Franco Fagioli, une voix riche en ornementations,somptueuse en tout point,sans tomber dans les excès,qui sert si bien la musique de Porpora. Un artiste digne de ce nom!Mais j'ai aussi un beau coup de cœur pour Nathalie Stutzmann et Max Emmanuel Cencic !Les valeurs sûres de la musique baroque et classique!
🙏🙏🙏 Ah Fagioli....Sa voix a du corps, elle est chargée d'émotion ....Elle ondule, elle danse tout naturellement avec cette musique magnifique de Porpora .....Merci !
Superbes les 3... Cencic une musicalité exceptionnelle. Stutzmann pour la chaleur de cette voix si particulière. Fagioli reste mon préféré car sa voix est sans doute une des plus belles du monde et il chante vraiment comme les castrats
Oui, je suis d'accord ! Les grands castrats chantaient sur 3 octaves et n'hésitaient pas à employer leur voix de poitrine, les compositeurs le savaient bien .....et nous aussi, et on apprécie leur génie !
Tres grandes de la música barroca. Los tres son fieles a su estilo y las tres interpretaciones son exquisitas. Pero... me quedo con Franco Fagioli, por la amplitud de su registro, sus agudos, sus graves y el sentimiento que le imprime a su interpretación, no se queda meramente sólo con la técnica. Saludos desde Buenos Aires - Argentina
Fagioli est le seul à chanter en cadence pure et fluide tout le long de l'air, comme le voulait Porpora, sans cassures ni ruptures de rythme , d'où cette merveilleuse impression de flottement , de légèreté . Je me laisse bercer par sa voix unique , c'est magnifique !
I just love the way Fagioli just comes onto his higher notes without any seeming effort. His performance is so restful but scored with underlining tension.
An ovation to all. Franco get thumbs 👍up for. It was warm with such ease. I hear a slight buzz on the top notes of Max, he's my no. 2. Brilliant everyone 👏
No doubt Cencic! The most beautiful, emotional and enchanting interpretation! The beauty of his voice alone is a knockout! :-) Grande Cencic! Bravissimo!
Pour trois de mes chanteurs préférés, j'oserais placer Franco Fagioli en premier pour l'ambiance, la rigueur et le rendu. Puis Max Cencic pour l'atmosphère baroque, la brillance et la clarté. Madame Stutzmann avec Porpora se perd un peu dans les ornementations et les respirations. Elle reste la reine incontestée chez Bach. Je les adore tous les 3
Fagioli really surprised me - I tend not to like him in slower arias, he's mostly a "fireworks guy" for me - but he's pretty damn impressive (and expressive) here. I went into this thinking Stutzmann would utterly dominate the competition, but it ended up being neck-in-neck between her and Fagioli.
...here it has to be Fagioli for the sincerity and warmth of his tone ...although Cencic's rendition might be more "baroque" in the sense of "artistic/arteficial"...
Such a hard choice because I love all three artists, but for me the order is: 1) Cencic - best overall tone for the piece. Excellent drama in the voice and best sounding orchestra imo. 2) Fagioli - best phrasing. Absolutely beautiful da capo. 3) Stutzmann - best expression. Out of the three I like hers the least because she places a few notes in a way that doesn't sound quite right. But still an amazing interpretation. I am working on this piece now with my voice teacher because I have fallen so in love with it. I feel like it's the new Alto Giove.
Yes, for me it's Max, definitely. Wonderful fluidity, beautiful connection to emotion without it flooding everything, and masterful technique. But all three are wonderful - in their different ways.
Belles interprétations mais l'âme de Porpora, émotion, frémissements, trilles, extrême raffinement , je ne la trouve que dans le chant de Fagioli, avec ses subtils embellissements d'esprit baroque qu'il maintient jusqu'à la fin . Franco Porpora .
Cencic has the more ‘authentic’ sound for me, many modern countertenors seem determined to add a velvety gloss, more suitable for the Victorian music hall stage. Just my opinion, but then again I am moved to tears by some of Orlinski’s performances, so not really the purist I pretend to be!
Cenciç is the absolute winner for me, from the moment the orchestra started playing, i felt; this is the most clear version, with the clearest choice in emotion; are we going very slow to tell the audience; hey, this is going to be one of the most dramatic versions you've ever heard? Or are we somewhere middel of the road without any choice, getting lost in ornamentations? No, we're going plain and old school warm drama, theatrical and very very consistent;; you immediately know that this ensemble isn't going to get lost; they know what they're doing and will be keeping this up till the end; like their lead, who knows how to tell a story. This is musical intelligence, this is wisdom. I love Franco Fagioli very very much l, and unfortunately Nathalie Stutzmann doesn't belong in this comparison challenge for me; it was as if she was singing the different parts of the story differently, and having trouble filling all of this ornamentation with colours and emotions. Of course Fagioli doesn't have any qualms filling ornamentations with colours and emotions, and i really enjoy him, but Cenciç was telling the story in one beautiful and golden breath and has stolen my heart AGAIN ( LOVE YOU QUEEN!!!!! you're a winner babe)
Agree with everything you said🤗. 100%. The most fluid, pure, precise emotional expression and mastery, crystalline tone quality. Just masterful. ¡Bravo Max!
Ну конечно Натали лучшая : такие эмоции самые разные от тоски ,плача неуверенности до нежности и надежды и тончайшие интонации, что казалось сердце оборвется , вся женская суть в чистом виде проявляется и очень много нюансов в голосе и эмануэль тоже хорош но по своему, своей теплотой, глубиной, мягкостью и даже нежностью , но не такой изобретательностью по части интонаций, больше мужского, больше силы и какой т о прямолинейности, не гибкости, вообщем, тоже хорош. Про первого скажу --- не мой типаж, красиво и холодно
well, the winner here is clearly Porpora, with three wonderful interpretations of this aria (hauntingly beautiful is definitely the best definition). It's also very interesting that the three orchestras propose rather different accompaniment and they all work, astonishing! To my surprise, among the three singers I liked Fagioli the most: the voice sounds very good and he kept it simple but moving throughout. On the other hand, Stutzmann is almost expressionistic and sometimes this hinders the original 'affetti' of the aria to pass through. It feels slightly artificial. In addition, she sounds slightly uneven particularly in some high notes. But she's the one that takes more risks in the da capo variations with great effect. Cencic takes it at a ever so slightly too fast speed, which somehow makes him less expressive: sometimes it feels like he sings the notes without going too much in depth on the interpretation.
It will be because whenever I have heard this wonderful aria of Porpora, and they are all excellent performers, but I certainly stay with Franco Faggioli, he interprets the music of Porpora masterfully. Thank you.
Ufff. Pues en este caso me es muy difícil decidirme. Las tres versiones son maravillosas. Quizás, y tras mucho dudarlo, me quede con la versión de Fagioli, aunque me gusta más la orquesta que acompaña a Nathalie Stutzmann. Pero las tres versiones son magníficas.
I must add one !more comment on Stutzmann. From her opening phrases, she sent chills up and down my body. The timbre , the diction, the emotional impact are outstanding! I must give her first place before Fagioli.
Original performer: Anna d’Ambreville Perroni for the role of Ericlea (Venice, 1726) Therefore, Stutzmann gives us the performance closer to what Porpora intended, a woman singing this aria.
One recommendation for your wonderful presentations: it would be useful for the listeners to hear Porpora's forgotten aria "Fugi dagli occhi miei" from "Semiramide riconosciuta"! It would be highly effictive as well to let us hear Hasse's "Siam navi all'onde algenti" from his "Olympiade" as there are so many singers who perform it: Nicholas Spanos, Max Cencic...
Nathalie, of course: the natural beauty of the female contralto voice. In comparison, countertenors always have a somewhat artificial sound. In fact many arias mainly sung by countertenors today were actually written for well-known female contraltos of the era. Check out Nathalie Stutzmann's new album "Contralto".
"Artifice" is the very essence of the baroque art, its substance. The baroque is a totally created world to magnify the life; so the voices are used in a complete created way to project us in an other reality. So, castrati, deep contralti, counter-tenors (or "haute-contres" in France), possibly super deep basses were "pop-stars"; the other ordinary voices were disdained.
Please stop doing this. Your previous posts have been so lovingly put together for the betterment of the music. Let’s not become like the classical opera fans who enjoy nothing more than tearing down their favourite artists with posts like “who disappointed you most ?”
Nathalie Stutzmann hands down. Her deep contralto voice especially in the low range is just mesmerizing. Her voice can't be duplicated.
Franco Fagioli, une voix riche en ornementations,somptueuse en tout point,sans tomber dans les excès,qui sert si bien la musique de Porpora. Un artiste digne de ce nom!Mais j'ai aussi un beau coup de cœur pour Nathalie Stutzmann et Max Emmanuel Cencic !Les valeurs sûres de la musique baroque et classique!
Je partage votre avis. Le phrasé somptueux de Franco Fagioli m'a enthousiasmé.
Ici c’est Franco Fagioli qui me fait vibrer. Même si les deux autres sont également excellents…
Fagioli is wonderful!
🙏🙏🙏 Ah Fagioli....Sa voix a du corps, elle est chargée d'émotion ....Elle ondule, elle danse tout naturellement avec cette musique magnifique de Porpora .....Merci !
Superbes les 3... Cencic une musicalité exceptionnelle. Stutzmann pour la chaleur de cette voix si particulière. Fagioli reste mon préféré car sa voix est sans doute une des plus belles du monde et il chante vraiment comme les castrats
Oui, je suis d'accord ! Les grands castrats chantaient sur 3 octaves et n'hésitaient pas à employer leur voix de poitrine, les compositeurs le savaient bien .....et nous aussi, et on apprécie leur génie !
Tres grandes de la música barroca. Los tres son fieles a su estilo y las tres interpretaciones son exquisitas.
Pero... me quedo con Franco Fagioli, por la amplitud de su registro, sus agudos, sus graves y el sentimiento que le imprime a su interpretación, no se queda meramente sólo con la técnica.
Saludos desde Buenos Aires - Argentina
Nathalie Stutzmann - one love!
Fagioli, of course. He sings with enveloping richness and impassioned sensitivity.
Fagioli est le seul à chanter en cadence pure et fluide tout le long de l'air, comme le voulait Porpora, sans cassures ni ruptures de rythme , d'où cette merveilleuse impression de flottement , de légèreté . Je me laisse bercer par sa voix unique , c'est magnifique !
Fagioli...he´s so good...he´s my God
Fagioli for sure
I adore all of them ...
But - Franco ! - these sounds are ... - delight !!
In the morning it's Fagioli that Iike, in the afternoon Stutzman, but in the night Cencic!
Franco Fagioli is the Best! Perfectly!!!
Franco Fagioli has a nice voice. For me, he´s the best.
Love 💘💘 Stutzmann and Fagioli the best in this series . Wonderful depth of emotion and lush vocalizations by both performers.
I just love the way Fagioli just comes onto his higher notes without any seeming effort. His performance is so restful but scored with underlining tension.
Los 3 son grandes cantantes.. Si hay que elegir me quedó con Franco Fagioli👏😘
An ovation to all. Franco get thumbs 👍up for. It was warm with such ease. I hear a slight buzz on the top notes of Max, he's my no. 2. Brilliant everyone 👏
Franco Fagioli!
Fagioli!
No doubt Cencic! The most beautiful, emotional and enchanting interpretation! The beauty of his voice alone is a knockout! :-) Grande Cencic! Bravissimo!
Welche ist hat Franco Fagioli schön stimm! Vielen Dank unser Herr, dass diese Geschenkt gibt das Welt. Vielen Dank Dir Gott.
Pour trois de mes chanteurs préférés, j'oserais placer Franco Fagioli en premier pour l'ambiance, la rigueur et le rendu. Puis Max Cencic pour l'atmosphère baroque, la brillance et la clarté. Madame Stutzmann avec Porpora se perd un peu dans les ornementations et les respirations. Elle reste la reine incontestée chez Bach. Je les adore tous les 3
Cencic was brilliant !!!!
Merci à Max et à Nathalie pour leurs grands talents mais ma préférence va à l’ interprétation pleine d’émotion de Franco
Max Emanuel Cencic
Los tres son extraordinarios Bravo, bravo....👏👏👏👏👏
Fagioli really surprised me - I tend not to like him in slower arias, he's mostly a "fireworks guy" for me - but he's pretty damn impressive (and expressive) here. I went into this thinking Stutzmann would utterly dominate the competition, but it ended up being neck-in-neck between her and Fagioli.
Marvellous! I like this aria so much, thank you all!!
Fagioli pour la voix et l’intensité!
I like them all. Nathalie is my favourite The low notes, the breath: it is the most tender.
Franco Fagioli, por la potencia de su voz!!! Bravo!!
Stutzmann absolutely faultless just the depth and rich chocolate yet sparkle tone is just captivating
Have to say I'm really impressed by Stutzmann who I've never heard before
Fagioli for warmth of tone and voluptuous lower register.
Franco Fagioli~~
Nathalie per sempre, incofrontabile, inimitabile, inarrivabile. Manuel Cencic molto similaee Nathalie.👋👋👋👋👋👋👋
Max again for me in this performance
...here it has to be Fagioli for the sincerity and warmth of his tone ...although Cencic's rendition might be more "baroque" in the sense of "artistic/arteficial"...
Non riesco a sceglierne uno.Splendidi tutti e tre!
Such a hard choice because I love all three artists, but for me the order is:
1) Cencic - best overall tone for the piece. Excellent drama in the voice and best sounding orchestra imo.
2) Fagioli - best phrasing. Absolutely beautiful da capo.
3) Stutzmann - best expression. Out of the three I like hers the least because she places a few notes in a way that doesn't sound quite right. But still an amazing interpretation.
I am working on this piece now with my voice teacher because I have fallen so in love with it. I feel like it's the new Alto Giove.
In bocca al lupo!
Max Emanuel Cencic is brilliant too...
Yes, for me it's Max, definitely.
Wonderful fluidity, beautiful connection to emotion without it flooding everything, and masterful technique.
But all three are wonderful - in their different ways.
Nathalie's Stutzmann's voice is uniquely appealing to me.I'm not a trained musician,so it would be futile for me to give my opinion otherwise.
Quoique tous les trois chantent merveilleusement j’hésite entre Franco et Max.
Finalement c’est Franco qui gagne cette fois, puisque plus dramatique.
Belles interprétations mais l'âme de Porpora, émotion, frémissements, trilles, extrême raffinement , je ne la trouve que dans le chant de Fagioli, avec ses subtils embellissements d'esprit baroque qu'il maintient jusqu'à la fin . Franco Porpora .
Such Richness and Sensitivity
FAGIOLI unsurpassed !
Stutzmann is very good too.
Fagioli.
Preci0sqs voces y musica
GENIAL TRES VOCES EXTRAORDINARIAS Y MUY PARTICULARES.
NATALIE, MÁX, FRANCO. GRACIAS DESDE MÉXICO
Cencic has the more ‘authentic’ sound for me, many modern countertenors seem determined to add a velvety gloss, more suitable for the Victorian music hall stage. Just my opinion, but then again I am moved to tears by some of Orlinski’s performances, so not really the purist I pretend to be!
Secondo me, Fagioli! Lui ha un buon contralto!
Cenciç is the absolute winner for me, from the moment the orchestra started playing, i felt; this is the most clear version, with the clearest choice in emotion; are we going very slow to tell the audience; hey, this is going to be one of the most dramatic versions you've ever heard? Or are we somewhere middel of the road without any choice, getting lost in ornamentations? No, we're going plain and old school warm drama, theatrical and very very consistent;; you immediately know that this ensemble isn't going to get lost; they know what they're doing and will be keeping this up till the end; like their lead, who knows how to tell a story. This is musical intelligence, this is wisdom. I love Franco Fagioli very very much l, and unfortunately Nathalie Stutzmann doesn't belong in this comparison challenge for me; it was as if she was singing the different parts of the story differently, and having trouble filling all of this ornamentation with colours and emotions. Of course Fagioli doesn't have any qualms filling ornamentations with colours and emotions, and i really enjoy him, but Cenciç was telling the story in one beautiful and golden breath and has stolen my heart AGAIN ( LOVE YOU QUEEN!!!!! you're a winner babe)
Agree with everything you said🤗.
100%.
The most fluid, pure, precise emotional expression and mastery, crystalline tone quality.
Just masterful.
¡Bravo Max!
I love all here! Everyone did a such a good job! Bravissimo!👌🏻❤️🔥🙌🏻
Franco Fagioli
As usual, why not try to understand the artist's idea? They are all excellent long live the composer! Gratia Dei!
Bravo franco.
FRANCO FAGIOLI
Stuzmann primero, su voz es especial, el 2° lugar Fagioli, con esa musicalidad cavernosa tan especial.
Ну конечно Натали лучшая : такие эмоции самые разные от тоски ,плача неуверенности до нежности и надежды и тончайшие интонации, что казалось сердце оборвется , вся женская суть в чистом виде проявляется и очень много нюансов в голосе и эмануэль тоже хорош но по своему, своей теплотой, глубиной, мягкостью и даже нежностью , но не такой изобретательностью по части интонаций, больше мужского, больше силы и какой т о прямолинейности, не гибкости, вообщем, тоже хорош. Про первого скажу --- не мой типаж, красиво и холодно
Max Emanuel Cencic, most definitely, plus he has the best accompaniment. Fagioli is my second choice.
well, the winner here is clearly Porpora, with three wonderful interpretations of this aria (hauntingly beautiful is definitely the best definition). It's also very interesting that the three orchestras propose rather different accompaniment and they all work, astonishing!
To my surprise, among the three singers I liked Fagioli the most: the voice sounds very good and he kept it simple but moving throughout. On the other hand, Stutzmann is almost expressionistic and sometimes this hinders the original 'affetti' of the aria to pass through. It feels slightly artificial. In addition, she sounds slightly uneven particularly in some high notes. But she's the one that takes more risks in the da capo variations with great effect. Cencic takes it at a ever so slightly too fast speed, which somehow makes him less expressive: sometimes it feels like he sings the notes without going too much in depth on the interpretation.
My vote is for Franco.
It is a tough decision though.
All superb! Truly gorgeous voices, exquisite warmth and expression.
Max Emanuel Cencic - the best here ) Bravo to all!
Cencic bije wszystkich na głowę
Cencic! He actually gave me goosebumps.
Maravilloso, hermosas voces, sin embargo Máx E. Cencic es sublime, así sin más es SUBLIME. Bravísimooooooo. Un deleite Gracias.
Thank you very much. I'm very appreciated!!!🙏
Franco
I usually much prefer Cenčić, but here I gotta go with Fagioli, more fluid and a softer sound as seems called for by the text.
Cencic beyond comparison with much appreciation for Franco and Nathalie, also accompagniment
all are #1 here! the greats are just being great (as per)!!!
Cencic
Fagioli
It will be because whenever I have heard this wonderful aria of Porpora, and they are all excellent performers, but I certainly stay with Franco Faggioli, he interprets the music of Porpora masterfully. Thank you.
Ufff. Pues en este caso me es muy difícil decidirme. Las tres versiones son maravillosas. Quizás, y tras mucho dudarlo, me quede con la versión de Fagioli, aunque me gusta más la orquesta que acompaña a Nathalie Stutzmann. Pero las tres versiones son magníficas.
Nathalie Stutzmann
I am always enchanted by Nathalie Stutzmann
I must add one !more comment on Stutzmann. From her opening phrases, she sent chills up and down my body. The timbre , the diction, the emotional impact are outstanding! I must give her first place before Fagioli.
Grande Fagioli ma, Nathalie forever!!!!!
Fagioli! And second Cencic!
Для меня Макс Эмануэль Ценчич лучший!!!
Max Emanuel Cencic here
The voices is with Heavens gave the God.
Так, їх голоси це дар Божий - рідкісні
Не могу выбрать.Исполнение Фаджоли и Штутцман каждое по своему великолепно!Ценчич показался несколько суховато-академичным!
Natalie. No comparison
Merci Max
Max Emanuel Cencic. Cuanta dulzura y exquisita interpretación!!! Bravo Max
Original performer: Anna d’Ambreville Perroni for the role of Ericlea (Venice, 1726)
Therefore, Stutzmann gives us the performance closer to what Porpora intended, a woman singing this aria.
sorry, Anna sings in need of a castrato. she was 2. class
Nathalie!
No doubt: Nathalie for ever
PASTA giuditta E FAGIOLI franco FOREVER.
Cencic!
cencic!!!! wow!! amazing!!
One recommendation for your wonderful presentations: it would be useful for the listeners to hear Porpora's forgotten aria "Fugi dagli occhi miei" from "Semiramide riconosciuta"! It would be highly effictive as well to let us hear Hasse's "Siam navi all'onde algenti" from his "Olympiade" as there are so many singers who perform it: Nicholas Spanos, Max Cencic...
Max Emanuel Cencic is best
Nathalie, of course: the natural beauty of the female contralto voice. In comparison, countertenors always have a somewhat artificial sound. In fact many arias mainly sung by countertenors today were actually written for well-known female contraltos of the era. Check out Nathalie Stutzmann's new album "Contralto".
"Artifice" is the very essence of the baroque art, its substance. The baroque is a totally created world to magnify the life; so the voices are used in a complete created way
to project us in an other reality. So, castrati, deep contralti, counter-tenors (or "haute-contres" in France), possibly super deep basses were "pop-stars"; the other ordinary voices
were disdained.
Fantastic CD. Great reviews too.
@@brunopicaude3092 es
FAGIOLI E CENCIC..STUPENDI TUTTE DUE.LETS JUST LEAVE THE LADIES OUT THIS TIME.....
I think the countertenors are quite as good as Ms. Stutzmann. If only I could find an Rnglish translation of this aria!
Stutzmann.
Cencic.
Please stop doing this. Your previous posts have been so lovingly put together for the betterment of the music. Let’s not become like the classical opera fans who enjoy nothing more than tearing down their favourite artists with posts like “who disappointed you most ?”