Rossini goes OFF | Marilyn Horne "Una Voce Poco Fa" *Reaction* | Aria Explained
Vložit
- čas přidán 12. 02. 2022
- Aria Explained: Rossini's masterpiece, "Una voce poco fa" ("A voice just now") from The Barber of Seville!
A staple of mezzo repertoire and the chance for any singer to put your own stamp on the piece, because it has SO MUCH opportunity to add your own ornaments.
The "champion of Rossini", Marilyn Horne, is our focus for this episode of Aria Explained. Check out the full aria here:
Marilyn Horne IS Rosina:
• Marilyn Horn IS Rosina ______________________________________________________________________
👉 Subscribe and follow!
Instagram: @opera.anna
For more singing videos visit my official CZcams page: Anna Trombetta
Official Mezzo-Soprano Instagram: @anna_opera_trombetta
______________________________________________________________________
👉 Ewa Podles (contralto):
• Ewa Podles "Una voce p...
👉 Joyce Didonato (mezzo-soprano):
• Joyce Didonato - Una ...
👉 Teresa Berganza (mezzo-soprano):
• Teresa BERGANZA sings ...
👉 Sumi Jo (soprano):
• Sumi Jo - Rossini - Ba...
👉 Maria Callas (soprano):
• Maria Callas Una Voce ... - Zábava
I love Marilyn Horne, saw her sing Rinaldo with Joan Sutherland. My favorite Rosinda is Beverly Sills though!
Ms. Horne is easily my favorite singer of all time. After seeing her final classical recital I knew that somehow I had to be a singer. I was able to meet her a few times after that....and I'll never forget the kindness and encouragement that she showed and gave to me.
I love that so much!! ♥️
Marilyn Horne! Thank You! Brava!
Marilyn Horne is so gorgeous the aria is so playful and rich in ever word and lyric
I know absolutely nothing about opera but this was a great watch
I like the interpretation with the lower register emphasis. Thanks for sharing!
STOP I DIED AT THE LITTLE PAVAROTTI BLEEPING THE F WORD I LOVE THIS SO MUCH
😂😂😂
At 17:59, that “taking a second” omits some passages that arguably should be sung. I wonder why that practice is so common
That's true... I always figured it was so the singer could catch their breath for the high note, and maybe it helps build suspense? Who knows? I think in my whole life I've only heard this type of ending sung fully out *once*
My favorite Rosinas are Callas and Podles. Both simply splendid (although I rank Callas higher because I can see hear and see in her Rosina's cunningness.)
That was Marilyn Horne at her best. She gets into and out of that lower register so easily and her coloratura is as good as any messo's with the possible exception of Bartoli. If you want to hear a great soprano version listen to Anna Moffo. If you want to see a great soprano version watch and listen to Beverly Sills.
Amazing
She always sounded a light contralto to me. Alto is a choir part where mezzos and contraltos song together. The voice type is contralto which is lower than a regular mezzo, although the repertoire is almost the same. (Almost)
Ik heb genoten!
Thank you for including Ewa Podles, for I deadass thought contralto was a forgotten voice type in today’s opera.
I should do alto arias like to be fair....
A true contralto is the rarest of any voice type. I've only sung with one true contralto in my life when I had a church gig and she was the section leader of the alto section. It drove her crazy when people called her an alto. "I sing the alto part but I'm a contralto....there is no such voice type as alto!".
I have listened to Podleś many times live. I think in Rossini's operas she was the best in Semiramide. But absolutely she killed me as Polinesso in Händel's Ariodane live. Thank you for including her.
Deadass though?
So nicely done. In the beginning i thought of Ewa as well - and look at 10:49. :-) - here i foud a new Abo. Best from Germany
I saw the clip of Marilyn singing Une Voce Poca Fa last week, for the first time. Where and when was this filmed? Ms. Horne is my favorite! Beverly Sills sings a great version of this aria, too. I began to love Opera 40 yrs ago when a friend of mine would play an aria from 3-5 different singers (he had a LARGE album and ultimately, CD collection).
Thank You!
If all goes as planned for my later this year trip, I will finally have a chance to hear a performance of Barber of Seville in Dresden. I'm hoping to "Opera Up" my life with a performance of La Traviata in Leipzig, as well.There is also a performance of Die Zauberfloete available in this time interval, and I may get to hear a performance!
Please let me know if it works out!!!! Dresden is also SUCH a beautiful and intimate theater, I think the experience will be unforgettable (assuming the singers orchestra are good)
@@operaanna I will certainly let you know how it turns out!
Enjoying it in the Barcelona Airport 😀
Haha lekker het Spaanse gevoel
Could you pls explain ' IN QUESTA REGGIA ' from turandot . Love your content since I discovered you .
SUCH A GOOD ONE!! Not to instantly give away the surprise, but i'm definitely going to make that the next soprano one Aria Explained!
@@operaanna thankyou so much
I'm learning !
My favorite Una voce poco fa is Anna Moffo. She goes to an F sharp above High C. And makes it look easy.
She's unreal!
Please, do some of Montserrat Caballé!!
YES!! Very high up on my list TBH
One of my hopes with AI is that it will be able to clear up old recordings so we can hear the performance like it was live.
That'd be amazing!!
Love Sumi Jo's interpretation.
Honestly, it's one of my faves right now...
Per me la migliore interpretazione è quella effettuata da Luisa Tetrazzini in una registrazione del 1907........peccato per la qualità della registrazione, ottima per quei tempi ma arrivata a oggi attraverso un fuscioso 78 giri!
I've read the play of Beaumarchais, but never seen the opera of Rossini. It's the opposite with Figaro: I've seen the opera, but never read the play.
ahh, it's great! The ensembles, just like in Figaro, are also amazing. Of course, the arias is well. It's just such a classic!
@@operaanna I used to listen to Una voice poco far 1)when I got home drunk after a night out (my neighbours must have loved me) or 2)Saturday or Sunday morning while having an indulgent breakfast. Don't know why.
Dear, I`ll link your video in Marilyns FB group - but to be honest it's more due to how heavenly you react ... Maybe you`re a member of the FB group as well
I don't think I'm a member, but I'm definitely gonna check it out! Thanks so much!
My prefered one is that interpretaded by Maria Remolá.
I don't know her! I'll definitely have to check her out 😜😜
@@operaanna please, do it! Hugs!
I think you have a little misunderstanding of the word "contralto". In italian, "contralto" translates as "alto" in in english, because I have read about "contra-contralti" in italian books. And the second thing is, during Rossinis times the word "mezzo-soprano" was not known, and so it is likely for his "contralto"-signed roles to be sung by a singer, who would be a mezzo after todays benchmarks. Also, if you read coeval descriptions of the voices of, for example, Geltrude Righetti-Giorgi or Marietta Marcolini, you find out that these voices did not have the typical characteristics of todays altos or contraltos. If you knew all these things already, I am sorry, but I think it is a little misunderstandable what you said in the video and I wanted to explain my perspective :)
Hi Ron, thanks for your comment. While I see your point, the term contralto by today's definition is still how I described it in the video.You're right, though! The term mezzo-soprano didn't come into use until later, but i don't think it can be denied that Rossini wanted a warmer voice than the standard soprano in comic opera (read, 'shrill'. Not my word!). His preference for a warmer female voice in a leading role opposed to other composers is apparent. Perhaps I should've included this explanation about the contralto/mezzo-soprano/soprano difference in the video, but all the more reason to do a Fach video!! There's so much info to include, though, it can be overwhelming to know where to start!
@@operaanna That‘s right, if you contain every little information in one video it won‘t be a video but a 2 hours film. I agree with you, Rossini clearly wanted a warmer voice for f.e. Rosina, in contrast to Berta. But because the casting of a mezzo or contralto as the young heroine and a light, „shrill“ soprano as the servant does not suit todays imagination of roles and stereotypes, and so coloratura sopranos sing Rosina and mezzos Berta. It is the same thing for Rossinis lower male roles. Because I am a baritone I am more into his lower male roles than any other voice type used by Rossini. For example, Basilio is today usually sung by a quite heavy Bass, although the original „La calunnia“ goes up to a F#4 TWICE! To suit todays listeners expactations, the aria is changed to make it singable for a Basso Profundo. Other examples are all Rossini roles written for Filippo Galli, who would probably be described as a lyric baritone today, judging by original critics and descriptions of his voice and because he started as a tenor. Todays „ideal“ for those roles are strong and heavy basses like Samuel Ramey, and of course it is impressive that a low bass can sing all these coloraturas, but it is surely not the way Rossini wanted it to be performed.
@@ronbusch3359 Such an insightful comment, thank you for sharing this insight. I've read about Galli but I never thought of him as a baritone, precisely because I always associate his roles with the great Samuel Ramey.
@@operaannainterestingly in a video with Pav, Horne, and Sutherland, together wirh Burgoyne, Pav contradicted Horne on rhe designation of mezzo soprano!
Beverly Sills?
I have to feature her on the channel! I'm going to start bringing multiple singers back into the Aria Explained videos.
Teresa Berganza is referencial is this rol, take a chance to hear her
She is FANTASTIC - she actually was one of the first people I ever listened to in this role. I wanted to cover her passing in a new edition of Opera News, but making any content this summer has been basically impossible :(
Just looking to find Ms Horne. But I see you talk all the way through this one.
I don't even know what to say - it's a reaction video. That's literally the point to talk about it.
Mura felici
On a side note, what makes you think Mozart died of syphilis?
That's sort of a general consensus based on the symptoms he showed. Of course we can't be 100% sure
@@operaanna I'm not certain there was consensus on the cause of his death. I'm neither historian nor a doctor, mind you and I would not be surprised if he did, but I'm not convinced.
@@operaanna That could be the topic of a new CZcams video, by the way.
@@ludovico6890 interesting idea!!!
@@operaanna Well it's my idea so it should be a good one ..;-)
Kathleen Battle, Cecelia Bartoli, and Joyce Didonato are my favorite Rosinas. Maybe it's strange to cast a soprano for that role. Here's Battle.
czcams.com/video/3rHTou1Atas/video.html
I go back and forth on a soprano in this role... Sumi Jo is so charming that I forgive that it's not what Rossini originally intended. As long as they sell it I guess it's okay :P
@@operaanna Anna, call me a purist because I want singers, producers, set designers, and other to strive to please an opera's composer and its librettist. That's partly why I hate the Don Giovanni where Peter Sellers turned the Don into cocaine addict wearing only his briefs on a Harlem sidewalk.
For me, opera is a cultural inheritance to send from generation to generation, something worth preserving and treasuring. Since I'm an anti-modern North American Tory, I want to stay attached to the past to explain the present. In his brilliant book "Beyond Modernity: Reflections of a Post-Modern Catholic," Fr. George Butler describes modern man. He's living on a pinpoint with no no past and no future. For him, the present is time in itself.
But now he's exxious because the modern age is ending. Young rebel against modernity by refusing to rebel. Instead, they want the tried and true instead of constant change. They keep and restore what they've inherited, so they don't assume that the new is always better than the old.
Years ago, the Christian Broadcasting Network shocked me with its rock 'roll version of Handel's Messiah. Since I complained in a printed letter, someone apologized in another one. She said that produced Handel's piece that way to introduce it to people who would otherwise ignore it. So I wondered whether they'd recognize a traditional performance of it. The difference between them would be like the one between you and Peaches, hardly a pleasant contrast.
Il barbiere .... should be understood in context. It is perhaps the best critique ever written. La Nozze has plotholes so big you can drive a dump truck through them.
The other thing is that it is scored for both mezzoes and high sopranos. Diana Damrau is NOT a mezzo! Her Rosina in Nozze is wonderfull. But in Nozze Rosina is the mysterious, she is scheming to bring her marriage back on track - because Almaviva IS AN IDIOT - a common notion among women about their better halfs. In this case she is right. Almaviva is a product of the inbreeding of the spanish nobility. Ritch and a moron, not nessarily a bad person; but he needs all the help he can get. Rossina was scored for both voices.
Note: Rosina is allways getting everything down on paper.
The other thing is: You overestimate the age of Rosina. She is a teenager. But she is well schooled, intelligent and goddamned stubborn (correction: Persistent - mea constanza). Mozart scored differently, as the role of Susanna is scored both for high and low sopranos - and Rosina only for the high voices. Diana Damrau has sung all three roles - not to perfection, because nothing is perfect, as she very wisely admits. But as Rosina she gives a vulnerability that a sturdier character as Cecilia Bartoli. Her Susanna is the pretty village girl and a very practical and loyal one at that - which Rosina tests with the ribbon Cherobino nicked. Susanna and Figaro are the practical people that can run the village and estate while Rosina keeps Almaviva inside his competence as an official of the crown in Londres - narrow limits indeed. Rosina is not allowing Almaviva to make a complete fool of himself.
Just hear how lovely Damraus voice is: czcams.com/video/XFvpBjlVu7o/video.html
Marilyn Horne is one of the very few non-german speaking singers that could sing Leonore: Particularly because she can slide from deep to high and between forte and piano (and back again) seemlessly. She called the Aria: Abscheulicher for MURDER.
Beethoven was a great opera composer - he only wrote one; but when you are Beethoven: That is enough! Not all that frivolous mucking about. Instead he used the singers in his 9th symphony.
The problem with Leonore is that the spoken text is in the subjunctive case and the singing is in the indicative. The vowels you sing in German are placed very much differently - especially the Umläute - what precisely is the secret is - I don't know. It took Wagner to get the third note in the triad in simultaneously.
Here Fidelio as illustration with Ingeborg Hallstein as Marzelline and Christa Ludwig as Leonore:
czcams.com/video/0aL5_qMJK88/video.html
Christa Ludwig sang Leonore lots of times, but NEVER sober - warming up took a couple of large cognacs.
Where is my girl Isabel Leonard? The most beautiful Rosina ever.