There is nothing worse than UA-camrs thinking they know everything. And trying to tell singers what they should and shouldn’t sing. Remember, they’re up on that stage and your at your computer criticizing.
Being a dramatic soprano, I have sung this aria with success. I know every avenue of it backwards and forwards. It is by no means a voice killer. It is a great piece of musical composition that when sung by the right individual, is sung with the greatest of ease. You simply have to know what you are doing. What a beautiful piece of operatic work!
I'm not comparing to dead people - OK some - but no, proper singing of this role is not dead. I'm comparing her to Saioa Hernandez. Look her up. She sings Gioconda like it's supposed to.
@@BAMBAM8993 No, it shows that I respect a composer's intentions. Singers with undeveloped chest voices were not around in Ponchielli's day. He wrote it for a singer with a developed chest voice. Listen to Ponselle.
THANK U Bendito for posting this most heart-rending, passionately sung version of a piece my father once played for me when i was little explaining the story behind the song as tears flowed down my cheeks uncontrollably.. A bonding moment I'll never forget..
why would anyone with a developed sense of respect for other artists get on the internet and ridicule and talk bad about other artists? That woman delivered a beautiful aria and some people are so busy arguing about this and that, they miss the opportunity to be still and listen and look and feel. I feel sorry for people who cant allow the body to sense without allowing the ego or brain to run rampant
Stop with stating that this is a dramatic voice. This is a pure LYRIC SOPRANO. Not even Milanov is a true Spinto with a voice a thousand times heavier than this.
Sorry. not the best choice for this great singer. The top is strong, but the middle and low.... And there are some pich problems and a flutter in the middle and low registers.
Just saw Ms. Voigt in recital and am more than ever convinced the haters are nuts! She was fabulous! Each song was like a mini-opera because of her passionate singing and acting. What a priviliege to hear her live, and this time with just a piano. She filled the hall so vividly; the notes seemed to have a physical presence!!
Why is her tone so....thin or is it nasal? I don't know. She still is incredible and wonderful and a singer doesn't ever stay the same, but I have noticed a slight change. But its 2007 and Voigt was a young a singer a decade ago. I agree there is major inconsistency here.
ALL i know is Ms. Voigt's voice has triggered these tears of unabashed emotion flowing down my face & blurring my sight so i can barely type... My heart is breaking... And i know nothing else, as my ears and soul are bombarded by such pure angelic divinity... THANK YOU for this unmatched moment, tho i doubt i'll ever be the same again...
I was at Zinka'a performance in '62 at the Met with Franco Corelli (his debut there as Enzo), Warren. She was superb. A 57 broadcast of Milanov on Sirius reveals her in excellent voice, involved, and demonstrating why she "owned the role" for several decades. Voigt is quite good as Gioconda.
I heard Deborah Voigt in Chicago less than a week ago singing Die Frau ohne Schatten by Strauss. She was amazing. I hope when people mention sopranos losing weight like Callas they make a point mentioning this great artist in contrast.
@leonardovittori1 Joan started singing in the late 40's and the wobble (little wobble) appeared in 1979/80 (being almost 54/55)... WTF are you talking about?!?!?!?
I find it irritating that people come here to fight over history a thing which cant be repeated, instead of just enjoying the music. If you dont like it move on there is plenty to listen to.
A mistake in my comment several days ago. Warren is on the 57 broadcast, Merrill was the Barnaba in the performance I saw. Also Chookasian (debut) and Elias.
The best version of this aria that I have ever heard is on Robin Follman's "Dramatic Heroines" CD. It's hard tk get and needs to be re-released because it has all the drama but also the consistency that makes it stunningly even and beautiful. Robin was an American dramatic soprano (and spinto) who starred in some 50 operas, and who took time out to be CEO of her family's business and to raise her kids. If you can get that CD, what a treat!!
Callas is the best by far, in both her 1952 (Cetra) and 1959 (EMI) recordings. I think Cerquetti comes a close second, and the Caballe 1980 (Decca) recording is also very good in its ensemble cast (Pavarotti, Baltsa, Milnes).
XxSaruman82xX no despite all her sterling qualities the voice cannot rise to the role’s dramatic demands but merely skims through the music. I should add the 1957 ZInka Milanov recording to the list. She delivers some exquisite pianissimo sung passages
@@philipc67 You somehow think that Tebaldi can rise to the role's dramatic demands, but Caballe can? Caballe was never a dramatico-spinto, much less than Tebaldi ever was. And Tebaldi's Enzo is superb - Carlo Bergonzi of course! Oh and the Barnaba is arguably the best on disc - Robert Merrill. It's only between him and Bastianini. And this set has the best Amneris in history as La Cieca - Oralia Dominguez!!!!!!!!!
Wotan-I totally agree, and Farrell had a light quality despite the size of her voice. It's called good technique, people, and intelligent singing. That's why their voices stay in good shape, despite the musical demands with which they're faced.
She was such a fabulous Dramatic Soprano!!! I remember the Eileen Ferrell LOVED her singing at one of her MET performances. Brava Ms Debbie!!!🌷🌷🌷🌹🌹🌹🌺🌺🌺🌸🌸🌸🎼🎼🎼
Yo estuve en esa Gioconda y fué un tanto decepcionante. La verdad es que la Voigt no dió la talla dramática requerida para este rol. Aquí suena muy bien la verdad pero la voz en el teatro no resulto tan redonda. Las grabaciones obran milagros.
My emotions don't care what anyone says, the tears flowing down my cheeks rat out my shattered heart each time i hear this 'Suicidio' ~ & ONLY this one... Having listened to all others recommended now, my heart & soul tell me they truly PALE in insignificance compared to what Voigt's does to me... {If this ever gets deleted, i shall die}
I agree with you, i miss Tebaldi in this aria, she lack chest tone and her diction is not that great, but she is not that bad. I find Tebaldi more touching. Still she has beautiful voice, it is not for her this aria.
Wow, this is fantastic! I didn’t know that Ms Voigt sang Gioconda. I saw her many times in the theater - everything from Sieglinde and Brunnhilde to Annie Oakley! Amazing singer, although her voice did decline quickly after her stomach surgery.
@saintsaens21 You're crazy, but I will give you that- Huiling Zhu is fantastic. It's funny, though. You say Voigt's voice is "heavy", but on average her voice actually has more strength in the upper partials than Zhu's.
She's great sometimes, and I could listen to her top notes, like, all day. Not a fave in the Italian rep, though. The voice lacks that veluto that most Italian opera calls for.
LOL. I think Opera wins, thank you. I am a size four and a very powerful opera singer thankyou. Besides there is a huge difference between size 14 and an obese person. Im talking about health here, not looks. I never said a large person cannot be the center of someone's affection. Nice way to put words in my mouth! Thankyou.
I like her very much in Wagner and Strauss, but Debora Voigt has no chest development which is crucial in this role. 'fra la tenebre' just doesn't sound right. Saioa Hernandez is by far the best modern exponent of this role.
Well, despair seems too ugly for Voigt. I agree with tebaldicallas who seems to prefer Tebaldi to Callas. Any other singer whose approach is worth a try?
If you compare this to the Duet from Gioconda that is on You Tube with Deborah Voigt singing, you can tell how much the voice has changed since her surgery. I say her surgery, because I don't believe its the weight-loss that has caused the vocal decline, but the way she lost it. Perhaps loosing it so quickly caused thickness to go who knows. Healthy body healthy voice.
One must listen to Maria Callas Gioconda its wonderful such drama and colors and emotions but here we have Voigt she did a good job but i dont think her voice sue this opera
@dianastella She has no italian bites in her singing, no chest tone, her italian diction is not very good - the sound of her voice is not that great - this opera is wrong for her. She has wobbles in her voice.
Although I think she sounds great, she does sound different since she lost weight. I was a semi-professional singer and I had gastric bypass. I could not sing for two years after, but once I started, I actually sounded better...had more power. I think that it can go both ways. Some people have more control, and some lose the control and power that they had....
@tebaldicallas If you think so, go other place. That is your opinion which I respect but you are not being respectful to Voigt's fans; it's just necessary to take a look to your nickname to have clear your musical inclinations, but I have news for you: music evolves, the same exact things you critic about Voigt were told about Tebaldi. So I again recomend you to read more and go somewhere else and stop repeating the same vane and false arguments.
I really don't hear a difference in Deborah's voice before of after she had the surgery. Her high notes still have the "meat" that they've always had and he chest voice doesn't sound wobbly at all!
OMG, what stupid comments....Her voice hits the back walls of the biggest opera houses-she has one of the biggest vocal instruments out there. And there is beauty and control and yes, she is human and probably needs to get used to her new size. But brava to her for going through it all. It is an outstanding voice.
not all dramatic sopranos are as dark as Jesse Norman. Color can be very deceiving in some cases. Birgit Nillson's color was as bright as a lyric soprano's, but she was a true wagnerian soprano who could sing the most intense works of Wagner and Puccini.
I prefer Callas, Tebaldi, Cerquetti, Souliotis, Milanov, Ponselle and Hernandez, all of whom are better than Voigt because they all have one thing - developed chest registers.
Mattyslipp, you don't make sense - why should opera fans have big operatic careers to be able to like or not like a singer!!!??? Audiences are made up of non singers from all walks of life. You don't have to be a singer to have an opinion. Personally, I prefer this singer in German rep.
@saintsaens21 Her voice is anything but "heavy", especially for a dramatic sop! Tons of spin and squillo (ping) and zero wobble. Her voice soars and CUTS through the orchestra. A "heavy" voice would never in a million years be able to accomplish that. You want to hear a dramatic sop with a heavy voice? Listen to Jane Eaglen. What old style dramatic sops are you referring to anyway- Kirsten Flagstad? Birgit Nilsson? They had the same type of brilliance to their voices that Deborah Voigt has.
No, we are referring Italian dramatic sopranos, such as Tebaldi, Callas and Cerquetti. They all have in common developed chest registers, which this role in particular requires. Wagner roles at in most cases somewhat different. Gioconda was not the domain of Flagstad or Nilsson, so it shouldn't be for Voigt, who is a Wagnerian soprano, though not as good as Nilsson and Flagstad.
I don't say she does not have voice, her voice is wrong for La Gioconda, not chest tones and is not big - you need italian bites for this opera and she does not have it - Sorry.
What surgery did she have? And why, if opera vocal techniques are correct, do voices burn out like this? I don't hear pop stars burning out after x number of years...
Pop "stars" are heavily amplified. At most live concerts they are lip sinking... They are mainly in the recording studio that fixes all the flaws... Ever heard of Adele???
Singing Gioconda really is like committing suicide, pardon the pun. I don't know any singer who is perfect, they all have their troubles with the tessitura. But I miss Tebaldi's hysteria, Voigt sounds nice but lacks the tragic aspect and the hopelessness
Callas was wasted in Puccini. Before she got thin, she had a voice that Bonynge described as "Colossal," saying it poured out of her the way Flagstad's did. She was supreme in bel canto and Verdi, but her extraordinary talent was wasted on Puccini and other verismo composers. Those fared better with a beautiful but ordinary Tebaldi type singer.
I used to really like miss voigt. To me something has happen to her voice since the surgery. It has become "inconsistent". This aria is an example. Parts of it glorious, parts of it sounds forced.
I just can't understand most of the criticisms. Voigt had a powerful dramatic sop voice, perfect for this aria. Her lower register was superior to Callas's. The transitions requiring changes in emotion and pitch, however, are not as impressive. Callas was a Goddess at those. Nonetheless when Voight sings those intense passages, she owns me!
Iriisblue, opera isnt just about sound, though. It is still a stage performance. It is very much about the visual as well. Besides, size does not make a better singer. Fat is never good, whether for football players or opera singers. Those are myths. It is unhealthy. I just say a bad performance, not having to do with her size.
@dianastella I agree that she has a voice, but it lack the italian diction, she has no chest tones - it is not a very individual voice, that is what is lacking in today sopranos. She has no passion in her singing, she has been listening to Tebaldi's La Fanciulla del west was very impressed by her. The article is in Opera News December 2010,
I agree, a brave effort, but this is not for her. Much of the vocal heft is gone, and she cannot manage the low notes. This role requires despair, blood, death.
There is nothing worse than UA-camrs thinking they know everything. And trying to tell singers what they should and shouldn’t sing. Remember, they’re up on that stage and your at your computer criticizing.
Thank you!
Being a dramatic soprano, I have sung this aria with success. I know every avenue of it backwards and forwards. It is by no means a voice killer. It is a great piece of musical composition that when sung by the right individual, is sung with the greatest of ease. You simply have to know what you are doing. What a beautiful piece of operatic work!
It is a voice killer, that is, if you sing it properly. Not as much as Abigaille, but almost.
Okay. Can we stop comparing her with dead people. She has an amazing voice that stands out on its own
I'm not comparing to dead people - OK some - but no, proper singing of this role is not dead. I'm comparing her to Saioa Hernandez. Look her up. She sings Gioconda like it's supposed to.
@@xxsaruman82xx87 I wrote this 12 years ago! "She sings Gioconda like it's supposed to." Really shows an arrogance on your part. To each is own.
@@BAMBAM8993 No, it shows that I respect a composer's intentions. Singers with undeveloped chest voices were not around in Ponchielli's day. He wrote it for a singer with a developed chest voice. Listen to Ponselle.
@@xxsaruman82xx87 "Look her up" another arrogant comment assuming I have no knowledge of current singers...Was she singing this 12 years ago?
@@BAMBAM8993 No she was not. But she is now. Look her up.
THANK U Bendito for posting this most heart-rending, passionately sung version of a piece my father once played for me when i was little explaining the story behind the song as tears flowed down my cheeks uncontrollably.. A bonding moment I'll never forget..
Voight had an incredible instrument and star quality! Hearing her just let loose torrents of powerful sound was so thrilling!
why would anyone with a developed sense of respect for other artists get on the internet and ridicule and talk bad about other artists? That woman delivered a beautiful aria and some people are so busy arguing about this and that, they miss the opportunity to be still and listen and look and feel. I feel sorry for people who cant allow the body to sense without allowing the ego or brain to run rampant
Stop with stating that this is a dramatic voice. This is a pure LYRIC SOPRANO. Not even Milanov is a true Spinto with a voice a thousand times heavier than this.
Sorry. not the best choice for this great singer.
The top is strong, but the middle and low.... And there are some pich problems and a flutter in the middle and low registers.
Just saw Ms. Voigt in recital and am more than ever convinced the haters are nuts! She was fabulous! Each song was like a mini-opera because of her passionate singing and acting. What a priviliege to hear her live, and this time with just a piano. She filled the hall so vividly; the notes seemed to have a physical presence!!
@bonanplu Tebaldi sang Gioconda 32 times and she was great -
She waited the right time to sing it.
Why is her tone so....thin or is it nasal? I don't know. She still is incredible and wonderful and a singer doesn't ever stay the same, but I have noticed a slight change. But its 2007 and Voigt was a young a singer a decade ago. I agree there is major inconsistency here.
ALL i know is Ms. Voigt's voice has triggered these tears of unabashed emotion flowing down my face & blurring my sight so i can barely type... My heart is breaking... And i know nothing else, as my ears and soul are bombarded by such pure angelic divinity... THANK YOU for this unmatched moment, tho i doubt i'll ever be the same again...
I was at Zinka'a performance in '62 at the Met with Franco Corelli (his debut there as Enzo), Warren. She was superb. A 57 broadcast of Milanov on Sirius reveals her in excellent voice, involved, and demonstrating why she "owned the role" for several decades. Voigt is quite good as Gioconda.
Milano had a developed chest register - Voigt does not.
"She had no passion in her singing"???? Odd thing to say, because she inspires it in her listeners.
A wonderful actress and singer.
Well if Eileen Farrell, the hugest voice ever, classifies Voigt as a dramatic soprano, I think we can admit she is...
Nilsson was a dramatic soprano, but she did not have the chest development to sing Gioconda. Neither does Voigt.
I heard Deborah Voigt in Chicago less than a week ago singing Die Frau ohne Schatten by Strauss. She was amazing. I hope when people mention sopranos losing weight like Callas they make a point mentioning this great artist in contrast.
She's good in Strauss, but she's not here
@leonardovittori1 Joan started singing in the late 40's and the wobble (little wobble) appeared in 1979/80 (being almost 54/55)... WTF are you talking about?!?!?!?
I find it irritating that people come here to fight over history a thing which cant be repeated, instead of just enjoying the music. If you dont like it move on there is plenty to listen to.
A mistake in my comment several days ago. Warren is on the 57 broadcast, Merrill was the Barnaba in the performance I saw. Also Chookasian (debut) and Elias.
The best version of this aria that I have ever heard is on Robin Follman's "Dramatic Heroines" CD. It's hard tk get and needs to be re-released because it has all the drama but also the consistency that makes it stunningly even and beautiful.
Robin was an American dramatic soprano (and spinto) who starred in some 50 operas, and who took time out to be CEO of her family's business and to raise her kids. If you can get that CD, what a treat!!
Callas is the best by far, in both her 1952 (Cetra) and 1959 (EMI) recordings. I think Cerquetti comes a close second, and the Caballe 1980 (Decca) recording is also very good in its ensemble cast (Pavarotti, Baltsa, Milnes).
Tebaldi?
XxSaruman82xX no despite all her sterling qualities the voice cannot rise to the role’s dramatic demands but merely skims through the music. I should add the 1957 ZInka Milanov recording to the list. She delivers some exquisite pianissimo sung passages
@@philipc67 You somehow think that Tebaldi can rise to the role's dramatic demands, but Caballe can? Caballe was never a dramatico-spinto, much less than Tebaldi ever was. And Tebaldi's Enzo is superb - Carlo Bergonzi of course! Oh and the Barnaba is arguably the best on disc - Robert Merrill. It's only between him and Bastianini. And this set has the best Amneris in history as La Cieca - Oralia Dominguez!!!!!!!!!
vraiment bravo la gioconda n'est vraiment pas facile a chanter et elle y arrive trés bien et fait passer beaucoup d'emotions! bravo
Wotan-I totally agree, and Farrell had a light quality despite the size of her voice.
It's called good technique, people, and intelligent singing. That's why their voices stay in good shape, despite the musical demands with which they're faced.
But no chest voice.
Brava Deborah, you nailed it.👏👏
Wow, amazing voice and emotion/acting is superb.
She was such a fabulous Dramatic Soprano!!! I remember the Eileen Ferrell LOVED her singing at one of her MET performances. Brava Ms Debbie!!!🌷🌷🌷🌹🌹🌹🌺🌺🌺🌸🌸🌸🎼🎼🎼
Gioconda is not for her, though.
Voigt at her best day was a lyric soprano. Not even a spinto.
I think your comment is lovely dennis. I am going to see her tomorrow night and will tell her about your comment in case she didn't see it. :) Donna
I thought Voigt was wonderful. I'm only disappointed that I never saw her in person.
Yo estuve en esa Gioconda y fué un tanto decepcionante. La verdad es que la Voigt no dió la talla dramática requerida para este rol. Aquí suena muy bien la verdad pero la voz en el teatro no resulto tan redonda. Las grabaciones obran milagros.
My emotions don't care what anyone says, the tears flowing down my cheeks rat out my shattered heart each time i hear this 'Suicidio' ~ & ONLY this one...
Having listened to all others recommended now, my heart & soul tell me they truly PALE in insignificance compared to what Voigt's does to me...
{If this ever gets deleted, i shall die}
She doesn't have the voice for role. Simple as.
I think her lower register is impressive in this live perforamce.
Listen to Saioa Hernandez. Voigt's lower register is not impressive compared to her.
I agree with you, i miss Tebaldi in this aria, she lack chest tone and her diction is not that great, but she is not that bad.
I find Tebaldi more touching. Still she has beautiful voice, it is not for her this aria.
Brava! génial Merci AV
It is thrilling to hear and see the "new" Ms. Voight
She has really made a comeback! Bravo!!!!
di doŕrrrrmirrrrrrrr....dentrrrrrroooo....thats not just double r....thats a whole lot more 😂😂😂😂
Go to Tebaldi or Callas - she has no
chest tones. It is not for her, she is a great singer just the same.
She is OK. It is a hard job and she does it very well. But not more than that.
They aren't fighting. It's called passionate debate. That's what opera buff's do - argue and debate.
Wow, this is fantastic! I didn’t know that Ms Voigt sang Gioconda. I saw her many times in the theater - everything from Sieglinde and Brunnhilde to Annie Oakley! Amazing singer, although her voice did decline quickly after her stomach surgery.
No chest though.
She will survive...the top is still there. The middle and low register sound tentative and unsupported.
@saintsaens21 You're crazy, but I will give you that- Huiling Zhu is fantastic. It's funny, though. You say Voigt's voice is "heavy", but on average her voice actually has more strength in the upper partials than Zhu's.
sounds as amazing as ever!
her voice is magnificent..
BRAVA
I think this is so beautiful :]
Fantastisch spinto sopran und ich mag Deborah Voigt immer :)
She's great sometimes, and I could listen to her top notes, like, all day.
Not a fave in the Italian rep, though. The voice lacks that veluto that most Italian opera calls for.
She is great here.... Love her ❤
LOL. I think Opera wins, thank you. I am a size four and a very powerful opera singer thankyou. Besides there is a huge difference between size 14 and an obese person. Im talking about health here, not looks. I never said a large person cannot be the center of someone's affection. Nice way to put words in my mouth! Thankyou.
Was this done after her surgery? I heard that she has taken to singing a bit more timidly since.
oh guy...the perfect Gioconda is...was....will be MARIA CALLAS!!!!
longlifeluke ... agreed!!
Listen to Dimitrova! That's a real Gioconda sound.
Its been a long time since I've heard such a big voice. As powerful as Callas...
👏👏👏👏
I like her very much in Wagner and Strauss, but Debora Voigt has no chest development which is crucial in this role. 'fra la tenebre' just doesn't sound right. Saioa Hernandez is by far the best modern exponent of this role.
Not a fiery Gioconda, but a sympathetic and tormented one, and very well sung! Very engaging :)
im gonna keep it real. Debbie is fierce. you look fabulous my dear and healthy and I will love hearing you for ever.
perfection
Well, despair seems too ugly for Voigt. I agree with tebaldicallas who seems to prefer Tebaldi to Callas. Any other singer whose approach is worth a try?
Cerquetti! Milanov! And for the best modern exponent of the role - Saioa Hernandez!
Question: I can't quite tell, is she chesting the final notes?
No...
If you compare this to the Duet from Gioconda that is on You Tube with Deborah Voigt singing, you can tell how much the voice has changed since her surgery. I say her surgery, because I don't believe its the weight-loss that has caused the vocal decline, but the way she lost it. Perhaps loosing it so quickly caused thickness to go who knows. Healthy body healthy voice.
Voigt is a wagnerian soprano though. Her voice is meant for heavy singing.
But not Gioconda
I think this is the worst I've heard her. Not one of my favorite singers anyway, but she has sounded much, much better than this.
One must listen to Maria Callas Gioconda its wonderful such drama and colors and emotions but here we have Voigt she did a good job but i dont think her voice sue this opera
@dianastella She has no italian bites in her singing, no chest tone, her italian diction
is not very good - the sound of her voice is not that great - this opera is wrong for her.
She has wobbles in her voice.
Although I think she sounds great, she does sound different since she lost weight. I was a semi-professional singer and I had gastric bypass. I could not sing for two years after, but once I started, I actually sounded better...had more power. I think that it can go both ways. Some people have more control, and some lose the control and power that they had....
I agree with you, sir!
@tebaldicallas If you think so, go other place. That is your opinion which I respect but you are not being respectful to Voigt's fans; it's just necessary to take a look to your nickname to have clear your musical inclinations, but I have news for you: music evolves, the same exact things you critic about Voigt were told about Tebaldi. So I again recomend you to read more and go somewhere else and stop repeating the same vane and false arguments.
The simple fact is, Voigt has no chest development and Tebaldi did, which is crucial for this role
Nasal and small mask singing no chest voice all over the place where have all good opera singers gone and where have all the good teachers gone?????
Saioa Hernandez, though, gives me hope. She's the real thing.
pobrecita, la EWA PODLES se llevo todo el show. jjijij
I really don't hear a difference in Deborah's voice before of after she had the surgery. Her high notes still have the "meat" that they've always had and he chest voice doesn't sound wobbly at all!
That's because her chest voice doesn't exist! Lol
OMG, what stupid comments....Her voice hits the back walls of the biggest opera houses-she has one of the biggest vocal instruments out there. And there is beauty and control and yes, she is human and probably needs to get used to her new size. But brava to her for going through it all. It is an outstanding voice.
No chest tones though
not all dramatic sopranos are as dark as Jesse Norman. Color can be very deceiving in some cases. Birgit Nillson's color was as bright as a lyric soprano's, but she was a true wagnerian soprano who could sing the most intense works of Wagner and Puccini.
But this ain't Puccini. This is Ponchielli. And this role was never for Nilsson.
Jessy Norman a dramatic soprano? Time for your meds. Norman was a darkened lyric soprano.
Callas... te extrañamos...
* you're... it's okay, you'll get it.
brava, brava! I prefer her in German repertoire, but wowza. Amazing.
Wow, excellent performance and yes the last note is definitely chest.
Not developed chest though.
I prefer callas
I prefer Callas, Tebaldi, Cerquetti, Souliotis, Milanov, Ponselle and Hernandez, all of whom are better than Voigt because they all have one thing - developed chest registers.
Mattyslipp, you don't make sense - why should opera fans have big operatic careers to be able to like or not like a singer!!!??? Audiences are made up of non singers from all walks of life. You don't have to be a singer to have an opinion. Personally, I prefer this singer in German rep.
Me too. She's rather in Wagner - there is a wonderful video of her singing Dich teure halle when she was still big. But Gioconda is not for her.
*nods head in agreement*
@saintsaens21 Her voice is anything but "heavy", especially for a dramatic sop! Tons of spin and squillo (ping) and zero wobble. Her voice soars and CUTS through the orchestra. A "heavy" voice would never in a million years be able to accomplish that. You want to hear a dramatic sop with a heavy voice? Listen to Jane Eaglen. What old style dramatic sops are you referring to anyway- Kirsten Flagstad? Birgit Nilsson? They had the same type of brilliance to their voices that Deborah Voigt has.
No, we are referring Italian dramatic sopranos, such as Tebaldi, Callas and Cerquetti. They all have in common developed chest registers, which this role in particular requires. Wagner roles at in most cases somewhat different. Gioconda was not the domain of Flagstad or Nilsson, so it shouldn't be for Voigt, who is a Wagnerian soprano, though not as good as Nilsson and Flagstad.
I don't say she does not have voice, her voice is wrong for La Gioconda,
not chest tones and is not big - you need italian bites for this opera and she
does not have it - Sorry.
It's a strong performance, but it's only a percentage of what she could have done had she not succumbed to the chauvinist pigs.
This opera is not for her - she sound awful - she does not have any chest notes.
Go to Tebaldi - Callas and Milanov - it does not suit her voice.
Claude Michaud Screw off, Claide.
And yes, I misspelled your name on purpose because you don’t matter.
@@MattWeisherComposer You obviously know nothing about opera and the demands of this role.
What surgery did she have?
And why, if opera vocal techniques are correct, do voices burn out like this? I don't hear pop stars burning out after x number of years...
Gastric bypas. It ruins the voice.
Pop "stars" are heavily amplified. At most live concerts they are lip sinking... They are mainly in the recording studio that fixes all the flaws... Ever heard of Adele???
Singing Gioconda really is like committing suicide, pardon the pun. I don't know any singer who is perfect, they all have their troubles with the tessitura. But I miss Tebaldi's hysteria, Voigt sounds nice but lacks the tragic aspect and the hopelessness
And no chest register!
well done.... I wonder what her Turandot would sound like.....
yes. rosa rules.
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@so451 Her diction is bad, she has no chest tones - the sound of her voice is not
that great - bad bad.
@tebaldicallas And you go to other place other than here.
Callas is no coloratura soprano sorry
Her real voice is closest to Lyrical-Spinto Soprano.
Callas was wasted in Puccini. Before she got thin, she had a voice that Bonynge described as "Colossal," saying it poured out of her the way Flagstad's did. She was supreme in bel canto and Verdi, but her extraordinary talent was wasted on Puccini and other verismo composers. Those fared better with a beautiful but ordinary Tebaldi type singer.
in really believe that she callas was coloratura Lyric Dramatic
Leo Szeto You must be either really really stupid or plain crazy to say such thing...
@@Marcus-xd8ux a dramatic coloratura wouldn't be able to sing La Gioconda or Dalida.
@@Marcus-xd8ux yes but dramatic coloraturas as a fach are not able to sing these roles
I used to really like miss voigt. To me something has happen to her voice since the surgery. It has become "inconsistent". This aria is an example. Parts of it glorious, parts of it sounds forced.
I just can't understand most of the criticisms. Voigt had a powerful dramatic sop voice, perfect for this aria. Her lower register was superior to Callas's. The transitions requiring changes in emotion and pitch, however, are not as impressive. Callas was a Goddess at those. Nonetheless when Voight sings those intense passages, she owns me!
Are you deaf? She has no lower register development.
Iriisblue, opera isnt just about sound, though. It is still a stage performance. It is very much about the visual as well. Besides, size does not make a better singer. Fat is never good, whether for football players or opera singers. Those are myths. It is unhealthy. I just say a bad performance, not having to do with her size.
ditto
Definitely not a role for her voice. Sorry but... That's really bad... :/ Btw the acting is good.
@dianastella I agree that she has a voice, but it lack the italian diction, she has
no chest tones - it is not a very individual voice, that is what is lacking in today
sopranos. She has no passion in her singing, she has been listening to Tebaldi's
La Fanciulla del west was very impressed by her. The article is in Opera News December 2010,
the voice isn't as good as the acting.
I agree, a brave effort, but this is not for her. Much of the vocal heft is gone, and she cannot manage the low notes. This role requires despair, blood, death.
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