Rossini's Semiramide | 'Bel Raggio' | Albina Shagimuratova, Sir Mark Elder, Opera Rara Chorus
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Recording session of Opera Rara 's Semiramide, with Albina Shagimuratova and the ladies of the Opera Rara Chorus in the "Bel Raggio" showstopper. Conducted by Sir Mark Elder with the Orchestra of the Age of Enlightenment.
Henry Wood Hall, September 2016
The two women of the chorus right top in the last line did the perfect reaction to this fantastic performance at minute 7:35 .
Just incredible. Beautiful, Albina!!
Brava! What a lovely young artist! Well done! What joy! ❤️❤️❤️
БРАВИССИМО!!! БЕЗУПРЕЧНОЕ ЗВУЧАНИЕ!
Beautiful singing! Amazing coloratura
Transcendental, there's no other word!
🎉🎉🎉🎉🎉❤❤❤❤ Bravissima!!!
Good good in heaven...WOW
Одухотворенность невозможная! Душа радуется! Спасибо огромное!
Bravisima!!!!
Великолепна 💫💫💫😍😍😍😍
Great.
MARAVILLOSA
Прекрасный голос!!! Браво!!!!
Interesting to hear the responses mentioning Sutherland as the mark for comparison... I don't ever recall anyone gushing over her middle and lower register. Just an observation.
That's funny to see the chorists reaction to Albina's immaculate and thunderous high note here: 7:15 - 7:45
It's not just the high note... Its that she does a diminuendo on it... I was like wait what??? 😮
I think that her performance here is simply sensational, spectacular. In the role of Semiramide she is not on Joan Sutherland's level, but so what? By the way, this recording won the International Opera Awards and the International Classical Music Awards (ICMA).
For a supposedly "original" version, this aria is reminiscent of Sutherland's approach. Colbran was a dark-voiced mezzo by all accounts and no singer in Rossini's day was likely to have interpolated top Es like this. Pesaro revived the opera absolutely complete in 2003 with a rather fine dark-voiced dramatic soprano, Darina Takova. I imagine her voice was nearer to Colbran's in as much as we'll ever know. The Arsace was...........Daniella Barcellona. It's preserved on cd also.
All praise though to Opera Rara for bringing a newish perspective to this great masterpiece of Rossini.
Yes I've always wondered about recordings that advertise themselves that way. Like all the Norma recording that are ostensibly "complete" and "accurate" yet cast mezzos as Adalgisia and use the transpositions etc... It's all marketing gimmicks I guess lol.
Still we aren't really flush with Semiramide recordings and a new one is welcome, especially as most live performances of this particular piece are still routinely cut. And this particular recording is pretty impressive, even if it obviously can't match the vocal gymnastic of Sutherland/Horne. It feels like a real theater piece, hard to do with Rossini.
I personally think Shagimuratova is a very fine singer for Semiramide, though the voice probably does not resemble Colbran's.
Необыкновенная! Прекрасная!
Way better than Mead.. that’s for certain
Agree. The Met should have casted her as Semiramide instead of Meade.
Absolutely true!
Brava la slava !
👏👏👏💐❤
Every now and then I get the impression she's whispering. Is it clear why that is catastrophicly bad?
Mover over Angela Meade. This is the real thing! MAGNIFICENT!!!!!!
Eccezionale
OMG!
Comme l'écrit A Hogbin, on est probablement éloigné de l'original supposé (tessiture et ambitus) mais Rossini n'associait pas systématiquement une typologie vocale à un rôle; loin s'en faut ! Il n'est en rien choquant d'entendre un soprano bien doté en aigus dans une aria dont l'inspiration ne les récuse pas. La vocalisation en plein timbre est assumée, sinon transcendée, et les nuances tombent à propos. Je ne sais ce que vaut l'ensemble de l'enregistrement mais nous avons ici, je crois, un bon compromis entre la lettre et l'esprit de la partition.
The part is too low for her.
As it is for most sopranos... hence all the high note embellishments!
@@glgree1 true
r
di speme e di piacer
al fin per me brillò:
Arsace ritornò, si, a me verrà.
Quest'alma che sinor
gemè, tremò, languì,
Oh! come respirò!
Ogni mio duol sparì.
Dal cor, dal mio pensier,
si dileguò il terror!
Si, bel raggio lusinghier
di speme e di piacer
Al fin per me brillò:
La calma a questo cor
Arsace renderà;
Arsace ritornò.
Qui a me verrà.
[Semiramide e Coro]
La calma a questo cor - Arsace renderà;
Arsace ritornò. Qui a me/te verrà.
Qui tutto spirerà - La calma dell’amor
la pura voluttà.
[Semiramide]
Dolce pensiero, di quell'istante,
a te sorride l'amante cor, si.
Come più caro, dopo il tormento,
è il bel momento di pace e amor!
è il bel momento di gioia e amor!
It would be a very interesting attempt, but why did they choose her as the title role...?
She can't control her own voice.
She is magnificent as Semiramide. Great virtuosity. IT does not surprise me why they choose her.
did we watch the same video
@@stephpwall
We both hear her uncontrolled voice : wobbly lower notes and constricted higher notes ;)
@@yk5148 And we all read your stupid comments.
No one can touch Sutherland in this music.
Not when it comes to transposing.
@@Feisenbach czcams.com/video/OzdMIaICTTY/video.html
Piuttosto banale. Le scale molto zoppicante. Non e' adatta a questo repertorio. Manca di "italianita" e un Mi stridente non salva molto. Cantasse l'opera russa.
soprano without agility? It is not a well worked coloratura. she is good in a high voice, but the middle bass center is mediocre (poorly worked) she requires more work on her chest voice. Rossini loved mezzo-sopranos precisely because of their low register, Luisa Tetrazzini was a coloratura diva soprano but she also worked her contralto voice in her early days. that helped her to have a good register of deep voice.
Every SEMIRAMIDE recording, will automatically be compared to the Sutherland, Horne / Bonynge one. Well, it might not be "complete", but it gave us a very clear picture of Rossini"s masterpiece. Sutherland had a huge voice and breath control, but her diction was very poor and most of the words are limited to vowels - syllables . BUT, her coloratura, was a wonder in itself. The compensation for the poor diction. Here, miss Albina S., has a good diction, feeling for the words but her coloratura is not on the same par with Sutherland. Towards the end of the aria, the soprano is very close to the end of her breath - control. Rossini and Semiramide seem to be too much for her. At a certain point she loses breath-control and improvises , out of pitch. This is not very professional. By today's singing standards, that's what we have and can get. Callas, by the end of her career, is much better than the present singers that TRY, only TRY, to sing Rossini .
Please leave Sutherland where she is and do NOT compare.
I leave her, I leave her . Be sure I do. By the way, she was a very polite lady ! Not like others. Or, shouldn't I compare ????
@@mickyalexandru6894 Vocally it's always difficult and tricky to compare. Sutherland was a true drammatico d'agilità with a HUGE voice. Not the case here! And I don't know the Russian soprano, so can't say anything about her (except on her voice and style!)
That's exactly the point: how or if to compare voices. We have studio recordings and live ones. We can have an opinion about the voice. Big, small, medium, agile, heavy, light, etc. Then, we have the interpretation. And here we can compare all the above in this or that singer. I will never compare Sutherland with Callas. It is impossible. BUT, both of them were very good in each one's field: Callas for the dramatic impact and values of the words, Sutherland for ease of production, but very bad diction. Both were very devoted to the authenticity and style. What we hear today, maybe a nice voice or nice voice timber. But NOT a major voice. And that's bothering. We have records to compare. And when we hear something lesser than what we liked before, it rises unflattering comparisons. So, if a singer does not recognize his/hers possibilities and limitations, we are allowed to express our complaints. Rossini, Bellini and Donizetti, are among the most difficult to be sung and interpreted. When a singer tackles a role like Semiramide, Norma or Anna Bolena, must be able to fulfill the composer's demands - vocally and dramatically. Just a nice voice, is not enough ! The different recordings are exactly for this: to compare. Obligatory !
Why we will always compare the young Singers with Sutherland, Callas etc. The all are singular artists. Sutherland is Sutherland and Albina Albina. She has a graet talent and can start agreat carriere. I wish her the best.
Shagimuratova has a fine voice but not for Rossini. The worst infelicities begin at 8.41 with indistinct articulation of runs in the upper register, the passage unfortunately becoming a vocal mush - and it's also too slow. Apart from this, the tone under pressure has a rather unpleasant squillo, especially in altissimo. No Sutherland-like diamond accuracy here. Also, the vibrato from the alto section is out of control at times.
Why we will always compare the young Singers with Sutherland, Callas etc. The all are singular artists. Sutherland is Sutherland and Albina Albina. She has a graet talent and can start agreat carriere. I wish her the best.
It is hard for those of us who toil in Niebelheim trying to satisfy geniuses like you. We apologize for our human fraility
She'd be a better Violetta.
Non credo proprio.
Disappointing Semiramide :(
Clearly not to the singers and musicians present.
Really this is not very good technically or musically. Just ok
Please supply with your superior recording
That's a nonsensical argument@@stephpwall This is Rossini, she has no low notes. Rossini is a music largely written for contraltos and mezzo-sopranos. You need LOW NOTES. She has high notes and floridity, not much else.
@@KajiVocals because shes a coloratura soprano. Not a mezzo. Listen to a lyric soprano or a mezzo if u want low notes.
@@mugrad25 Not a counter argument. This music requires low notes. The dynamic markings clearly state forte and mezzo forte many times on the lower lines. This is a Colbran role. Low notes are a must. Rossini’s favourite sound was that of an alto (mezzo or contralto). He hated the overly lightened or hollow sound of some sopranos (you can read his comments on French soprano technique). Low notes are not something you should have. They are something you must have. Your argument is just an excuse for her technical shortcomings. Opera Rara hired spectacular mezzos and sopranos with low notes before. They should’ve gotten a bel canto soprano specialist rather than this singer.
@@KajiVocals you are right about the origins of this role and Rossini's preferences. Many opera houses perform this piece come scritto. Ive been to one and it was amazing. It really comes down to preferences. Some like it top heavy other like it lower. Personally it makes things interesting to me
I dont think Rossini would have been dissatisfied with this performance as she projects well in middle voice. In the concert version, the voice is quite robust and weighty for a lyric coloratura.