I was actually at that performance (12/85). Ruggero Raimondi was Figaro, Carol Vaness the Countess, Von Stade, and Thomas Allen as the Count. A perfect cast! The next time I saw Figaro was at the War Memorial in '91. It was Von Stade's final Cherubino. An unknown (to me) was singing the Countess. The minute she sang first note of Porgi Amor I was blown away. It was Renee Fleming.
Oh, my goodness! Her voice is absolutely silky! I began learning this piece in high school, but I never had the opportunity to perform it because my teacher left quite suddenly. I am certain that I could never hold a candle to her talent. She has wonderful technique and control, and her tone is so smooth and sweet. I am in awe.
My gosh, that "vieni, vieni..." at 4:01 is almost unbearable. So delicate, tender, and blissfully beautiful. It's hard to imagine that such sounds can come from a human, but here it is.
I had the great good fortune of seeing this production at the Met the following year with mostly the same cast. The reviewer in the Times said that her singing of this aria at the performance I saw was the best he had ever heard. The whole production was one of those historic nights that it was hard to keep from crying through the whole thing. Everything and everybody was perfect. So much beauty. From this point on and for the next 5-7 years she was an unparalleled singer. Her Handel was probably the greatest in history.
The exquisite execution of this aria by the great Kathleen Battle leaves you speechless after hearing it! The sweet, clear heavenly singing, the interpretation and her diction are par excellence!!
Kathy first sang this role at CCM when she was a grad student ( and I was a sophomore). It was already just as beautiful-possibly even more so, as Corbett Auditorium is smaller than the Met. And her recitals were to weep from.
I love the way she is clearly singing to her real beloved -- not the count whom she is pretending to woo -- as it adds an extra dimension to the performance. And lucky man who in real life gets looked at with such affection by Miss Battle.
Brava! Beautifully done, and the aria fits her voice beautifully. (I also like the acting that she is really singing it to her husband to be, although in all the plotting it's supposed to be for the benefit of the count.)
I am opera-illiterate, but I love Kathleen Battle's amazing talents, and I love reading the comments beneath her videos. I have never found anyone else who receives almost unanimous approval under every video! It's gratifying to read such respect and awe coming from those who are knowledgeable. Even as a regular person, I can tell "Pristine Kathleen" is GREAT.
A crying shame Kathleen was fired from the Metropolitan and out of the limelight for 22 years. She should have come to the L.A. Opera. We badly need performers like her in every opera stage. ❤😢
To those who diss about her allegedly nasty behavior behind the scenes I would like to point out Beethoven, Mozart, Wagner and Liszt. All very unpleasant human beings but undeniably geniuses. This is a once in a lifetime voice.
Giunse alfin il momento Che godro senz'affanno In braccio all'idol mio Timide cure uscite dal mio petto! A turbar non venite il mio diletto. O come par che all'amoroso foco L'amenita del loco, La terra e il ciel risponda. Come la notte i furti miei seconda! Deh vieni, non tardar, o gioja bella Vieni ove amore per goder t'appella Finche non splende in ciel notturna face Finche l'aria e ancor bruna, E il mondo tace. Qui mormora il ruscel, qui scherza l'aura Che col dolce susurro il cor ristaura Qui ridono i fioretti e l'erba e fresca Ai piaceri d'amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose. Vieni, vieni! Ti vo' la fronte incoronar di rose.
Recitativo Giunse alfin il momento Che godrò senz' affanno In braccio all'idol mio: timide cure, Uscite dal mio petto, A turbar non venite il mio diletto. Oh come par che all'amoroso foco L'amenità del loco, La terra e il ciel risponda!' Come la notte i furti imieci seconda! Aria Deh vieni, non tardar, o gioia bella, Vieni ove amore per goder t'appella, Finché noti splende in ciel notturna face Finché l'aria è ancor bruna e il mondo tace. Qui moririora il ruscel, qui scherza l'aura, Che coli dolce susurro il cor ristaura. Qui ridono i fioretti e l'erba è fresca; Ai piaceri d'amor qui tutto adesca. Vieni, ben mio. tra queste piante ascose Ti vo’la fronte incoronar di rose.
Lovely. One of my favorite performances of this aria. Dawn Upshaw and Lucia Popp are also excellent in this role for anyone interested in comparing great performances of this aria.
Giunse alfin il momento che godrò senz'affanno in braccio all'idol mio. Timide cure, uscite dal mio petto, a turbar non venite il mio diletto! Oh, come par che all'amoroso foco l'amenità del loco, la terra e il ciel risponda, come la notte i furti miei seconda! Deh, vieni, non tardar, oh gioia bella, vieni ove amore per goder t'appella, finché non splende in ciel notturna face, finché l'aria è ancor bruna e il mondo tace. Qui mormora il ruscel, qui scherza l'aura, che col dolce sussurro il cor ristaura, qui ridono i fioretti e l'erba è fresca, ai piaceri d'amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose, ti vo' la fronte incoronar di rose.
@@ruisenor8993, that "thing" seems to be an 80's style "interpretation" of a traditional Spanish _mantilla_ that Susanna is supposed to wear at her wedding day since it used to take part in a Sevillean bride's outfit.
This aria is deliciously pornographic. The fornicatious beat after recitative, melody and of course, climax. Mozart's genius. Gentlemen, if you're doing it right, this is how this lady will sing...
Una voz magnífica, la mantilla española muy acertada. Pero el vestido desmerece a la ópera a la cantante. Se supone que estamos en Sevilla (España) en el siglo XVIII y no en una fiesta de fin de año en la actualidad.
Heartbreakingly beautiful. I wonder how many watching this remember what a sensation she was in her prime?
Her interpretation of this aria is actually my favorite. It has the delicacy and sweetness it needs.
Voce di "cristallo", limpidissima e dolcissima! ❤
There is nothing better, simply divine. A voice from heaven.
I was actually at that performance (12/85). Ruggero Raimondi was Figaro, Carol Vaness the Countess, Von Stade, and Thomas Allen as the Count. A perfect cast!
The next time I saw Figaro was at the War Memorial in '91. It was Von Stade's final Cherubino. An unknown (to me) was singing the Countess. The minute she sang first note of Porgi Amor I was blown away. It was Renee Fleming.
Kathleen Battle is just the best, period. Her achievement is stupendous. Her singing has accompanied my adult lifetime. How very lucky for me.
Oh, my goodness! Her voice is absolutely silky! I began learning this piece in high school, but I never had the opportunity to perform it because my teacher left quite suddenly. I am certain that I could never hold a candle to her talent. She has wonderful technique and control, and her tone is so smooth and sweet. I am in awe.
❤One of the best renditions I have ever heard ❤
My gosh, that "vieni, vieni..." at 4:01 is almost unbearable. So delicate, tender, and blissfully beautiful. It's hard to imagine that such sounds can come from a human, but here it is.
I had the great good fortune of seeing this production at the Met the following year with mostly the same cast. The reviewer in the Times said that her singing of this aria at the performance I saw was the best he had ever heard. The whole production was one of those historic nights that it was hard to keep from crying through the whole thing. Everything and everybody was perfect. So much beauty. From this point on and for the next 5-7 years she was an unparalleled singer. Her Handel was probably the greatest in history.
I saw it and wholeheartedly agree. Brava
Yes. I remember seeing this when I was about 20. My dad was watching it and I was stunned. I wish I could get a DVD of the whole thing
Q
The exquisite execution of this aria by the great Kathleen Battle leaves you speechless after hearing it! The sweet, clear heavenly singing, the interpretation and her diction are par excellence!!
Kathy first sang this role at CCM when she was a grad student ( and I was a sophomore). It was already just as beautiful-possibly even more so, as Corbett Auditorium is smaller than the Met. And her recitals were to weep from.
I love the way she is clearly singing to her real beloved -- not the count whom she is pretending to woo -- as it adds an extra dimension to the performance. And lucky man who in real life gets looked at with such affection by Miss Battle.
❤❤❤❤🎉🎉🎉🎉😊😊😊😊Ich habe diese Arie selten besser gehört!!!Sensationell
Can't imagine human has such angelic voice
la perfection incarnée; le timbre, l'art du chant, l'interprétation.Une merveille.Mozart servi par une interprète magique.Que dire de plus?
She has a beautiful and clear voice. It's so perfect! I want to be able to sing like her, since like her I am a light lyric coloratura soprano.
Dude same! I've just been studying her feverishly because she's like the "after" picture and I'm the "before".
It was may be the most beautiful timbre in decades.... such beauty in a human voice.
Not in decades (Caballé was still singing) but yeah, absolutely beautiful timbre.
Yes. Gorgeous timbre.
The sky and the stars are the limit- she is shooting out of space into other galaxies.
Susanna was one of her very best roles. It was a perfect fit for her and she sings it beautifully. My favorite soprano in the role.
Incomparable Beauty.
Brava! Beautifully done, and the aria fits her voice beautifully. (I also like the acting that she is really singing it to her husband to be, although in all the plotting it's supposed to be for the benefit of the count.)
What a wonderful clear voice! Just lovely
I am opera-illiterate, but I love Kathleen Battle's amazing talents, and I love reading the comments beneath her videos. I have never found anyone else who receives almost unanimous approval under every video! It's gratifying to read such respect and awe coming from those who are knowledgeable. Even as a regular person, I can tell "Pristine Kathleen" is GREAT.
I don't think you are "opera-illiterate." You love opera, and that's all that's important!
@@danawinsor1380, aw! Thank you, Dana! (Truth is, I don't love opera as much as I love Kathleen's divine voice! Lol)
Eine der schönsten Stimmen des 20 Jhdt.
A crying shame Kathleen was fired from the Metropolitan and out of the limelight for 22 years. She should have come to the L.A. Opera. We badly need performers like her in every opera stage. ❤😢
She was terrible to the crew and her colleagues period there's no room for that in theater, no matter what Social media would have you believe.
The most beautiful version I have ever heard.
To those who diss about her allegedly nasty behavior behind the scenes I would like to point out Beethoven, Mozart, Wagner and Liszt. All very unpleasant human beings but undeniably geniuses. This is a once in a lifetime voice.
so sweet so sensual...Wonderful Mozart wonderful Battle.Pure art!
So pretty. So perfect. I love her so, so much.
Kathleen ... KathKWEEEEEEEEENNNNNNN!!!
I always felt like Mozart wrote this aria with her voice in mind, like he knew 200 years later, this stunning perfection was coming.
Incantevole, dolcissima, veramente straordinaria! ❤️
PERFECTION....
Con molto amore! Che bello musica! Mi le piace!
Kathleen Battle is perfect at driving Figaro to distraction. Wonderful Met production.
This gives champagne casting a new meaning. Battle, Vaness, von Stade, Raimondo, Allen?? Jeez!
Magical.
Perfection
Beautiful clear tone!
sublime!
Que extraordinaria Susana!!!
Brava brava brava!!!
Love it...absolutely fabulous!!! Ms. Battle out did herself on this one.
È straordinaria, meravigliosa!
How I love this production!
bravissima!!!
My goodness, that phrase starting at 3:22 is so beautifully sculpted. She is a uniquely gifted artist!
Simply beautiful!
Glorious.
Voz inmaculada!!!! Bravisima!!!!
Battle hat eine unglaubliche Präsenz!
Giunse alfin il momento
Che godro senz'affanno
In braccio all'idol mio
Timide cure uscite dal mio petto!
A turbar non venite il mio diletto.
O come par che all'amoroso foco
L'amenita del loco,
La terra e il ciel risponda.
Come la notte i furti miei seconda!
Deh vieni, non tardar, o gioja bella
Vieni ove amore per goder t'appella
Finche non splende in ciel notturna face
Finche l'aria e ancor bruna,
E il mondo tace.
Qui mormora il ruscel, qui scherza l'aura
Che col dolce susurro il cor ristaura
Qui ridono i fioretti e l'erba e fresca
Ai piaceri d'amor qui tutto adesca.
Vieni, ben mio, tra queste piante ascose.
Vieni, vieni!
Ti vo' la fronte incoronar di rose.
Ahhh this is so beautiful!! Kathleen is my favorite singer for this song!!! ❤️❤️❤️😍
Sublime amazing
This is perfection.
Recitativo
Giunse alfin il momento
Che godrò senz' affanno
In braccio all'idol mio: timide cure,
Uscite dal mio petto,
A turbar non venite il mio diletto.
Oh come par che all'amoroso foco
L'amenità del loco,
La terra e il ciel risponda!'
Come la notte i furti imieci seconda!
Aria
Deh vieni, non tardar, o gioia bella,
Vieni ove amore per goder t'appella,
Finché noti splende in ciel notturna face
Finché l'aria è ancor bruna e il mondo tace.
Qui moririora il ruscel, qui scherza l'aura,
Che coli dolce susurro il cor ristaura.
Qui ridono i fioretti e l'erba è fresca;
Ai piaceri d'amor qui tutto adesca.
Vieni, ben mio. tra queste piante ascose
Ti vo’la fronte incoronar di rose.
Very beautiful voice😊
Perfection!
BRAVA
Bravissima!
La mejor Susana
Lydiana Fuentes 😊
Divine!
Lovely. One of my favorite performances of this aria. Dawn Upshaw and Lucia Popp are also excellent in this role for anyone interested in comparing great performances of this aria.
Then look for VDLA and Freni renditions.
she sang so perfectly . this is my new song i am practicing ~~i do want to sing like her. i am a amateur singer practicing by myself though.
My all time favorite singer…one of two Renee being my other
Giunse alfin il momento
che godrò senz'affanno
in braccio all'idol mio. Timide cure,
uscite dal mio petto,
a turbar non venite il mio diletto!
Oh, come par che all'amoroso foco
l'amenità del loco,
la terra e il ciel risponda,
come la notte i furti miei seconda!
Deh, vieni, non tardar, oh gioia bella,
vieni ove amore per goder t'appella,
finché non splende in ciel notturna face,
finché l'aria è ancor bruna e il mondo tace.
Qui mormora il ruscel, qui scherza l'aura,
che col dolce sussurro il cor ristaura,
qui ridono i fioretti e l'erba è fresca,
ai piaceri d'amor qui tutto adesca.
Vieni, ben mio, tra queste piante ascose,
ti vo' la fronte incoronar di rose.
Amazing
Sería insoportable pero sabía cantar. Brava.
oh my...
But her Et incarnatus est is even more beautiful I must say
Clearly Beautiful! 😊
Belíssima.
Perfección + belleza + dulzura.
stunning
Espetacular ! ! !
Fiquei arrepiado do começo ao fim.
Perfect!
È UNA VERA CANTANTE. COME SI DEVE. ECCEZIONALE
❤❤ 💐
Gorgeous, but why is there a giant bow on top of her head?
Opera... who the hell knows? It's most likely not of her choosing, though.
@@ruisenor8993, that "thing" seems to be an 80's style "interpretation" of a traditional Spanish _mantilla_ that Susanna is supposed to wear at her wedding day since it used to take part in a Sevillean bride's outfit.
4:50
Así se canta.
Was the lovely Battle miked here?
Good~~
Poor Ruggero Raimondi :(
Beautiful. The inaccuracies in the translation are heinous
Mi piace.
Fab
Ловко.
👏👏👏🌹🌹🌹
This aria is deliciously pornographic. The fornicatious beat after recitative, melody and of course, climax. Mozart's genius.
Gentlemen, if you're doing it right, this is how this lady will sing...
Una zanzara...
Perfection """"""for more check out her "agnus dei " from the vatican on you tube , thanks "enjoy """"""
Her agnus dei stopped me in my tracks when I first heard it.
I've always thought Ms. Battle had superb musicianship.
How it should be done
Almost perfect
Temo is not great
80's inspired wedding dress ;)
I think it's supposed to be 18th century Spanish. Hence the mantilla inspired veil.
Una voz magnífica, la mantilla española muy acertada. Pero el vestido desmerece a la ópera a la cantante. Se supone que estamos en Sevilla (España) en el siglo XVIII y no en una fiesta de fin de año en la actualidad.
Good
4:41