I had the great honor to meet, Adelaide Negri, who was my opera teacher with her husband in Buenos Aires Argentina I feel so happy that she is a living legend.
For me, this is the most exciting posting on CZcams! I fully appreciate the time that the poster must have spent to create this offering. Many thanks to the poster!
Yes, very much like one of Callas' live versions though without the final high F; no half trills and sounding effortless (and audible above the orchestra!)
La gente vive pensado que la mejor cantante es la de las notas altas. La Sonambula es más que eso, es una pieza bellísima en su conjunto. Y ..hay que agradecerle a María Callas por sacarla del olvido y modernizarla y lograr expresar el genio de Bellini, y gracias al gran Visconti por actualizarla escenicamente. ❤❤❤
Pude ver una Sonnambula en directo con Nadine Sierra debutando el papel, y me impactaron dos cosas: 1. Nadine en directo tiene una voz mucho mejor que cualquier grabación incluso del directo, con un centro sonoro y un grave de voz mixta suficientemente desarrollado para el belcanto. Sus agudos son buenos y eficaces y las agilidades son notables. Quizá no sea sobresaliente en la coloratura, pero hace un trabajo eficaz y eficiente y el director creo que le ordenó que no desvariase con tradiciones que la comprometiesen. 2. El 95% del papel son notas centrales y graves, estas agilidades están en la cabaletta final básicamente y si el papel en su conjunto está bien interpretado, no hace falta abusar de la pirotecnia vocal ni inventarse la melodía para introducir más sobreagudos de los que hay. Por cierto en la partitura la nota más alta escrita es mi bemol sobreagudo, el fa natural sólo existe si se traspone un tono hacia arriba
Moffo es única... ❤️ La voz y peso de una Lírica neta con la extensión y agilidad de una Ligera, en pocas palabras: una Lírico Ligera, aunque ella se decía una Lírico pura, no una Ligera ni una Coloratura, no entiendo porque no está aquí como la mejor Amina, además de una gran Soprano, era una maravilla como actriz.
I got to hear Pratt’s Sonnambula twice. It was absolutely incredible, the first time I was not prepared for that and I was totally astonished! Long live Jessica!
It is a rather sad comment to think that no one else did it or will do. I am more optimistic. Devia is fantastic and I saw her live several times with great joy. It always surprised me she was not more famous and did not record much compares to others. She was sometimes criticized in the press (I recall) for having a great technique but being cold on stage. I did not notice that and remember vividly her performances. I also loved Gruberova and Serra. Those three were the absolute Bel Canto queens who ruled the opera world in the 1980s and 1990s. I often saw Gruberova and she was sensational. Sadly I never saw Serra but treasure her recordings. What’s great in opera is that anyone can have a favorite singer, and there’s no need to trash the ones you don’t like.
I don’t think you trashed anyone, since she SUPERBLY sang Roberto Devereux at the age of 69. Her exemplar career, combined by high quality and longevity, for some aspects, put her high up there with few others. Considering other singers, who should have retired much before they actually did, ending up almost farting on stage, you are right. Devia’s dedication, quality, and longevity are SUPERB and should be praised as such. And please, do TRASH someone, since they deserve it . 😊
Devia is great, but I think my favorite is Gutierrez. Her F is decent, but what matters more is what she does with the rest of the music. She has a natural sense of this music, and she understands that the fioriture have to be sung effortlessly and legato. And she has a wonderful technical mastery, including passagework and trills. To me, she reminds me most of the style of singing of the Golden Age of opera.
She’s great fun. She also did Abigaille & Turandot. The others did not. She was of the rare breed of a sfogato soprano as was the first Amina (Giuditta Pasta).
Top 2 would be Dessay & Rancatore , very hard to decide which one would come in first since they each have their own amazing and unique round bell sounds,
Great them, great post. Love actress Dessay, always amazed by Devia’s perfection and fascinated by live performance Gruberova experiences. At least I missed these: Sumi jo: czcams.com/video/pWOCSVowtCE/video.html Edita Gruberova: czcams.com/video/KINZAN59NlM/video.html czcams.com/video/PCku4JfLWJg/video.html
Ah, non giunge uman pensiero al contento ond'io son piena a miei sensi io credo appena tu m'affida o mio tresor. Ah, mi abbraccia, e sempre insieme, sempre uniti in una speme,
A lack of elegance is a common theme with weird movements and wriggling for breath support. Sutherland and even Callas at the end tossed off high notes without any seeming physical histrionics.
She added the high F in most of her productions before 2002. The one in this recording is edited however, but you can hear her cabaletta with the F elsewhere on youtube. She always added it during the final cadenza, and not with the chorus.
Uniquely and outstandingly histrionic she was for sure. Faithful to the score when singing agilità passages she was not, she sang her own melodies rather than the composer's. Shame this destroyed her voice too early, she was amusing to watch for her natural vis comique.
@@RBP1963 I will check it. Anyways, if I had been more into Opera back when ND was active, I'd never pay to watch her in Traviatta, Lucia or Sonnambula. Perhaps for her Olympia or her Zerbinetta I would have paid a ticket, or for any production you can call buffa, where her vocal and acting assets were most appreciated. She should be labelled as a great "soprano buffa", same label that fits Diana Damrau actually. Had Dessay been Spanish, she would have been a remarkable zarzuela star, for comic zarzuelas of course, not dramas.
@@draganvidic2039 When you heard her live, she didn't force at all; it was actual the opposite; her voice filled the space very easily, even on the pianissimi.
@@draganvidic2039 ...Sutherland did have an F early in her career but could not count on it. She did Mozart's the Impresario. It's on You Tube...check it out.
One of these ladies, who will remain nameless, never ceases to amaze me as to how she remained so famous. Between her endless slow tempi, scoops and vulgar ornamentation, I can not listen to her. Yet she is considered a great coloratura soprano. I have to chalk it up to the cult of personality, not true talent.
I saw Dessay live in Sonnambula a number of times in her prime and she always added an effortless high-F (like in Bordeaux or at La Scala in 2001). At that time she could easily sing in public up to a high-A flat. But was more important is that she was a great actress and really moving in that role.
Neither had high Fs, at least not secure. Sutherland transposed Queen of the Night and only sang Madame Herz in Impresario once or twice. Eb and E were there comfortable top
No, the higher F is interpolated There's also an alternate version of the aria that Guiditta Pasta sang, you can hear a variation of the aria aria sung by Caballe and Fleming as well as Bartoli
No F6 exists in the score, it's a tradition for some light soprani to show off high notes, same as in other opera's with cabalettas full of agility where they vary from the score the second time the verse is sung.
Giuseppe Martella I often saw Natalie Dessay live, notably twice in Sonnambula (more than 20 years ago) and she had no problems with volume. Bellini is not Wagner. I am not sure I understand this bashing against N. Dessay. Everyone knows she had in her prime an incredible high register up to high-A flat and never had an issue to be heard in vast auditoriums like Paris Bastille or the Met. When she started to sing Sonnambula around 1998 she always added a long floating high-F at the end of the rondo final (which is much difficult to achieve that the F with the chorus as the voice is not sustained by the orchestra) and this continued up to 2001 (at La Scala). It is important to see artists live and not base criticisms only on videos one hear on CZcams or on recordings.
Hello, sorry I didn’t make myself clear. I meant that in that particular recording she only went to a B flat and they just edited an F. Sorry, about that.
Чем больше я слушаю эту арию Линды из оп" Сомнамбула' , тембольше прихожу к мнению, что одна нота фа , портит голос исполнителя. Во - первых изнашивает , меняет тембр, много приспособлений, подготовка к взятию её и т д.
Fabrizio Diberardino: Non penso che possia trovare perché non esistono piu purtroppo! Ma non capisco perché guardare tal video se non conosce niente al canto lirico!
Unless it's full opera buffa or a comic operetta where histrionism is tolerated and even desirable to spice up the show, then a very high note may make sense
La maggior parte manda urla disumane e inutili! Manca qui la Sutherland e la Gruberova ma la migliore interpretazione resta sempre quella della Callas. Oggi la migliore e più convincente è la Pratt.
Mirella Bunoaica you are not a singer at all. you have no coloratura at all. why did u try to sing it? u didn't listen how does it should sound? Shame in you!
@@giant4692 no, no quiero provocar. Sólo quiero dejar claro que aquí se está opinando acerca de la emisión de una nota (técnica de canto), pero no se toma en cuenta la integralidad de la ópera, para la cual la cantante debe poseer conocimientos de bel canto, para que su presentación sea creíble. Incluso para emitir la nota.
@@miguelantoniofaundezrojas2826 Si no quieres provocar, Miguel, significa que no entiendes mucho de ópera. Por supuesto que puedes expresar tu opinión sobre la Devia - un tono de voz puede o no gustar - pero no puedes decir que la Devia no conoce el belcanto. Si hoy conocemos muchas obras de Donizetti, Bellini y Rossini se lo debemos sólo a ella, a su trascendental técnica, a su diabólico control de la respiración, a su habilidad tanto en el canto elegíaco como en la más difícil agilidad. Ese F6 es perfecto y perfectamente afinado (y considera que surge claramente de un enorme coro y una orquesta muy ruidosa). ¿De qué errores estás hablando? La Devia es una de las mejores sopranos que hemos tenido en los últimos treinta años, si no la mejor absoluta. Repito: puedes decir que no te gusta su voz (a mí, por ejemplo, no me gusta la voz de Tebaldi, pero no me atrevería a decir que canta mal), pero afirmar que Devia no conoce el belcanto es una herejía.
Devia is out of this world! And Dessay had a such a wonderful high register!
Dessay had for 5 years.
Devia for 50.
@@draganvidic2039 nice try....try 20 years
@@jimbuxton2187 Bad ears?
@@draganvidic2039 yes... your ears are very bad. Devia is really fine though...I enjoy everything she does. Very classy.
@@jimbuxton2187
Can’t help you
I had the great honor to meet, Adelaide Negri, who was my opera teacher with her husband in Buenos Aires Argentina I feel so happy that she is a living legend.
For me, this is the most exciting posting on CZcams! I fully appreciate the time that the poster must have spent to create this offering. Many thanks to the poster!
Devia hands down. It’s not just the note, it’s the perfect style and technique.
Gianera John An underappreciated artist in the US
One of few who SING the note instead of a too high larynxed scream...
Yes, very much like one of Callas' live versions though without the final high F; no half trills and sounding effortless (and audible above the orchestra!)
Il top del top ,,soprani di grandissimo livello e professionalità👏👏👏👏👏❤️🌹🌹bravissime
Jessica Pratt. Love the way she pops out that F in alt.
Callas forever with his diminuendo
La gente vive pensado que la mejor cantante es la de las notas altas. La Sonambula es más que eso, es una pieza bellísima en su conjunto.
Y ..hay que agradecerle a María Callas por sacarla del olvido y modernizarla y lograr expresar el genio de Bellini, y gracias al gran Visconti por actualizarla escenicamente. ❤❤❤
Pude ver una Sonnambula en directo con Nadine Sierra debutando el papel, y me impactaron dos cosas:
1. Nadine en directo tiene una voz mucho mejor que cualquier grabación incluso del directo, con un centro sonoro y un grave de voz mixta suficientemente desarrollado para el belcanto. Sus agudos son buenos y eficaces y las agilidades son notables. Quizá no sea sobresaliente en la coloratura, pero hace un trabajo eficaz y eficiente y el director creo que le ordenó que no desvariase con tradiciones que la comprometiesen.
2. El 95% del papel son notas centrales y graves, estas agilidades están en la cabaletta final básicamente y si el papel en su conjunto está bien interpretado, no hace falta abusar de la pirotecnia vocal ni inventarse la melodía para introducir más sobreagudos de los que hay. Por cierto en la partitura la nota más alta escrita es mi bemol sobreagudo, el fa natural sólo existe si se traspone un tono hacia arriba
DEVIA, SUTHERLAND, y GRUBEROVA, son maravillosas para arias belcantistas.
Moffo es única... ❤️
La voz y peso de una Lírica neta con la extensión y agilidad de una Ligera, en pocas palabras: una Lírico Ligera, aunque ella se decía una Lírico pura, no una Ligera ni una Coloratura, no entiendo porque no está aquí como la mejor Amina, además de una gran Soprano, era una maravilla como actriz.
Dessay always amazed me with her high register.
Vini Soaris so much voice in such a small package!
Good screaming for a few years...
I got to hear Pratt’s Sonnambula twice. It was absolutely incredible, the first time I was not prepared for that and I was totally astonished! Long live Jessica!
Thanks for leaving Callas out, it gives a chance to give due respect to many other wonderful voices.
Mariella Devia sang as coloratura for around 50 years...
With Eb:s, trills and style.
Nobody here did or will do...
It is a rather sad comment to think that no one else did it or will do. I am more optimistic. Devia is fantastic and I saw her live several times with great joy. It always surprised me she was not more famous and did not record much compares to others. She was sometimes criticized in the press (I recall) for having a great technique but being cold on stage. I did not notice that and remember vividly her performances. I also loved Gruberova and Serra. Those three were the absolute Bel Canto queens who ruled the opera world in the 1980s and 1990s. I often saw Gruberova and she was sensational. Sadly I never saw Serra but treasure her recordings. What’s great in opera is that anyone can have a favorite singer, and there’s no need to trash the ones you don’t like.
@@oliviero.m750
Did I trash anyone?
I don’t think you trashed anyone, since she SUPERBLY sang Roberto Devereux at the age of 69. Her exemplar career, combined by high quality and longevity, for some aspects, put her high up there with few others.
Considering other singers, who should have retired much before they actually did, ending up almost farting on stage, you are right.
Devia’s dedication, quality, and longevity are SUPERB and should be praised as such.
And please, do TRASH someone, since they deserve it . 😊
@@oliviero.m750 I was deceived by Serra on stage. Her voice was very acid. Devia and Gruberova were effectively incredible.
Devia is great, but I think my favorite is Gutierrez. Her F is decent, but what matters more is what she does with the rest of the music. She has a natural sense of this music, and she understands that the fioriture have to be sung effortlessly and legato. And she has a wonderful technical mastery, including passagework and trills. To me, she reminds me most of the style of singing of the Golden Age of opera.
Why wasn’t Gutierrez more famous?
She is awesome
Adelaide Negris trills sound like alien spaceship sounds. Not complaining particularly, its kinda cool.
Cool if you are George Lucas shooting sw hahahaha
She’s great fun.
She also did Abigaille & Turandot.
The others did not.
She was of the rare breed of a sfogato soprano as was the first Amina (Giuditta Pasta).
Interested in one more version? czcams.com/video/3q2Bqd9Gow4/video.html
Top 2 would be Dessay & Rancatore , very hard to decide which one would come in first since they each have their own amazing and unique round bell sounds,
Rancatore had first an inverted vibrato then a wobble for the rest of her 23 years career and nobody can remove her from the stage…
Devia. Per robustezza e facilità di emissione, purezza di suono e intonazione. Non ci sono storie.
Devia 😍
Great them, great post. Love actress Dessay, always amazed by Devia’s perfection and fascinated by live performance Gruberova experiences. At least I missed these:
Sumi jo:
czcams.com/video/pWOCSVowtCE/video.html
Edita Gruberova:
czcams.com/video/KINZAN59NlM/video.html
czcams.com/video/PCku4JfLWJg/video.html
I will always prefer Anna Moffo with her version of the High F. Very elegant.
Me too I love Moffo's version🤩
Ah, non giunge uman pensiero
al contento ond'io son piena
a miei sensi io credo appena
tu m'affida o mio tresor.
Ah, mi abbraccia, e sempre insieme,
sempre uniti in una speme,
Callas ist he only one!
Devia at all!
Brava to all the ladies....but especially to Jessica Pratt!!
Виктория Лукьянец тоже поёт фа 3 но немного по-другому спела концовку. Её нету тут в списке(
czcams.com/video/fSl5i6OklBY/video.html Victoria Loukianetz Sonnambula
For 2 different reasons I'll take Callas and Sutherland in a heartbeat..
Mirella Bunoaica is fantastic!!!
Her notes is just (scooped up) sung with a wide throat and not a squeezed whistle like tone.
A lack of elegance is a common theme with weird movements and wriggling for breath support. Sutherland and even Callas at the end tossed off high notes without any seeming physical histrionics.
Senza dubbio la Devia.... La Pratt ( padrona di casa) bella voce : " orecchiabile"
Guttierez hands down although Devia is probably better technically.
And for 50 years not just a few...
Devia has a stunning voice.
La mejor versión de esta dificilísima aria es de la Mítica e inigualable María Callas y no esta incluida en este video. CALLAS FOREVER.
*She is not here cause she does not have the high F ;)*
Callas abarcaba un rango desde F3 a E6
czcams.com/video/Hfi53etQa38/video.html
There is nothing like the human voice. AND, nothing Iike it in the hands of giants
who wield her genius.
@@eduardojesusmendez E igualmente llegó a tocar ese High F y ádemas se decía que podía a llegar hasta a un G6.
Okie Doke. More attention on legato, expression and firmness of line... less on "look how high I can sing".
very difficult song..
Wait,What year did Natalie hits a F in her La Sonnambula days?
Never, it's an edit I think...
She added the high F in most of her productions before 2002. The one in this recording is edited however, but you can hear her cabaletta with the F elsewhere on youtube. She always added it during the final cadenza, and not with the chorus.
Anna Moffo
Ma la Dragoni?? E la gruberova?
caballe
MARIELLA DEVIA NR 1STUPENDA MERAVIGLIOSA
Dessay was unique !
Some years of forcing then gone
Uniquely and outstandingly histrionic she was for sure. Faithful to the score when singing agilità passages she was not, she sang her own melodies rather than the composer's. Shame this destroyed her voice too early, she was amusing to watch for her natural vis comique.
really ! please visit Glitter and guy from Càndide , Bernstein, she did a histrionic and perfect perfomance ! wow !!!
@@RBP1963 I will check it. Anyways, if I had been more into Opera back when ND was active, I'd never pay to watch her in Traviatta, Lucia or Sonnambula. Perhaps for her Olympia or her Zerbinetta I would have paid a ticket, or for any production you can call buffa, where her vocal and acting assets were most appreciated. She should be labelled as a great "soprano buffa", same label that fits Diana Damrau actually. Had Dessay been Spanish, she would have been a remarkable zarzuela star, for comic zarzuelas of course, not dramas.
@@draganvidic2039 When you heard her live, she didn't force at all; it was actual the opposite; her voice filled the space very easily, even on the pianissimi.
Lucia Aliberti ❤
Deutekom is my best
Supongo que no has puesto EDITA GRUBEROVA sabiendo que es muy superior a todas !!!!!!
Where is Gruberova on this video? The best high F for Sonnanbulla.
SCOOPEROVA...
You did not include Edita Gruberova...
Victor Li Not Sutherland either...
HAHAHAHA!
Because she had no F...
The point is that Edita DID have Fs for this particular aria.
Victor Li I know
@@draganvidic2039 ...Sutherland did have an F early in her career but could not count on it. She did Mozart's the Impresario. It's on You Tube...check it out.
Jim Buxton Zzzzzz... 😆
DESSAY
11 huh
Mariella Devia is nr 1
Roberta Peters ????
One of these ladies, who will remain nameless, never ceases to amaze me as to how she remained so famous. Between her endless slow tempi, scoops and vulgar ornamentation, I can not listen to her. Yet she is considered a great coloratura soprano. I have to chalk it up to the cult of personality, not true talent.
Edita Scooperova I guess
If you're going to make this comment, then back it up with a name!
Jessica Pratt divine ....
la devia superlativa..la bunoaica mai sentita interessante registro acuto
Mado Robin for sure as donkey shit would hit that note and instead of dropping, hit an even higher note to finish. She was a goddess of coloratura.
That thin rabbit voice? 😂😂😂
Dessay's one has been added. It wasn't natural from that performance. Still awesome, nevertheless.
I saw Dessay live in Sonnambula a number of times in her prime and she always added an effortless high-F (like in Bordeaux or at La Scala in 2001). At that time she could easily sing in public up to a high-A flat. But was more important is that she was a great actress and really moving in that role.
Callas and Sutherland never sang F's in this cabaletta.
Originally the high F was written?
axel 99 no
Neither had high Fs, at least not secure. Sutherland transposed Queen of the Night and only sang Madame Herz in Impresario once or twice. Eb and E were there comfortable top
No, the higher F is interpolated
There's also an alternate version of the aria that Guiditta Pasta sang, you can hear a variation of the aria aria sung by Caballe and Fleming as well as Bartoli
No F6 exists in the score, it's a tradition for some light soprani to show off high notes, same as in other opera's with cabalettas full of agility where they vary from the score the second time the verse is sung.
Natalie Dessay’s high F is edited, she never did that. She only went up to an B flat.
She very often times added an F, only in the cadenza and not with the chorus.
@@christophersokolowski Why only without chorus, too little volume?
Giuseppe Martella I often saw Natalie Dessay live, notably twice in Sonnambula (more than 20 years ago) and she had no problems with volume. Bellini is not Wagner. I am not sure I understand this bashing against N. Dessay. Everyone knows she had in her prime an incredible high register up to high-A flat and never had an issue to be heard in vast auditoriums like Paris Bastille or the Met. When she started to sing Sonnambula around 1998 she always added a long floating high-F at the end of the rondo final (which is much difficult to achieve that the F with the chorus as the voice is not sustained by the orchestra) and this continued up to 2001 (at La Scala). It is important to see artists live and not base criticisms only on videos one hear on CZcams or on recordings.
Hello, sorry I didn’t make myself clear. I meant that in that particular recording she only went to a B flat and they just edited an F. Sorry, about that.
@@oliviero.m750 ::
If more us heard singers "live" our "opinions" would change.
Not including Callas is like comparing Champagnes and excluding any from France....
here I am for some real oprea and whos here a pre teen with more hits...whats up with her ???
untrained...but some how very good sound ?!!
The first Amina was Giuditta Pasta who also created the first Norma and I’m sure she didn’t squeezed a high F as most do here.
No she didn't it was Eb6 on score and at the time, it sounded about 1 tone lower than nowadays because A440 pitching came later than Bellini's works.
Halina Mickiewiczówna the Best
jessica pratt
Jessica Pratt by far the best
White tone
Pratt is overrated!
And Edita Gruberova??!!!!???!!
It was an F# though
The best F is this one from Emma Mathews IMHO, although not the best performance. czcams.com/video/cQsGTeDiuXU/video.html
Чем больше я слушаю эту арию Линды из оп" Сомнамбула' , тембольше прихожу к мнению, что одна нота фа , портит голос исполнителя. Во - первых изнашивает , меняет тембр, много приспособлений, подготовка к взятию её и т д.
Déassay and Olga|||
Devia naturalemente! Where is Callas? She showed us this is nothing for these various 'door
bell sopranos' presented here!
Did Callas sing an F? I don't think that note was available to her in this context, no matter how early in her career.
Callas never sang a High F in public and only up to High E rarely.
kathryn ryder She did sing an F once. And once cracked onto an F# (but that would not be counted generally).
@@ransomcoates546 Is there an F in Sonnambula written by Bellini?
@@pump066 No Bellini only wrote the Eb's I think, but not any F
Always and forever Dessay will be the best. ;)
😂😂😂
Definitely Dessay. She has the voice, the technique and the correct fach. I miss her in this repertoire.
She collected her money quickly before her voice was gone...
quelle brochette de mémères !
Quel radoteur! C'est dans les vieux pots qu'on fait la bonne soupe...et de plus en plus vrai! alors ne regardez plus ces vidéos, un bon conseil!
Caro Francois visto il suo commento poco consone. ,,mi dica allora se nelle voci di adesso ne trova qualcuna che è a l, altezza de certe memeres👋👋👋
Fabrizio Diberardino: Non penso che possia trovare perché non esistono piu purtroppo! Ma non capisco perché guardare tal video se non conosce niente al canto lirico!
@@liguten que c'est grossier
Der Fremde: ??????????? Vous avez le droit de ne pas être d'accord, mais ne soyez pas bégueule!
Where is sumi Jo, anna netrebko?
netrebko??? where is Furlanetto; Kaufman? where is Conchita Wurst? ... Great artists but: None of them Amina!
Netrebko more than likely didn't have the high F.
Netrebko doesn’t have a High E just imagine an F 😂
Natrebko barely has a high D....well Db with her sense of intonation.
AustrianAdrian 😂😂😂😂😂😂
Only Dessay (for he High F)
Thought you were a singer?
Anything above a high E does not sound pretty; its just freaky.
Unless it's full opera buffa or a comic operetta where histrionism is tolerated and even desirable to spice up the show, then a very high note may make sense
La Devia certo brava come sempre, ma anche tanto noiosa come sempre...... purtroppo non tutto si può avere.
Ha ragione, Devia aveva una grande tecnica ma un timbro ordinario ed uno stile canoro opaco.
La maggior parte manda urla disumane e inutili! Manca qui la Sutherland e la Gruberova ma la migliore interpretazione resta sempre quella della Callas. Oggi la migliore e più convincente è la Pratt.
Devia's coloratura is slow and aspirated. Technically challenged.
Ransom Coates Technically challenged? You just lost all credibility
lmao!
Serra NOOOOOOOO! Please
Serra is one of the true great coloratura sopranos of the 20th century. She knew what Bel Canto means.
Her voice actually have more chiaroscuro than most others...
She is the only one in this video who has a vocal technique
@@alexusachev1Totalmente de acuerdo, ella y Gruveroba son dos sopranos con una buena técnica
Mirella Bunoaica you are not a singer at all. you have no coloratura at all. why did u try to sing it? u didn't listen how does it should sound? Shame in you!
Luciana Serra inascoltabile, se fosse nata 30 anni dopo non avrebbe fatto la stessa carriera
😂😂😂
Devia no conoce el bel canto. De ahí sus errores
Cierto. Miguel Ángel no sabía de escultura, Mozart no sabía de música y Rafael no sabía de pintura.
@@giant4692 la diferencia es que ellos "no supieran de" como la letra g dice; sino que ellos eran verdaderos artistas.
@@miguelantoniofaundezrojas2826 Deja de decir tonterías. Sólo quieres provocar.
@@giant4692 no, no quiero provocar. Sólo quiero dejar claro que aquí se está opinando acerca de la emisión de una nota (técnica de canto), pero no se toma en cuenta la integralidad de la ópera, para la cual la cantante debe poseer conocimientos de bel canto, para que su presentación sea creíble. Incluso para emitir la nota.
@@miguelantoniofaundezrojas2826 Si no quieres provocar, Miguel, significa que no entiendes mucho de ópera. Por supuesto que puedes expresar tu opinión sobre la Devia - un tono de voz puede o no gustar - pero no puedes decir que la Devia no conoce el belcanto. Si hoy conocemos muchas obras de Donizetti, Bellini y Rossini se lo debemos sólo a ella, a su trascendental técnica, a su diabólico control de la respiración, a su habilidad tanto en el canto elegíaco como en la más difícil agilidad. Ese F6 es perfecto y perfectamente afinado (y considera que surge claramente de un enorme coro y una orquesta muy ruidosa). ¿De qué errores estás hablando? La Devia es una de las mejores sopranos que hemos tenido en los últimos treinta años, si no la mejor absoluta. Repito: puedes decir que no te gusta su voz (a mí, por ejemplo, no me gusta la voz de Tebaldi, pero no me atrevería a decir que canta mal), pero afirmar que Devia no conoce el belcanto es una herejía.