I think Ms. Blue sounds great. But if you disagree, I hope you’ll keep in mind that some of the singers read these comments. No need to be hurtful. Imagine you’re speaking her in person.
It’s always the same “experts” who froth over today’s singers, but worship many of the post-War singers who had a lexicon of flaws (Callas, Rysanek). It’s so boring that I don’t bother reading their comments anymore. I recently returned from the Verdi Festival in Parma, and I’m happy to say that there are some fantastic young voices out there; basses, baritones, tenors, mezzos, sopranos. They’ll probably have great careers in Europe.
@@wotan10950 I think we can say, at the same time, that (1) the general quality of singing (in all genres, not just opera) has declined and (2) some people are just suffering from golden age syndrome and enjoy being unreasonably critical. There is also unfortunately a fair number of cults on this platform!
Beginning with Miss Price, I've heard several Aidas on that stage. Few, are ever re-engaged in that role. Verdi set a very high bar. Best wishes Miss Blue.
I saw her perform Tosca twice in July and thought she was quite good in that role. However, I don’t think this particular piece or role is for her voice. It’s not that I believe she couldn’t handle the role-she certainly could-but I feel she may not yet have the vocal resources needed for Verdi’s repertoire of this kind. The legato, in particular, could use some development. That said, it's still a voice I would gladly hear live again, as I have in the past.
Hm? I can say a lot of poor things about Angel’s voice, lack of chest isn’t one of them. This is coming from someone who used to help with This is Opera videos and has seen Angel Blue live.
I wish she would go back to the teacher who helped her sing with the technique she had here. ua-cam.com/video/DGGTXIRxAck/v-deo.htmlsi=kn0c3ZNfuNi49MKi
@@kaji2883I disagree, but for the sake of argument let’s say you may be right. Imagine if she has that technique, with the clarity of the middle voice now, and singing this rep.
@@ciociosan The voice is still not singing that music properly. I urge you to study what the Bel Canto Bootcamp talks about or Will Crutchfield of Teatro Nuovo.
Angel Blue is the perfect encapsulation of the modern American artist. An attractive core sound but underdeveloped registration with poor coordination between the head and chest registers. An inconsistent legato line and unidiomatic phrasing. She always chops off the ends of phrases like she is running out of air. It feels like everything she does vocally or dramatically has been dictated to her by a coach, conductor, or director. Her entire bearing is one of a student trying not to be scolded by her teacher as opposed to an artist inspired by Verdi and presenting her own unique persona through his work. At this point I think the Met should just drop the 19th century Italian repertoire and focus on Baroque, Mozart, and modern opera.
In other words, note by note rote. So no inner fire informing them notes and no sense of abandon, which, by the by, a musician (singers in this case) needs to know HOW to do and express.
@@marieantoinette3857I hear your points. But a word of advice: Stay away from the race matter. It is a slippery slope and I don’t think Gelb’s decision to hire her for the role has anything to do with her race. But I could be wrong too. On the other hand, consider that Leontyne Price (and others like Arroyo or Bumbry, etc.) was not hired for Aïda because of her race but because she could sing it well and make something individual of it. Because she had authority, which is earned through experience and more often than not through trial and error.
@@marieantoinette3857 what a damn racist comment. Blue is adding Aida to her repertory only now and made a career singing roles in which her race played no advantage to her, such as Mimì and Magda. And there are countless much worse white sopranos around getting hired and praised. Silenced orchestras? Orchestras were far more balanced and under control a century ago and have only been favored by ever higher pitches to the detriment of singers. With that paranoid race-obsessed sentence you have shown yourself to be just another pretentious bitter hater who wants to be an all purpose UA-cam critic like countless others in this era that gave everyone a voice and a platform, making nostalgic/reactionary dumbasses mistake that for having the same validity and relevante of opinions as serious and unbiased knowledgeable critics.
@@marieantoinette3857 There are grains of truth in your comment, but it is so hyperbolic, and the statement that you can shout your way through Verdi is just wrong. Verdi emerged out of the bel canto tradition, so the music suffers when a singer cannot sustain a long legato line. The reason why Verdi is sometimes shouted is because it is done by voices that can otherwise sing healthily, but are too light. The orchestra is bigger, so the voices need to be bigger. That doesn’t mean that the music isn’t exposed. Unless you are a heavier voice type, you start with Handel/Mozart and work your way towards Verdi.
Leontyne Price sucked HORRIBLY in this role and was singing a role WAY TOO BIG for her. Mrs. Blue here actually sounds way better than Price ever did in this opera.
@ygorcoelhos it was a joke because in our days it is no longer allowed to set a coloured Aida or a coloured Otello on stage though it is necessary ( it is the main detail of the whole situation : the Moor Otello). So I said : OK, but what's about the black sopranos singing Aida? White-facing ?
@@meisterwue I understand your perspective, but it would absolutely irresponsible to pretend like the history of brown- and blackface, alongside painting on exaggerated Asian characteristics, does not exist. It exists and did a tremendous amount of damage, and we still live with the consequences. I would oppose reserving Otello for Black singers, Butterfly for Asians, etc. But simply having singers not put on any artificial colour seems to be a perfectly reasonable compromise to me.
She sounds great!!!
I think Ms. Blue sounds great. But if you disagree, I hope you’ll keep in mind that some of the singers read these comments. No need to be hurtful. Imagine you’re speaking her in person.
It’s always the same “experts” who froth over today’s singers, but worship many of the post-War singers who had a lexicon of flaws (Callas, Rysanek). It’s so boring that I don’t bother reading their comments anymore. I recently returned from the Verdi Festival in Parma, and I’m happy to say that there are some fantastic young voices out there; basses, baritones, tenors, mezzos, sopranos. They’ll probably have great careers in Europe.
@@wotan10950 I think we can say, at the same time, that (1) the general quality of singing (in all genres, not just opera) has declined and (2) some people are just suffering from golden age syndrome and enjoy being unreasonably critical. There is also unfortunately a fair number of cults on this platform!
Terrible singing. Facts dont care about your feelings.
Is Blue as good as your Jones?
@@AP-dd3xpWhy don’t you two have a sing off? Surely if you think this is terrible, you must have SOME idea how to sing better?
So beautiful, excited for the live in hd.
Her voice matches her name! Truly that of an angel’s.
Just gorgeous.
Despite what happened at New Year’s Eve Gala performance, Ms. Blue has everything to sing a wonderful Aida.
What happened?
I'm curious as to what happened. Could you elaborate more on this from your perspective if possible, please?
Did she miss a high note? Who cares?
Beginning with Miss Price, I've heard several Aidas on that stage. Few, are ever re-engaged in that role. Verdi set a very high bar. Best wishes Miss Blue.
I saw her perform Tosca twice in July and thought she was quite good in that role. However, I don’t think this particular piece or role is for her voice. It’s not that I believe she couldn’t handle the role-she certainly could-but I feel she may not yet have the vocal resources needed for Verdi’s repertoire of this kind. The legato, in particular, could use some development. That said, it's still a voice I would gladly hear live again, as I have in the past.
I appreciate your insight. Thank you!
@@chocolatesouljah I recorded the performances too if you’re interested.
@@kaji2883 I’m interested!
@@ER1CwC Comment somewhere under one of mine, it’ll get blocked here.
@@kaji2883 I am stunned that we are having a civil and gracious exchange on UA-cam. I really appreciate your goodwill.
So beautifully done!
Sounds good to my ears. I wanted the ascent to the dreaded high-C...didn't we all. Brava, Angel!!!
❤️
Really great. Haters dont seem to be able to do anything but try to look smart and important. Neither apply. She is great and wonderful yo hear live.
Singing beyond her limits, but frankly, still not so bad.
Total lack of chest voice
Hm? I can say a lot of poor things about Angel’s voice, lack of chest isn’t one of them. This is coming from someone who used to help with This is Opera videos and has seen Angel Blue live.
@KajiVocals then listen to leontyne price or renata tebaldi in comparisson
@@larissamontero I literally made a range compilation of Tebaldi 😅 And Price always had a poor chest voice with lacking closure.
I wish she would go back to the teacher who helped her sing with the technique she had here. ua-cam.com/video/DGGTXIRxAck/v-deo.htmlsi=kn0c3ZNfuNi49MKi
The voice has no clarity in the middle there, so not sure why you're asking that.
Wow! That was a surprise. I enjoyed that clip.
@@kaji2883I disagree, but for the sake of argument let’s say you may be right. Imagine if she has that technique, with the clarity of the middle voice now, and singing this rep.
@@ciociosan Isn’t Vladimir Chernov her teacher?
@@ciociosan The voice is still not singing that music properly. I urge you to study what the Bel Canto Bootcamp talks about or Will Crutchfield of Teatro Nuovo.
Angel Blue is the perfect encapsulation of the modern American artist. An attractive core sound but underdeveloped registration with poor coordination between the head and chest registers.
An inconsistent legato line and unidiomatic phrasing. She always chops off the ends of phrases like she is running out of air.
It feels like everything she does vocally or dramatically has been dictated to her by a coach, conductor, or director. Her entire bearing is one of a student trying not to be scolded by her teacher as opposed to an artist inspired by Verdi and presenting her own unique persona through his work.
At this point I think the Met should just drop the 19th century Italian repertoire and focus on Baroque, Mozart, and modern opera.
In other words, note by note rote. So no inner fire informing them notes and no sense of abandon, which, by the by, a musician (singers in this case) needs to know HOW to do and express.
@@marieantoinette3857I hear your points. But a word of advice: Stay away from the race matter. It is a slippery slope and I don’t think Gelb’s decision to hire her for the role has anything to do with her race. But I could be wrong too. On the other hand, consider that Leontyne Price (and others like Arroyo or Bumbry, etc.) was not hired for Aïda because of her race but because she could sing it well and make something individual of it. Because she had authority, which is earned through experience and more often than not through trial and error.
@@marieantoinette3857 what a damn racist comment. Blue is adding Aida to her repertory only now and made a career singing roles in which her race played no advantage to her, such as Mimì and Magda. And there are countless much worse white sopranos around getting hired and praised. Silenced orchestras? Orchestras were far more balanced and under control a century ago and have only been favored by ever higher pitches to the detriment of singers. With that paranoid race-obsessed sentence you have shown yourself to be just another pretentious bitter hater who wants to be an all purpose UA-cam critic like countless others in this era that gave everyone a voice and a platform, making nostalgic/reactionary dumbasses mistake that for having the same validity and relevante of opinions as serious and unbiased knowledgeable critics.
@@marieantoinette3857 There are grains of truth in your comment, but it is so hyperbolic, and the statement that you can shout your way through Verdi is just wrong. Verdi emerged out of the bel canto tradition, so the music suffers when a singer cannot sustain a long legato line. The reason why Verdi is sometimes shouted is because it is done by voices that can otherwise sing healthily, but are too light. The orchestra is bigger, so the voices need to be bigger. That doesn’t mean that the music isn’t exposed. Unless you are a heavier voice type, you start with Handel/Mozart and work your way towards Verdi.
@@doGreatartistsgrowontrees Those people are just doing us a favour by outing themselves as reactionary and intolerant.
Provincial. Not bad but one should expect more from Met stuff...
This is the reason why audiences watch more broadcastings from European opera houses than Met. So sad.
End of the opera,sad
Get a colon cleanse
Then don't listen anymore, and you will no longer feel sad.
Eighty companies in Germany alone, but you, some random American who doesn't know how to use punctuation - you know....
The Met had Leontyne Price in this role years ago - now this mediocrity.....
Perhaps you sing this role?
Leontyne Price sucked HORRIBLY in this role and was singing a role WAY TOO BIG for her. Mrs. Blue here actually sounds way better than Price ever did in this opera.
No white-facing 😂
Why would a Nubian character need white-ish makeup?
@ygorcoelhos it was a joke because in our days it is no longer allowed to set a coloured Aida or a coloured Otello on stage though it is necessary ( it is the main detail of the whole situation : the Moor Otello). So I said : OK, but what's about the black sopranos singing Aida? White-facing ?
@@meisterwue I understand your perspective, but it would absolutely irresponsible to pretend like the history of brown- and blackface, alongside painting on exaggerated Asian characteristics, does not exist. It exists and did a tremendous amount of damage, and we still live with the consequences. I would oppose reserving Otello for Black singers, Butterfly for Asians, etc. But simply having singers not put on any artificial colour seems to be a perfectly reasonable compromise to me.
@@ER1CwC agree....absolutely agree. Thanks for answer....
@@ER1CwC This is the correct opinion.