L'altra notte in fondo al mare Il mio bimbo hanno gittato, Or per farmi delirare dicon ch'io L'abbia affogato. L'aura è fredda, Il carcer fosco, E la mesta anima mia Come il passero del bosco Vola, vola, vola via. Ah! Pietà di me
In letargico sopore È mia madre addormentata Or per colmo dell'orrore dicon ch'io L'abbia attoscata L'aura è fredda Il carcere fosco E la mesta anima mia Come il passero nel bosco Vola via
"But I have an ongoing quarrel with the modern treatment of Romantic extravagance in vocal writing .... There are always the questions of whether or not we’ve just given up on singers, as in “We know they can’t really do this, so let’s go by the score, bar-by-bar;” or whether modern singers, whose attention seldom strays toward-or is directed toward-historical precedent, simply don’t understand the possibilities; or whether the many years of literalist enforcement by conductors and scholars have simply beaten singers into submission. "Yes,” “yes,” and “yes” are the correct answers." Ouch. Quoted from Conrad L. Osborne's latest piece dated 9 November 2018 in "Osborne on Opera: A Critical Blog".
She sounds wonderful here! I had never heard her in something where I thought that, but the verismo thing suits her voice very well. She needs to stay far, far away from the bel canto coloratura roles- lord have mercy. Just going by those alone I thought she was a terrible singer.
MEDONHO BAQUE "L’altra notte in fondo al mare", da ópera Mefistofele, De Arrigo Boito, recrudesce o clima angustiante em Que o planeta Terra vive: muita dor que ele expele, Antecedendo ao tempo em que o novo albor vem. "A outra noite no fundo do mar, o meu bebê foi Jogado. Agora, para me fazer delirar, dizem que Eu o afoguei.", diz a ária de Boito, que muito dói. Pensando no momento atual, é um medonho baque. Alertando a todos para revigorar a fé que desperta Nossos neurotransmissores a combater as investidas Da frequência do medo onde a pandemia acerta. Olhando para o horizonte, sem pensar no abismo De Nietzsche, pessoas não ficarão mais submetidas À dor, e deixarão de estar no estado de fobismo. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - MEDONHO BAQUE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
This is a WAY better repertoire for her than coloratura roles. She sounds like a completely different singer here than in the awful recordings of Semiramide and Norma.
Excuse me @Bravo Luca and @Henry Carey, I see that asking "could you do better" is a very popular answer when someone does a criticism. As to say that to judge singing you HAVE TO BE a good singer. What is the logic in this? As a listener, and in some cases as a paying spectator in theater, I want to hear beautiful singing. IT IS my right to listen to aesthetically pleasig singing even if I don't know how to sing. It is my right to be disappointed if I don't hear it. Secondly, why do you have to be a top singer to judge bad singing, but anyone can judge good singing? So, do your positive opinions come from your great experience in singing? Otherwise what you are doing is called DOUBLE STANDARD.
Example: 1. "She sounds awful" "show me what you can do" (because you want to see if they have a background that allows them to judge) 2. "she sounds beautiful" now I WANT to see if YOU have a background that allows you to judge. May I listen to YOUR recordings then? I'm usually a very polite person, but your answers to Camille and Ilias were disgustingly rude.
You go out to have pizza for dinner. The pizza arrives at your table with too sour tomato sauce, no salt at all and carbonized. You obviously complain right? but the pizzaiolo tells you "CAN YOU DO BETTER??????????? SHOW ME HOW YOU DO PIZZA" What the hell, this would be absurd. I don't think you would be happy with it. He is the one who's a cooker, who did training to make pizza, who studied for what he does. He is the one you are paying for him to do simply his job. He has to know how to do it. Not you. Another example, there are many to show the absurdity of your attitude: DO SOMMELIERS MAKE TOP QUALITY WINE? no, they simply know how to taste it and judge it.
Bravo Luca I don’t think she is a bad singer. I just think she is ok. Just Ok. I mean her Semiramide was awful, you have to admit that but I guess she was experimenting.
@@mariezenaida So only "light" and "lyric" voices are for bel canto? That's a massive error on your part. Do your historical research and stop relying on Decca recordings to inform you. Verdi took the baton from Donizetti in terms of elevating the Italian style of the 1840's into a more declamatory style of Italian opera (he and Donizetti were peers and great friends, focusing on the same evolution of stylistics in their compositions). She's constantly hired for her ability to sing what many cannot. She's not without fault as a singer at moments, but that's every singer.
@@mariezenaida You're obsessing over an idea of "fach" which is archaic and was always poorly defined. Voices no matter the size should be able to accomplish: agility, range of volume control and dynamics, mastery of 2 octaves, legato, good diction, pure tone. These are the standards of the "Old Italian school". You mentioned she shouldn't be singing bel canto because she's a "spinto" voice, yet you also just called her a dramatic coloratura voice? She has a consistent technique, and that's what I appreciate about her. She also focuses on doing the score justice and not making it about her ego - especially when she's highly criticized for her weight, which is the main reason she is targeted by misogynists in opera.
NO TRILL!!!!!!!!!! High larynx, constricted, thin, nasal, voice with a CLEAR wobble all over especially in the middle voice but the middle voice has no color, no clear vowels nor weight nor color! I am not being too critical. HER VOICE is a hot mess! And her vibrato is NOT fast, she simply has a very disturbing wobble.
@@terrance7220 Callas started singing professionally at age 12. Before the age of 25 she sung 50+ DRAMATIC SOPRANO ROLES including Abigaile, Gioconda, Norma and Turandot over 40 times on stage each. This of course she was ever recorded in 1949. Next time you talk about wobble do not bring Callas in her decline due to excessive weight-loss, understood! This woman is a bacteria compare to Callas whose voice was larger and bulkier than the Empire State Building! You is a damn fool!
@@beachfanatic2010 Err...singing professionally at the age of 12 is actually massive sdrain for the vocal cords. There is no need to be defensive as much. Nowadays you have to be at least 16 to be able to study classical singing and we do know that anything below that is putting all the more danger to the vocal cords that are still developing. Age 12, no matter how talented you are, is still too young and already too much pressure on one's voice. Also Callas did the thing of singing many different pieces of music that do not belong to the dramatic soprano repetoire like coloratura roles or lyric roles. While her dramatic metal is definitely unquestionable and amazing, I personally prefere Caballe's singing over lyric parts and defititely have other examples for coloratura parts. Just like you, the person made a critique. As much I adore Callas and she is my idol for her amazing full voice, her incredible control, her amazing dynamics etc that made her rightfully so "La Divina" there are things that are good to be mentioned. Mistakes, if you will, that nowadays considerate singers and considerate teachers wouldn't do to their students for examples making them sing extensive repertoire, putting their voices to the edge or making them sing professionally at young ages etc. So yes Callas is definitely THE opera singer but that doesn't mean that one cannot have other opinions. The objective things such as her control and clarity etc are there and no one can truly deny them but whether someone likes the more dramatic and more"old fashioned way" if you will that people used to sing back then, is entirely subjective. And yes her weight loss is something that one can think about since she was dealing with health issues and stuff and obviously too much stress in her life, No one denies that
Middle voice is an area many people, especially soprani struggle with. It is the area where you can never be sure whether you sing like the low register or the high register. Mastering your middle voice is more difficult than it sounds, for many people at least.
@@katerinaaqu Before Callas ALL sopranos debuted heavy roles at age 12. It was common to sing right after puberty. Don’t be ignorant and do your research.
Absolutely wonderful!! Brava Angela!!
What was wonderful, her over the top vibrato or perhaps her sturdy voice ?
I saw her last night and SHE WAS EVERYTHING!! BELLLLLLLLLLE
This is her repertoire. I was worrying after the Semiramide... but this is another story. Really superb.
Joel Caspari I agree!
I agree COMPLETELY!!!
They gave her a coloratura role? Wow I hear her voice pretty dark and low timbre for that 0_0
Now you got me curious to check it out!
@@katerinaaqu Semiramide has been sung by many different soprano voices, and at one time all voices were expected to move.
@@SilfredoSerrano move?
Her American accent coming out on the consonants 🫠
A great young soprano: diction, interpretation, fiato control, pianissimi, perfect low notes...
Yes for stuff like this, but not coloratura
Gorgeous!!!!!!!!
la ópera es un arte muy fino, es una combinación de emociones corporales y mentales y un buen dominio de la voz y el diafragma.. todo un reto..
grandiosa,,,,
👏👏👏👏👏
L'altra notte in fondo al mare
Il mio bimbo hanno gittato,
Or per farmi delirare dicon ch'io
L'abbia affogato.
L'aura è fredda,
Il carcer fosco,
E la mesta anima mia
Come il passero del bosco
Vola, vola, vola via.
Ah! Pietà di me
In letargico sopore
È mia madre addormentata
Or per colmo dell'orrore dicon ch'io
L'abbia attoscata
L'aura è fredda
Il carcere fosco
E la mesta anima mia
Come il passero nel bosco
Vola via
Como siempre... la señora Meade sale mucho a deber...
♥️♥️♥️♥️♥️♥️♥️♥️♥️
1:28 ❤️❤️❤️❤️
"But I have an ongoing quarrel with the modern treatment of Romantic extravagance in vocal writing .... There are always the questions of whether or not we’ve just given up on singers, as in “We know they can’t really do this, so let’s go by the score, bar-by-bar;” or whether modern singers, whose attention seldom strays toward-or is directed toward-historical precedent, simply don’t understand the possibilities; or whether the many years of literalist enforcement by conductors and scholars have simply beaten singers into submission. "Yes,” “yes,” and “yes” are the correct answers."
Ouch.
Quoted from Conrad L. Osborne's latest piece dated 9 November 2018 in "Osborne on Opera: A Critical Blog".
Does the Met's HD streaming actually intend to stream this video instead of just "audio only"?
that's ridiculous.
She sounds wonderful here! I had never heard her in something where I thought that, but the verismo thing suits her voice very well. She needs to stay far, far away from the bel canto coloratura roles- lord have mercy. Just going by those alone I thought she was a terrible singer.
MEDONHO BAQUE
"L’altra notte in fondo al mare", da ópera Mefistofele,
De Arrigo Boito, recrudesce o clima angustiante em
Que o planeta Terra vive: muita dor que ele expele,
Antecedendo ao tempo em que o novo albor vem.
"A outra noite no fundo do mar, o meu bebê foi
Jogado. Agora, para me fazer delirar, dizem que
Eu o afoguei.", diz a ária de Boito, que muito dói.
Pensando no momento atual, é um medonho baque.
Alertando a todos para revigorar a fé que desperta
Nossos neurotransmissores a combater as investidas
Da frequência do medo onde a pandemia acerta.
Olhando para o horizonte, sem pensar no abismo
De Nietzsche, pessoas não ficarão mais submetidas
À dor, e deixarão de estar no estado de fobismo. (*)
(*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - MEDONHO BAQUE (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Drifting Away
This is a WAY better repertoire for her than coloratura roles. She sounds like a completely different singer here than in the awful recordings of Semiramide and Norma.
Where is the trill? No trill
Who is Henry Carey?
Excuse me @Bravo Luca and @Henry Carey, I see that asking "could you do better" is a very popular answer when someone does a criticism. As to say that to judge singing you HAVE TO BE a good singer. What is the logic in this? As a listener, and in some cases as a paying spectator in theater, I want to hear beautiful singing. IT IS my right to listen to aesthetically pleasig singing even if I don't know how to sing. It is my right to be disappointed if I don't hear it.
Secondly, why do you have to be a top singer to judge bad singing, but anyone can judge good singing? So, do your positive opinions come from your great experience in singing? Otherwise what you are doing is called DOUBLE STANDARD.
Example:
1. "She sounds awful" "show me what you can do" (because you want to see if they have a background that allows them to judge)
2. "she sounds beautiful" now I WANT to see if YOU have a background that allows you to judge.
May I listen to YOUR recordings then?
I'm usually a very polite person, but your answers to Camille and Ilias were disgustingly rude.
You go out to have pizza for dinner. The pizza arrives at your table with too sour tomato sauce, no salt at all and carbonized.
You obviously complain right? but the pizzaiolo tells you "CAN YOU DO BETTER??????????? SHOW ME HOW YOU DO PIZZA"
What the hell, this would be absurd. I don't think you would be happy with it. He is the one who's a cooker, who did training to make pizza, who studied for what he does. He is the one you are paying for him to do simply his job.
He has to know how to do it.
Not you.
Another example, there are many to show the absurdity of your attitude:
DO SOMMELIERS MAKE TOP QUALITY WINE? no, they simply know how to taste it and judge it.
I have a trill! God did not give her one, that’s why she should NOT be on stage singing opera.
Beautifully sung! This role really suits her musically. The Italian, however, could stand a diction examination. Not very polished pronunciation.
The Queen is HERE TO STAY.
She slayedddddddddddddddd the Richard Tucker Gala.
I LIVED tbh
Jermaine Woodard Jr. Yes she slaughtered the Rossini but was good in the early Verdi.
Henry Carey, I love me some BLYTHE!!!!! But MISS MEADE IS LIVING RIGHT NOW!!’
I pretend Meryl Streep didn't do Mama Mia and I'll pretend Angela Meade didn't sing Semiramide.
La voce è gradevole all'ascolto. Peccato per la dizione troppo americana e non sempre comprensibile. Le ci vorrebbe un buon maestro di italiano.
Angela brings her fantastic bel canto skills to this more modern music.
Uh.. this role seems to fit her better... but why the MET keeps hiring her is beyond me...
Bravo Luca I don’t think she is a bad singer. I just think she is ok. Just Ok. I mean her Semiramide was awful, you have to admit that but I guess she was experimenting.
I agree, to a degree. She sounds like a spinto to me, not really meant for bel canto. She has a beautiful voice, that's why she gets hired.
@@mariezenaida So only "light" and "lyric" voices are for bel canto? That's a massive error on your part. Do your historical research and stop relying on Decca recordings to inform you. Verdi took the baton from Donizetti in terms of elevating the Italian style of the 1840's into a more declamatory style of Italian opera (he and Donizetti were peers and great friends, focusing on the same evolution of stylistics in their compositions). She's constantly hired for her ability to sing what many cannot. She's not without fault as a singer at moments, but that's every singer.
@@josephweeks4326 I didn't say that. Dramatic coloraturas exist, I've listened to a great many of them.
@@mariezenaida You're obsessing over an idea of "fach" which is archaic and was always poorly defined. Voices no matter the size should be able to accomplish: agility, range of volume control and dynamics, mastery of 2 octaves, legato, good diction, pure tone. These are the standards of the "Old Italian school". You mentioned she shouldn't be singing bel canto because she's a "spinto" voice, yet you also just called her a dramatic coloratura voice? She has a consistent technique, and that's what I appreciate about her. She also focuses on doing the score justice and not making it about her ego - especially when she's highly criticized for her weight, which is the main reason she is targeted by misogynists in opera.
🚑🚑🚑
NO TRILL!!!!!!!!!! High larynx, constricted, thin, nasal, voice with a CLEAR wobble all over especially in the middle voice but the middle voice has no color, no clear vowels nor weight nor color! I am not being too critical. HER VOICE is a hot mess! And her vibrato is NOT fast, she simply has a very disturbing wobble.
Um how do you use a Maria Callas profile pic and talk about wobble she is the queen of wobble she started she wobble trend.
@@terrance7220 Callas started singing professionally at age 12. Before the age of 25 she sung 50+ DRAMATIC SOPRANO ROLES including Abigaile, Gioconda, Norma and Turandot over 40 times on stage each. This of course she was ever recorded in 1949. Next time you talk about wobble do not bring Callas in her decline due to excessive weight-loss, understood! This woman is a bacteria compare to Callas whose voice was larger and bulkier than the Empire State Building! You is a damn fool!
@@beachfanatic2010 Err...singing professionally at the age of 12 is actually massive sdrain for the vocal cords. There is no need to be defensive as much. Nowadays you have to be at least 16 to be able to study classical singing and we do know that anything below that is putting all the more danger to the vocal cords that are still developing. Age 12, no matter how talented you are, is still too young and already too much pressure on one's voice.
Also Callas did the thing of singing many different pieces of music that do not belong to the dramatic soprano repetoire like coloratura roles or lyric roles. While her dramatic metal is definitely unquestionable and amazing, I personally prefere Caballe's singing over lyric parts and defititely have other examples for coloratura parts.
Just like you, the person made a critique. As much I adore Callas and she is my idol for her amazing full voice, her incredible control, her amazing dynamics etc that made her rightfully so "La Divina" there are things that are good to be mentioned. Mistakes, if you will, that nowadays considerate singers and considerate teachers wouldn't do to their students for examples making them sing extensive repertoire, putting their voices to the edge or making them sing professionally at young ages etc.
So yes Callas is definitely THE opera singer but that doesn't mean that one cannot have other opinions. The objective things such as her control and clarity etc are there and no one can truly deny them but whether someone likes the more dramatic and more"old fashioned way" if you will that people used to sing back then, is entirely subjective.
And yes her weight loss is something that one can think about since she was dealing with health issues and stuff and obviously too much stress in her life, No one denies that
Middle voice is an area many people, especially soprani struggle with. It is the area where you can never be sure whether you sing like the low register or the high register. Mastering your middle voice is more difficult than it sounds, for many people at least.
@@katerinaaqu Before Callas ALL sopranos debuted heavy roles at age 12. It was common to sing right after puberty. Don’t be ignorant and do your research.
She ate the baby obviously.