in Milan. I looooooved her ;)
Saw this live at the premiere on Saturday the 26th. She was absolutely spectacular! Can not think of a better soprano singing today. What a voice and what a technique! Could go on for days talking about the brilliance of her performance. Absolutely thrilling voice and a compelling actress too! Thank you Radvanovsky for being born! Hoping that this Anna Bolena is going to be available somewhere to listen to in the future. CANNOT WAIT for Stuarda and Devereux!!!
then she should never agree on publishing that clip
Such an AMAZING singer! I will never forget her performances of this at the met. Probably my favorite soprano I've ever seen live. The whole audience was buzzing about how great this woman was. Love it.
Was at Saturday's performance. Found myself transfixed and transported by Radvanovsky, She is truly a formidable singing actress of the first order.
She has a wonderful voice for this repertoire, though I always feel that she's essentially more of a Puccini and late-Verdi soprano who's getting through these parts by sheer force of will rather than relying on a complete florid technique, rather like Milanov getting through Norma. Her coloratura always seems approximate and a bit labored rather than accurate and effortless. And to do justice to this scene, you also need to have a full mastery of the trill. The Cavatina is full of sad, longing trills, and the cabaletta demands a series of five hurricane force, furious trills. She is able to approximate a trill, but they never fully take shape or develop the Brrrrrr of the true trills one heard from the real bel canto masters of the past. I think this makes Bolena the trickiest of the three queens vocally. I think she does an absolutely marvelous job with Devereaux, which showcases her remarkable virtues without exposing the few shortcomings. And she's a hell of a lot better than Netrebko in Bolena.
I'm BEYOND excited to see this on October 9th!!!!
UPDATE: I finally saw her and she was absolutely stunning. I could tell that in this video she was probably tired, but on the night of the performance she was absolutely flawless. She omitted the high E flat, but the rest of her performance was so perfect that I couldn't care less!
It was a dress rehearsal, folks. If you had taken the rime to read the notes at the top you would seen this.
then it should have never been published
You ALL need to relax. This footage is from the DRESS REHEARSAL and not a live performance. The only thing questionable about it is why the MET would release foottage that is less than flattering for the artist they are trying to promote and who has since been quite well reviewed by all major publications.
+Elliott Archer She sounds better in this video than she did in person, at the Met. She's bad in this repertoire.
+PaoloDatemiPace Agreed.....saw her tonight.
What a brave singer!
Some amazing tones!
Why 161+ dislikes, this is amazing!
Edit: number change
Love her. I don't think this her best. And yet, her not the best is still stupendous in my book. If this was my first exposure to her, I might be more reticent. But even though I am not there in person, her heft does come through here. Operatic talent, timing, technique, singing live like this is mercurial.I do think she is consistent and this is at the end of a bel canto marathon. She is a wee bit pitchy and a tad screamy, but I still like her work here.
AMAZING!!!!!
Understanding this was not her best performance of this run I find it sad that you all consider yourselves in a position to judge a singing actor having a less than stellar night. Shame on you all. Reducing her enormous accomplishments to be judged by one UA-cam clip. What a sad world you all must live in. Making musical theatre like this about a questionable execution of a trill or an under pitched note. For the record, most of us were enthralled by her trilogy of Queens in one season. Brilliant work and fearless vocalism. Sadly, in spite of her having an off night, most of you would be raving if this audio was dubbed into a Video of Callas singing.
Of course, all “in my humble opinion”
It is overall ok but i personally do not prefer any sudden burst of high notes, and the final high Eb is not necessary unless you can hold it firmly.
+Nolan Go
You mean like Joan Sutherland or Maria Callas, I presume?
Good point however! She seemed to just suddenly not be there. I think she has so much potential but she needs to find a vocal coach who really can bring her into her own.
+Ole Nielson Yes just like them. In fact I am ok even if she or other singers does not sing the final high note. But if she decided to go for it, NAIL IT! I listened to her Bolena last night on the Met's Saturday radio broadcast and it was better! She didn't go for the high note at the end but overall the vocal control and projection is more refined, the voice was more round and richer.
Nolan Go Speaking of high notes, here's a quote from the late humourist Anna Russell:
“This example is for the singer who can’t count, and has a loud note at either end of the voice and nothing much in the middle. It’s the job of the conductor and the orchestra to follow you, and if you don’t end up together, you are perfectly justified in throwing a fit of temper. And why should you have to bother yourself with such boring details as correct tempo, anyway? In fact, one of the reasons you have such a great voice is that you have resonance where your brains ought to be.”
+Nolan Go Has any of you ever sung a high E flat?
@@skyhunk Agreed. Either that, or she should just stick with the Verismo repertoire and forget Bel Canto.
Fabulous woman!
I'm not dire about the final note, but she has done very nice variations!
The length of the last note was more than likely dictated by the conductor. She hit it square on pitch with nice full sound. No need to hold it for 6 months.
Well if you don’t have neither the ability to create dramatic tension nor the proper technique, you cannot pull off what Gruberova used to.
@@spyridonroumeliotis7831 This was around the time when Eb was becoming high for her, but it is an immense sound. She would have buried Gruberova had they sung it together side-by-side.
BRAVA~! Not the 'loveliest' of sounds she can make, for me it fits. I assume that was intentional, shows off the drama of THAT moment of Anna Bolena. Pure emotion.
And THIS is intended for Met???
Powerful
Yes Sandra!
Remind this is REHEARSAL. Nobody really sings out dress rehearsal.
Really??? How many voices does Mrs. Radvanovski have? I counted three.
not for Donizetti , she ll do a great Puccinian soprano in couple of yeras
I was lucky enough to see her Norma live on stage and yesterday's live transmission of Reberto from the MET. I consider the this is how it should be sang and performed and the future of bel-canto, rarher than Devia who is a perfect machine of singing, absolutly boring and cold and difficult to hear if you're seating far from the stage. From someone who began her career singing Verdi and Puccini is more than amazing that she even attempt to do the high Eb, specially whith such a big voice as hers; it's true is short and unstable....but it's quite effective and dramatic, specually how she end it....it's a cabaletta full os rage and vendetta but she's afraid of the execution too....you can have both feelings!
Belcanto is dead
STUPENDA SONDRA BRAVISSIMA
So much wasted talent this woman has. A potential five star voice which in reality is under pitch, sloppy and worst of all- unmusical! Those interpolations are awful and the trills sound absolutely deranged.
+Pe Callahan Stuarda and Elisabetta still require keen dynamics and immaculate extension of a line, and also a fully produced range. Sondra seems to struggle even singing in tune these days.
I can't believe someone let a singer this erratic sing Norma either. Ridiculous.
Radvanovsky says Sills’s voice “was completely different from mine. I think my voice is more in the vein of Maria Callas, a more substantial dramatic voice, Beverly Sills being more of a coloratura. Callas, like myself, was more of a spinto, full lyric soprano.” Pretentious pipsqueak!
After this horrible singing Pls dont mention Callas who was a vocal phenomenon and the biggest artist of the universe
@@liviamedek8924 Callas was indeed a phenomenon, but not a vocal one. An artistic phenomenon I would say lol
Bellissima regia vista dal vivo
who are all those hunks on stage ? lol
I thought that lok
I thought that too lo;
Was not expecting that E-Flat... But with her voice, to be able to offer one, even if it only lasts one second, I'll take it. People need to relax about making appropriate "musical choices." You make appropriate musical choices when you are in school, working your way up the performance totem pole to understand the composer and appease your conductors. When you arrive at the Met, you have earned and are granted the artistic liberty to make your own damn choices and take your own damn risks. I hope she received musical advice from Armiliato and decided against it anyway just cuz she can without risking her contract. Go see a Jiuliard, MSM, or Mannes Opera if you want the cookie cutter version. Shes a spinto singer just barely able to fit herself into the dramatic bel canto roles. I'm glad she's given us her rendition while she still can.
...And by saying something as asinine as "Well, if this is the best the Met can offer they need to keep looking," you are only contributing to the view that opera today is excluding audiences rather than including them. There is no single "best" bolena in the world. The "top tier" of sopranos singing at the top houses are FAR outdone everyday in not only vocal prowess but also stage presence and acting abilities by STUDENTS who are hungry to get their careers started but simply aren't given the chance because they have yet to "prove themselves." And counter to popular belief, our schools are filled with just as many dramatic, spinto, and helden singers as are opera houses, its just the incompetent voice teachers who force inappropriate rep on them. Look at Christian Goerke. She has always been a dramatic, yet when she was in Lindemann they had her sing Donna Anna and other Mozartian rep, and she was BOOED. People are so afraid of pushing voices too early, but that's a reflection of teachers and coaches who have not the confidence in themselves to teach that rep in a way that is not harmful for a young big voice. Rant over.
I think you have made a very good case and, interestingly, it is one that Birgit Nilsson would agree with you. She said in many interviews that after her first encounter at the music academy in Stockholm, where they wanted her to sing mezzo, she had to teach herself or she would have lost her voice entirely. Look also at Sutherland. Her original teachers saw her as just a big voice destined for Wagner. It took Bonynge to push her into the great dramatic coloratura that she became. Granted she was not the greatest actress but boy could she deliver on the vocal part of the opera, never disappointing the audience and doing her best with her minimal acting skills.
OMG! She's shouting and screaming...
As much as I like her voice, I agree with all the comments about her singing being slightly under the pitch. Plus, putting the blindfold on her before the final few notes is ridiculous. And I hear fear in her voice, not defiance. It's all a bit off.
verismo, non-belcanto style
I agree. But I dont know how, still fits to this opera. Not as elegant or "cold performed" like maestra Devia but also very realistic and moving. I did enjoy it ;)
My thoughts exactly! In fact, I just posted the same comment before I saw yours. I actually think vocally she could sing Bel Canto very effectively, if she first would study the technique and style.
@@artdanks Thank you. And work on singing in tune. The pitches are so approximate.
@@artdanks I don’t think there’s that much difference between between her and Callas in terms of raw vocal material. Both are penetrating, dark, and high, but actually not that heavy. Different schooling though.
Callas, Callas, Callas!
In Chicago in 2019 much more controlled, not at all screamy, better in tune, and no final E flat. (At this point she still has the D, but seems unable to sustain it.) Altogether I thought it extraordinary for a 50 year old soprano who has sung just about everything. And she can still be very loud, filling the cavernous Chicago house.
If you're trying to channel CALLAS, do it right. Sing the famous last note standing, it would sound clean.
HORROR
Take a chance to see her live at the MET. The performance of Radvanovsky/Barton is absolute spectacular and good for long lasting memories......
It's Anna Bolena, not Anne Boleyn, please.
Awkward and awful. And incredibly unattractive.
You can't tell if it's a trill or just too much vibrato. The ornamentation is a trainwreck.
Also, was Anna Bolena supposed to be cross-eyed??????
Overall a good performance, but I feel like she should not have trilled at the end... But nice try!
povero Donizetti ...
Esattamente!!! Si starà rivoltando nella tomba! Lei più di tutti può dirlo maestro
@@80Mrmirko
Carissimo, che tristezza !
@@bodiloto tristezza infinita! Non c’è la voce, non c’è il ruolo, non c’è il porgere non c’è il gusto non c’è la dizione… spero seriamente Donizetti non la senta
@@80Mrmirko
E di più intonazione precaria !…
@@bodiloto certo proprio quello che dicevo, “il porgere” ha la voce costretta, stretta, in questo modo la voce non è ancorata in nessun punto e stona di brutto. La voce deve essere libera di fluire! Libera il più possibile dagli artefatti! La mia maestra mi faceva prima parlare, poi mi diceva di sentire dove risuona il suono mentre parlavo e poi mi diceva di ancorare i suoni nello stesso punto di dove li sentivo quando parlavo!
Maestro è sempre un onore parlare con lei
A voice like hers should have an overwhelming chest..but 🤷🏾♂️... It flies very well and soars incredibly well.. But one gets the impression of a lack of anchoring in the sound.... Which is what a developed chest does... I have been looking forward to Lady Macbeth coz that's coming up soon.... And this only because I'm a huge fan of hers... But I do worry if her lack of chest will carry Verdi's very commanding music well.
With the best intention and goodwill available to mankind how could one not find this a joke ? So awful.
Contemporary audiences won't admit that the fix is in because they are doling out $$$ for this nonsense. The fix is big time marketing to generate hype around mediocre to substandard singers. Case in point.
😳
Il regista non ha mancato di rovinare il finale con una delle solite trovate del ca**o. Se solo lasciassero cantare in santa pace.
she's certainly loud. But under pitch. And why does she cry like a little girl at the end? It's an aria of vengeance (l'estrema vendetta!) not of fear, she must remain defiant to the end. Plus cutting that E flat short is very unmusical, sounds like a crack.
+tklogan t She probably cut it short because this was the final dress rehearsal. Usually, the final dress rehearsal is when the performer is the most tired, so naturally, they aren't at their best.
Remember they said dress rehearsal. Let's hope in live performance she gives the people theirs moneys worth. Right?
+Sarah Nalty
wrong I was there opening night and she cut it short again. I wonder who's giving her lousy advice, Armiliato? Just blast the damn note woman! You have the goods, DO IT.
+tklogan t I agree with everything you said, tklogan t. I wonder what is wrong with her. She is not just doing it for the dress rehearsal. She also did it on opening night and I have heard her sing Ebs this way the past few years. Is this an acting choice she is making or can she simply not reach the note unless she forces her voice to vault up to that pitch and then quickly let go with a whimpering crack? If that is the case then it's not a healthy way to sing. I have heard her live and her voice can be incredibly large and expressive. She's a strong singer but I don't understand such an unmusical choice like this.
+Pe Callahan Honestly it's as if we were at 2 different performances. I found Radvanovsky to be thrilling! And although Barton is STUPENDOUS, I would never say that she showed up Radvanovsky. Also, I think that this video does 0 justice for Sondra and the intensity of her live performance.
Very very bad, probably the worst I've ever heard her. No comparison with the greatest in this role, Gencer, Devia, Callas, Sills. And I love Radvanovsky in many things, in particular her Norma, which I find at the very top. She's very erratic. I found her Roberto Devereux to be equally bad, but to see her in Poliuto in Barcelona was wonderful, and I like her Trovatore, too. Unpredictable.
why is Sondra screaming the role like that? I mean Anna didn't and was amazing. Reminds me the wagnerians, I hope she won't be like this at Roberto Devereux that I'm waiting so much to see!! (sorry for my poor English, it's not my mother tongue)
Probably because she really has not learned properly how to sing the Bel Canto repertoire. She's much more effective in Verismo operas.
Vedo che i pareri sono molto discordi; io sento una gran voce e molta capacità di recitazione
What a strange voice!
Sondra Radvanovsky will not be remembered in history because she has neither personality nor any grace, and also the voice is horrible
Quel supplice!
Another great example of the decadence of singing.
An instrument fully organized on throat, incapable of singing "sul fiato", displaying an uncontrolled, often "stonato", sound in each zone of the voice, from screamed high, to empty and "tubate" low and middle notes. Considering this wrong vocal emission, she's not able to sing any kind of agility properly, nor having a clear diction, nor singing legato, nor nuancing or coloring the sound, nor having refined phrasing and accents...Not exhaustive list.
Worse than that, she has no idea of how to express this music or how to bring the nobility of a queen to this role. It's sad that she and the even worse Meade are the preeminent singers of this repertoire in our time.
La Pompadour and Shahrdad....Both of you beautifully described the problem with this performance. And I agree...there are no REAL representatives today of the Bel Canto School! Especially not Radvanovsky or Meade. Also not even Netrebko. Sad.
Just mediocre... but good marketing of a product in poor condition. The opera is in danger. 0 phrasing, poor vocal technique, strained voice, poor performance, poor legato, sung phrase all the same without difference , and worse your sound swallowed, inaccurate agilities, sharp end of screaming and lacking air support. She is the opposite of a great opera singer. Any student of singing can win her.
Oscar Grau if you looked you would seen that it was a dress rehearsal. Makes a difference.
Absolutely does NOT make a difference. Sutherland, Caballe, Sills, and even La Callas sang out in rehearsals, and they all sounded fabulous. I know, because I heard them all. Do the math, I'm OLD.
I agree this specific scene of this specific opera, at this specific moment, Sondra is far from ideal. Having said that, judging her abilities in general, as well as her entire career over one bad clip is premature and ignorant. Sondra has delivered a large body of work in which she is matchless. Her pianissimo, her messa di voce, her long, silky-smooth legato lines show a technique that many sopranos (or other fach) are envious of. Conductors, critics and fellow singers alike have praised Sondra through the roof for her unique voice *AND* singing ability.
It truly is sad that you'd allow a 2-minute clip alone to colour your impression of one of the best singers of our generation.
@@tristanhnl I have heard all 3 of her Tudor Queen trilogy. And still have to say that while she has a magnificent voice and artistry, she unfortunately does not possess the technique or style to properly sing the Bel Canto repertoire. I believe she DOES have the voice for it, but sadly does not have the technical skill required for this genre and needs to develop it. On the other hand, in Verismo opera she's phenomenal!
Sorry, but that's terrible, breathless intonation. She sings at the MET? Can't believe it!
Voice is not free ....boa constricted
barf
Disgusting omg poor soul
The ornamentations were bad.
Very disapointing. Screaming all the way. Awful.
NO FOR HER. SHE IS OUT OF TUNE LOUD BUT OUT OF TUNE
Yh, I agree, but she has to fill a whole opera house at 50 years old and did a better one in 2019 in Chicago. Also she has done better performances in other operas.
Why is she singing her own version? It’s ‘orrible!
No trill, and no real fioriture with no chest register! No high notes either!
My thoughts exactly
E-flat!!!
Just horrible :(
C'est bien au niveau du défi vocal ,avec toutes ses transpositions dans le suraigu et avec le mi bémol final . Malgré tout et dans ce style ,Beverly Sills est supérieure .Pour ce qui est du style ,je préfère les interprétations plus sages et plus musicales : Gencer ,Callas , Caballé et même Netrebko .
Și Elena Moșuc
Horrible!!!
horrible
too rough.
Too strident for my taste.
This is the weirdest rendition of the aria I've ever heard since a long time.. Awful.. If she's today the best Bolena we can find.. Well.. It's time to look for better, definitely...
Dreadful and out of tune.
Per carità... Cantano di tutto non eccelgono in niente..
Get lost all of you! She's just great and you're nothing!
Oh i'm sorry. I was under the impression that opera fans were allowed to have opinions. Silly me.
Poor Verdi, what a shame!!!
Orribile, una nota urlata oscena e mezza strozzata.
Sondra Radvanovsky does many things brilliantly (check out the Robert Devereu finale) but JC!... Was Mariella Devia the last soprano able to do a proper half note and full tone trill in full voice?
Why, in modern tuition, do teachers allow singers to skip over that part?
Yes, I know, fast-paced 21st Century. Still, hold them back a year or two. The opera stages aren't running away.
Sloppy.
They all sound so silent compared to netrebko
Oy vey.
Fabulous woman!
Terrible singing. Terrible acting. Total destruction of a great role! Bottom line, she really is not a Bel Canto singer, and should stick with Verismo, which she does very well.
Horrible
Horrible.