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Alle ziemlich perfekt! Kaufmanns Timbre finde ich immer wieder sehr gewöhnungsbedürftig. Daher: Bezala, Pavarotti…

I can' explain why good singing makes tears flow.

Both singing this aria extremely good.

Radvanosky, Wilson and Grigorian are not Turandots! If you want to hear real Turandot's you have to go back in time Anee Roselle, Eva Turner, Nilsson ext. ext.

czcams.com/users/liveqiIzn0vBxoY?si=9R8mlWJJkrfujPHL I attend this one here in LA, what do you think?

I love the music and the singing and, personally, I don't mind the presentation, love all of them and, also, don't mind new and even weird stuff, if they keep the singing and the music.

This is what I'm always looking for in an opera singer and what I feel often gets lost, the fact that the acting needs to be held equal to the singing. This is why Domingo, Milnes, Stratas, and Cossotto are amongst my other favorites, they throw themselves so totally into their characters

What a performance. Einmalig.

Oh my God such a riveting portrayal by both artists! Thank you for the supertitles in both French and English. Many of us know French but it helps to read the English in bigger font! The incredible voices in such dispair... determination, repeated explaining, begging, clarifying, the moment Don Jose switches to a threat! I'm not sure he really meant to kill her with the knife, but it's done. and then. he feels that by putting the ring back on her finger, she has not left him. What a portrayal and performance by Roberto Alagna and Elina Garancia. Thank you. Bravo

A good symphony orchestra doesn't need a conductor, though it can benefit from a great one. But an opera orchestra absolutely needs one, because the orchestra can't hear the singers and the singers can barely hear the orchestra. Without a conductor, chaos would ensue.

Tebaldi's last note was a smidgeon flat. Sorry . . .

I had the honor of sitting next to her and her husband at a Met broadcast of Macbeth in Miami Beach. My wife shushed me and told me not to bother her. I ignored her and kvelled, “Madame Scotto, we LOVED you at the Met! You were so great, especially your Elisabetta!” I’m glad I did.

My father back in Russia found this video today and sent to me. I'm very delighted that you put me in the list of such wonderful singers and I also would like to say "thank you!" to everyone who wrote that my performance is their second best after Pavarotti! As you might have noticed, my own interpretation of this aria is heavily inspired by Pavarotti version, as I try to get all of his phrasing. Indeed I would agreed with one of the comments stating that video from MET was dubbled with other recording because I listened to this recording many times before. But nevertheless He is the Best for me! But all of the singers here in the video are impressive! Since I don't know you personally, and don't know where you are in Germany, I'd like to invite you to Deutsche Oper Berlin, if you would like to hear me performing live next season. Lucia, Traviata, Boheme, Macbeth, Rigoletto, Zauberflöte and so on. Also I will sing Alfredo in Deutsche Oper am Rhein and Versi Requiem in Wiesbaden. If you'd like to meet personally - please contact me on Facebook or Instagram) And once again, thank you for such kind words!😊

Honestly, I would far rather watch Zeffirelli's production. At least it makes sense dramatically. And what's wrong with a bit of gratuitous OTT staging?

I like Adams, but in my opinion the work is too long, too repetitive and, above all, “Nixon in China” has one of the most terrible librettos of all operas. I see the plea for the work as ambivalent.

I missed no.5.

Have you ever seen the opera "The Teabag"?

She was fantastic, and, in my opinion, she was very beautiful, charming, and perfectly natural. She wakes up so scared in Manon that we feel very sorry for her, and it squeezes our hearts I felt myself alone, lost and abandoned. Can I confess that at the end I almost cried... lol. My God, it's amazing. Very good video choices, thank you.

Small point - Clytremnestra is queen of Mycenae, not Mykonos. But I love what you're doing. Great excerpts.

Classic example of how NOT to do the witches.

My favorite Ave Maria by far is Kiri Te Kanawa's..

In 1966 Tebaldi sang a concert here in Vancouver which included the Otello final scene. I will never forget the A flat at the end of the prayer - it was like a ventriloquist's trick and seemed to come from the ceiling of the theatre!

I love her pure musicianship

My first time at the Met was the opening night of the new Manon Lescaut in 1980. Her acting was wonderful! The following Friday I saw Moldoveanu in Don Carlos.

Always learning something new on this channel 😁I'm not a fan of Scotto's voice, but WOW, she really gave it all as an actress. I've seen few singers as moving and compelling as the examples you show here. On another topic, please keep interrupting 🤣We learn a lot from your "inserted comments" and can watch the full videos later. Ciao!

One of the most overrated singers of her time.

Peter: Thank you for yet another entertaining and instructive video! The selections were lovely. You do not need to apologize for your interruptions. I find it quite helpful when something of importance is drawn to my attention during an operatic aria or ensemble.. I thought the best scene was from "Il Tabarro". I was fascinated to hear you say that it is a favorite of yours. I have long thought it might be be the most under-appreciated Puccini opera. I think is by far the best of the three components of "Il Trittico" and Renata Scotto seemed most natural in that role and the tenor was very good indeed. Unlike Tosca and Minnie in "La Fanciulla del West" where the heroines have dramatic entries, Giorgetta's most dramatic moment comes at the end when Luigi's dead body is revealed to her under Michele's cloak from which the opera'a title is derived. It could be argued that Ms. Scotta was overacting in the last scene from Suor Angelica, but then the final scene of this opera, as Puccini wrote it, but as modified appropriately in your selection, has always seemed somehat silly. Clearly, Ms. Scotto understood the need for an opera star to both sing and act long before Mr. Gelb started emphasizing the need for that when he started his tenure at the Met. Unfortunately, she was eclipsed by other sopranos during her career and probably did not get the credit she deserved.

Please review Maria Vitale. I think you'd enjoy her intensely. Yes, no video recordings but her audio recordings are STELLAR. Another one I would recommend reviewing is either Janet Price or Nelly Miricioiu (her Thais finale is WOW).

Oh my goodness! She, sorry Renata Scotto, was amazing. Such an expressive face and her voice, my God! Such emotion 😢 I absolutely, thoroughly enjoyed that. I'm going to look for "Ora soave sublime ora d'amore" with Domingo and Scotto - my favourite bit of Chénier- I bet it's exquisite. I loved her Manon Lescaut, so believable - she did look totally lost and frightened, I've never seen a Manon Lescaut acted as well as that - I've seen three. I don't know those Puccini operas at all but, oh, that last one. Wasn't she magnificent? How the heck did she go that long without blinking? Her character's eyes saw something spiritual or heavenly coming towards her. It sent shivers down my spine and when she held her baby well I had a lump in my throat and tears in my eyes. I bet she was or would have been fantastic in the "mad" scene of Donizetti's opera Lucia di Lammermoor. Thank you, once again, for sharing your experience and presenting a singer I have very little knowledge of in a most informative video. Learning about different singers will be fun. 🙂

Scotto was not one of my favourites but the part of Suor Angelica that you chose brought a lump to my throat. I know her mostly from audio recordings but I seem to remember that she gave a good performance of Musetta in La Boheme that surprised me. The idea of more singer profiles is a good one. I expect you'll receive many suggestions.

Now, you,ve done it! My LEAST favourite soprano in the whole wide world!! The first time I encountered her (Butterfly), I couldn't wait until the end of the first act, when I could go home. Ah, de gustibus....

I'm not really a fan of Puccini (with the exception of Turandot) etc., and I wasn't even a fan of opera at the time of the popularity of Scotto etc. Today, the offer of good singers is plentiful, so I have no time to listen to the old ones. . However, based on your video, I can agree that she would be so good as an actress that she could also appear in silent films.🙂 Thanks to technology, we are still lucky to be able to listen to her. P.S. Although I wasn't too interested in the topic of your video, I watched it because of your reactions, comments and INTERRUPTIONS.🙂

If it is any consolation, I did not foresee any outcry after your comments regarding Tebaldi either. I also quite like this new kind of Format. I would greatly look forward to future Singer-portraits

My God, I am such an idiot! I could‘ve sworn I commented when I first watched when the video came out. So, very late but here are my thoughts: Callas and Tebaldi are of course excellent from a singing standpoint, you don‘t need me to tell you that, they are still celebrated to this day for a reason. Having said that I think I prefer Callas in Belcanto roles. Her take on the more modern characters I find myself frequently disagreeing with. (I am not saying she is a bad singer or anyone is a better singer than her. Put the pitchfork down. Put it down.) Tebaldi I think feels similarly antiquared despite having arguably the most beautiful voice of them all. Sobotka is utterly beautiful. Very well done. No real observation. Yoncheva in contrast has I think a somewhat annoying diction as in: she falls heavily on her vowels, it would seem to create rythm. That‘s what consonants are for in my opinion. It is not a big complaint and I forgot about it midway through the aria when I listened to it uncut, but with the cut it is quite noticeable. Agresta broke my freaking heart. Both with her singing and her acting. This calm in the knowledge ghat you are going to die. The fear, the betrayal and the heartbreak at being left alone the rage at someone or something that was supposed to protect you, I can‘t! Tough character‘s having a breakdown is my cryptonite, breaks me every bloody time. So here‘s my thoughts. You are amazing!

Our generation's Muzio. She is exciting, enigmatic, and she an sing and act

I was lucky enough to see a revival of this opera using the sets and ideas of Peter Sellars who, I believe, encouraged John Adams after hearing Shaker Loops at Tanglewood. I have to say I had avoided opera in my music until I heard this opera I even bought my first CD player as it was not available on vinyl. This and a version of Peter Grimes (is it modern?) converted me to opera I saw The Death of Klinghoffer in Helsinki and it was funny to see so many blonde blue-eyed Arabs and Jews. Even funnier was the staging where the chorus in camouflage trousers stood up at the appropriate time and "hijacked" the opera house. I confused some of the chorus members because I was wearing thick camouflage pants because it was a foul night and they are very warm. They were looking at me like who is this new member of the chorus LOL. Appreciating music is a lot to do with the time, the place and the performance. I compare it to how Shakespeare, Goethe or Schiller are performed I have seen some great performances of these plays and some absolute clunkers too.

Your analysis of Tebaldi is right on. Was a little stiff. It surprised me, I am such a fan of hers.

Oh yes.How often I cry when listening to certain operas , especially Puccini and Verdi. Tears are cleansing your soul and give you a new push for living,

As a foꝛmer conſeruatoꝛy trained opera ſinger, this is all bad, and the opera of to day is painfully dꝛeadful and boꝛing; the ſinging and acting, very bad, quiet and introuerted. And hauing people on CZcams lying and deceiuing people about what opera is and ſtealing as this guy hath done with his channel name is very bad. CZcams is filled with people lying about ſinging and about opera. I am no friend of opera, it is vaine and euill euen when it was at its beſt. But that foꝛme of ſinging ſhould not be couered vp and loſt as this channel ſeeketh to do.: to make people think the ſinging here is good. It is boꝛing, the ſingers are bad, euerything is whiſpered, the aire ſtuck, no cheſt participation. I know opera is dying, but it muſt die. It is vaine. Saue the ſinging though. Shill channels like this one ſhould be called out and repꝛoued and rebuked.

Deceiuers ſhould not teach.

One of my more recent favorite operas: "Anna Nicole" by Turnage. Just a suggestion. 🙂

I started studying this masterwork while in college, 18 years ago. I'm still studying it here and there, with a copy of the score and multiple recordings. My favorite recording is still the Houston Grand Opera original (1987 I think). The way Nixon in China portrays these real people is amazing - they are multi-faceted and not just cartoon characters, which one would think 3 American liberals would write about the Republican president. The way Adams weaves in the nervousness of Nixon, the commanding intellect of Mao, the unaware boorishness of Kissinger, the strength and conviction of Mao's Wife, all a top a unique and consistent musical landscape is nothing short of genius. Thanks for covering this masterpiece in such a thoughtful manner, and letting us hear clips from this great production I've never seen! Nixon's voice in this production is fantastic!

Hello! For me Maria Callas plays in another league, even if Desdemona doesn't seem like the most suitable role for her voice; As far as I know, she never performed the complete work in theater. The part in which she prays the Hail Mary is moving and the first pianissimo is very beautiful although the last one seems a little weak to me. The great Renata Tebaldi surely had a wonderful voice, but in the video that you show us she does not seem very involved in the character, either by indication of the stage director or because at the time not much importance was given to acting performance, but here it seems unconvincing to me, especially when he finishes the aria and goes to bed. Maybe they want to tell us that poor Desdemona doesn't have the slightest idea of ​​the danger she's in or that she's willing to sacrifice herself. In any case, I have to say that there are better recordings of Renata Tebaldi singing this part. As for the three remaining sopranos, I really like María Agresta, I think she sings the entire part very well, including the pianissimi, although I don't like a lady praying with a gun in her hand and showing such signs of anger while praying, I think something excessive and contradictory; she is praying for his life not giving orders. What I don't understand is that she is a soldier, that characterization is not indicated in the script even remotely. May I suggest that you listen to Victoria de los Angeles and Montserrat Caballé in this role. Thank you for your work.

I love Roberto Villazon. His body language, his expressions are exiting, no matter what he sings.

His passing was a great loss. Maybe you have some minutes to listen to Ettore Bastianini's Eri Tu.

As the saying goes - "This is a matter of GESCHMACKSACHE". I just watched your post AVE MARIA "Othello". My preference.

This is the first time I heard Ms. Yoncheva, she is great.

I'm working my way through your videos, this one made me laugh out loud. Thank you once again, and I've learned not to have sex in a church 😂

Poor Tebaldi, she just couldn’t sing above the staff without squeezing the voice and going under pitch. She was incapable of acting. She should have stuck with Alto art songs.

I like the darker sound. Sometimes his voice has an affinity with Franco Corelli.