What funny comments....it needs a "dramatic mezzo", very often its sung by a high dramatic soprano, and very successfull. She is a real mezzo and a superb singer, good voice and very good technique, as you can see/hear very seldom. Maybe she is trying to do what some people here advice her to do...to do too much, and calling it dramatic. Its not necessary to sing this area dramatically loud, you have to serve the intention of the situation, and the situation has some more colours to offer, then to shout. For my opinion, she could sing much more lyrically and less dramaticly, that comes automatically by singing the high notes. But even with those, the best and most successful is to sing the legatobow with maximum of control and absolutely musically. Eboli is a full hearted loving character and not a kind of "female Alberich". So for my opinion it would be a little more ideal, if she would have sung more lyrically. I dont need those "Applause-Singing for being maximum exhausted".
She can sing this as a concert piece but she should never do the full role for a sustained period of time, she is a consummate and intelligent artist and I am sure she knows this, It is probably time to stretch - but not push the voice- Those of us who love her voice just want her not to do any damage- I am sure Elina knows her instrument better than any of us and will do what she thinks is right. we can only admire from afar and wish her luck and continued success
Recently, she said that her voice has been moving in a more dramatic direction (Opera News, April 2017). It still sounds like a lyric mezzo to my ears, and I hope she doesn't push it into destruction.
Well she has changed her technique quite a bit. There is much more chest participation and integration than previously, the transitions into chest are well executed, which surprised me! However I still get the sense that this is a bit heavy for her voice, I would have liked a toned down version in terms of vocal pressure, it would have sounded a bit less harsh. If I have to choose, I prefer musicality over power. Even though she did not go overboard, this kind of singing can damage her voice if it is repeated too often.
@@pureffm :: how does a voice "move in a more dramatic direction" ( Opera News, April 2017 ) without the singer pushing it in that direction ? your explanation, explans it well. i'm not an expert but you really don't have to be ... all you have to do is listen to Nebtreko ... _then & now !_ if garanca continues, as you commented, she will be in the _then & now_ class of the voice moving around, _on its own,_ to more dramatic _experiments._
Toujours plus magnifique sur scène avec tes représentations éblouissantes, ma sublime Elïna Garanča adorée à la passion, ô mon Rossignol au beau visage auréolé des chatoyantes cheveux dorés, tes hymnes aux sonorités exquises et gracieux ébranlent des doux frémissements mon âme granitique. Ô mon Rossignol obsédant, tes yeux grands et bleus d’éclats transfigurateurs, ô mon Oiseau du lointain paradis musical de la Lettonie, Oiseau de mes mirages de tendresse et fantasmes d’amour spirituelle : enivrant mirage doré des mille et un décors des splendeurs mirifiques, des souffles du suprême lyrisme enchanteur du bel canto frémissant, vibrant de captivantes émotions. Peter, ton Cavalier de Prose enchanté.
Why terrific? Her bright and at the same time dramatic voice is perfect as Eboli because this princess by Verdi is a very young woman who curses own beauty. Many sopranos sing this aria, but the one right is Garanca's voice (pure mezzo-soprano). Thanks.
Jeez, people--stop criticizing her because she doesn't have the giant voice of an Obraztsova. If you saw this woman's Eboli onstage you would be thrilled to the bone--and if not , you're just either an old pedant or a young snob. Enjoy the opera that is given you while it is still alive.
Si la belle Elina continue dans cette direction , ce ne sera plus qu'un lointain souvenir dans quelques années . Ce n'est pas un mezzo dramatique . Les grandes Eboli ont pour nom Bumbry , Cortez et Zajick ... Avoir un aigu facile pour une mezzo qui chantait il y a quelques années ROSSINI et MOZART est normal
Así es, eso se llama técnica y buen gusto. Así tu voz no tenga el peso para el papel, lo cantas y lo haces correctamente. No quedas en ridículo. No es la mejor interpretación pero queda bien.
Charles Castronovo and Elïna Garanča sing the Zarzuela duet "El duo de la Africana" by M.F. Caballero at a concert in Gottweig, Austria 2009. Pour le concert de plein air près du monastère de Gottweig en Bas Autriche en 2009, le chef d’orchestre Karl Mark Chichon a adapté avec son génie ibérique de Gibraltar, magnifiquement dirigée et exécutée par l'orchestre, un extrait de l’opérette espagnol burlesque « Le Duo de l’Africaine » à l’ambiance autrichienne en exploitant l’extraordinaire virtuosité vocale de mezzo-soprano de sa sublime Dulcinée enchanteresse blonde du bel canto, son épouse Elïna Garanča aux grands yeux d’un bleu fascinants, dans un extrait à la musicalité bien choisie pour la représentation dans ce cadre rustique. (En 2005 ce duo fut chanté avec une autre séduisante mise en scène d’Elïna Garanča avec le ténor Marcelo Álvarez dans les splendeurs sélectes du Gala concert de l’Opéra de Wien). Le ‘Zarzuela duet El duo de la Africana’ de M.F Caballero, publié le 13 mai 1893, à l'Apollo Theater à Madrid, est une opérette théâtrale de grand succès populaire d’une durée d’une heure. D’un milieu affairiste, l’amusant mélodrame met en scène les intrigues amoureuses, passionnelles et conflictuelles d’un jeune homme (ténor) de bonne famille, follement amoureux d’une innocente jeune femme riche et gracieuse de l’Andalousie (mezzo-soprano). Dans le merveilleux arrangement en Autriche, l’héroïne folklorisée est scénarisée en modeste, l’innocente villageoise autrichienne nommée pour l’ambiance « Elïna », cette cantatrice mezzo-soprano d’une poignante grâce incantatoire. Costumée, en vertueuse villageoise autrichienne, elle chantante en espagnol son candide dédain des avances audacieux de l’élégant soupirant, mimant l’émotion des gestes avec son exquise perfection, en harmonie avec l’expressivité des couleurs modulées de sa voix exercée à la perfection. La participation du fringuant soupirant est chantée par le ténor Charles Castronovo, déployant tout le talent de séduction virile avec son art vocal, des impressionnantes tonalités expressives de sa voix virile d’un typique macho espagnol : - « Je vais dire à mon charme, Je vais vous dire mon amour, Je vais dire à ma gloire, Je vais dire à mon ciel…, » pour lui ordonner en allemand d’un enthousiasme exubérant : « Elïna viens avec moi ! ». Elïna, si ardemment convoitée dans ce duo d’amours et querelles aux sonorités de belles harmonies, après avoir chanté sa participation en espagnol, se détourne outrée de cette audace, lance au ténor en allemand haute et claire à la tête : « Jamais ! » La flamme de mon cœur est venue avec moi dans l’Histoire, avec son « Cavalier de Prose » inspiré et enchanté » Peter.
+Lino Anzoletti e non voglio parlare delle voci dei contralti veri che avevo sentito dal vivo! /Boika,,Penka,La Nicolai,Zorina etc.etc.etc.../ già i soprani degli anni 1958-78 avevano delle voci più grandi e scure... per rinfrescare la memoria del pubblico moderno basta citare un nome solo - La Dimitrova . anche La Petrova /il soprano preferito di Toscanini.../ alla fine della sua carriera cantava la Cieca,Leonora,Eboli... con una vocalità molto più scura di quella della Garanča, e aveva una voce molto più bella e grande.
Elïna Garanča, Ave Maria (Mascagni). Christmas in Vienna 2008. Dirigent Karel Mark Chichon. Sous la direction de haute volée de son génie d’épouse Karel Mark Chichon, leurs cœurs d’amoureux battant à l’unisson , les arias et chants spirituels sont les participations scénarisées par Elïna Garanča avec un charme exquis et d’une facilité vraiment délicieuse. Élevé toujours plus haut au degré de la perfection par l’arrangement orchestral de son talentueux maestro, l’Ave Maria de Mascagni, après le prélude des ravissantes notes pincées de la harpe accompagnés des lignes harmonieuses du cor anglais et des flutes, sur le fond du raffinement orchestral, les sonorités douces, caressantes de l’enchanteresse Elïna fait vibrer les âmes des effets harmonieux célestes les plus éthérés, des émouvantes couleurs expressives modulées sur son large registre tonal. La sublime Elïna souffle du fond de sa délicate gorge de virtuose enchanteresse, sa voix parfaitement flexible : souligné de sa gracieuse mimique gestuelle, pleine d’aménité évocatrice du sacrée, cette riche mélodie, merveilleusement douce semble couler sans effort de ses lèvres de Fée fascinante, déchaîne à l’écho tout un jeu d’harmonie d’une religiosité lumineuse. Ses strophes d’une chaude intonation se diffusent, remuent à leur rythme les sentiments de son auditoire recueille, l’enivre des plus douces voluptés spirituelles avec un ensemble polyphonique de merveille. Peter, son Cavalier de Prose enchanté.
This is a very exciting rendition of the aria. She is not straining. She has strength and stamina. She does not distort her middle and lower voice like some of the mentioned dramatic mezzos do. What really matters is how this would sound in the house without amplification. From this performance however I really like her. I would identify with her character and would love to hear her in a live performance of this role.
how ridiculous for some people always here to compare Elina's singing to other singers that they loved. everyone has different taste. what makes you think that you are the music god who can decide which voice is good and which is bad? if you don't like it, just leave to find someone you love to listen. simple and easy.
Мадам, как и Нетребко сейчас, поёт не свой репертуар. Зачем ? Ну совсем не её эти драматические страсти, не идёт ей это. Голос и техника не позволяют. У неё прекрасное лирическое меццо с красивым тембром, но здесь мы слышим натужный грубый звук и он совсем неубедителен. И рядом видео с Образцовой. Вот это Эболи ! Элина, прекрати, без голоса останешься ! Тебе и так есть что петь
I hear a lot of lyric color here; I do hope she speaks with Christa Ludwig to gain some direction. Some of her colors remind me of Christa Ludwig, however Ludwig sat her voice up right and had more power. I believe she should have a conversation with Ludwig about her voice to gain a sense of direction. After all Ludwig is in vocal instruction these days so that should help. I prefer a slightly darker sound, however with time some spintos in the voice could develop some. Maybe she could work on her top to sing some lyric to spinto soprano repertoires.
@@xxsaruman82xx87 I think he means you get to sing whatever you want. When you're a Garanca, or Netrebko, or Kaufman you get to call the shots because there will always be plenty of fans eager to buy tickets no matter how inappropriate the repertoire is for those singers.
@@xxsaruman82xx87 yes, I'm a bit familiar with her. It's a good sound. To me she had the right color and weight for a spinto but I hear potential problems. Just like with Lise Davidson has the right color and weight for a jugendlich but to me these heavier voices aren't being developed properly. I hope I'm wrong.
I like this best of her; how nice and what sweet low voice. The way approaches to singing go today makes it hard to tell if a voce is too lyric or not; real power can be tricky, but it all gets beautiful enough; once upon a time when even the lightest lyric voices piped from their breastbones and ribs (Sayao, I think about) and head/mask/throat, thats when you get the categories more clear. Sayao might have done Butterfly today, as she dreamed. It's all good. I think. Kisses Elina!
The top is there all right, and pretty easily too - it is the middle that is worrying - she is quite often badly flat 1:44 and the sound gets hooty. The slow middle section is a killer to sing - low tessitura and long phrases. This is where you can tell if a singer should be singing this aria or not. She has always had a chest voice that doesnt have as much color as one would like - sort of woofy. Who knows maybe she will sing herself into this aria - she did say the role was on the horizon.....
You should know ... you CANNOT BECOME a dramatic voice. Either you are Born with a dramatic voice or with a lyric voice. If you are a dramatic voice you should never lighten up your voice. If you are a lirico, then you are a lirico. Through the perfection of your technique you CAN SING dramatic roles too... but it doesnt make you dramatic singer. Peace my friend!
I dont like listening to Garancas middle voice. I dont like her timbre. But her high notes are top! For a mezzo she has very clear high notes. Generally i like her voice, but i was never Sure whether she was a high mezzo or a soprano. And yes she cant even have the Level of obraztsova or other great singers from the past. But she gave her best ... and that has to be mentioned!!! Her husband is conducting great!!!
@@arnoldamaral7406 i read an article about an opera singer in a magazine. I dont know who was interviewed, but the reporter asked the artist, what is opera singing like to be ... she answered "opera singing is actually a cultivated way of screaming" LOL 🤣
She has a gorgeous and easy top range. I think she's actually a soprano who has pushed herself into mezzo rep. She may be between fachs, since she sings Octavian and Carmen very well. I think she should try some of the lyric soprano rep. Dramatic mezzo rep is totally wrong. She worked so hard singing Dalila this Fall, and even though she's wonderful, she didn't carry enough. For some reason she's put on weight -- I wonder if she's doing the Anna Netrebko thing -- put on weight and start to sing bigger (an equally inappropriate) rep. It's really too bad for singers to wear out their voices like this. Garanca is so gorgeous, with a gorgeous tone and feminine color. Why waste it!!
She surly possesses a beautiful LYRIC instrument, however Eboli needs a dramatic mezzo. Her low register sounds extremely forced here and a bit colorless. She was very powerful in the lyric repertoire, why pushing her gorgeous instrument on an unsuitable repertoire? Way too light for the part.
She does a nice job with it, but it's not her fach. I hope she doesn't sing the role. It's not good to put your feet into shoes that are too big. I think she has a very beautiful lyric voice, but it seems to me the dramatic voices do not have the contracts these days, they are not pushed by their agents and advertised, nor do they have the "look" that unfortunately seems to be the most important thing these days before having the right voice.
She's been an intelligent singer, old and experienced enough to know what's going on in her voice and if it is time to add heavier roles. I completely defer of you. Her low notes where rich and creamy and her high notes very well placed.
Sorry, but I think you´re wrong. During the entire aria the voice is never relaxed, she puts so much pressure on her chords and still does not come to the point at which she finds the right approach for her emotions. Everything she sings is ice cold. And don´t mix pressure and a loud voice with emotional singing ;-)
People who say this aria needs a dramatic mezzo-soprano (yes, of course it does, I agree on that part) CLEARLY don t know what they are talking about, as if Elina didn t fit the bill! Here s for their education: A DRAMATIC MEZZO-SOPRANO has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F3) to the G two octaves above middle C (G5).[1] The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers like Wagner and Richard Strauss. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles.
Exactly... your "educational" information proves exactly what many of us here are saying .... Garanca is a wonderful singer but dramatic mezzo she is not. Her voice is absolutely not "broader and more powerful" nor does she "sing over an orchestra and chorus with ease ".... there's a lot of pushing and struggling here! Make no mistake, this is a tough aria for anyone to sing and she makes a commendable effort but it really pales in comparison to the rich meaty sound and effortless fullness of a *real* dramatic mezzo...
Su interpretación es muy acertada. Su musicalidad estupenda. El color de su voz bello. Pero todo este conjunta excepcional, no cuenta ya que el personaje de Eboli exige otro tipo de voz más opulenta . I)gualmente gracias a Elina por su interpretación.
People here are talking SHIT!... you need a dramatic voice, she sounds this and that, etc... what I hear here is more than enough to realized she's ready for it. If you sound more dramatic and darker than this, then you should be singing contralto.Fabulous... Brava!
Way to dramatic for her. Forced, open high notes and not enough meat on the lower register. Beautiful voice for Mozart and lieder but not a Verdi mezzo at all
I love Elina--especially in her recent (and perhaps last) performance of Octavio at the Met. But this is NOT her aria or role. Listen to Giulietta Simionato at Salzburg in 1958 if you want to see how incredible Verdi's music can really be. No one I've heard has ever come close.
A servicable eboli certainly, but this role had really ought to be sung by a dramatic voice, either a dramatic mezzo, or a high dramatic sopranno with a solid low register. When it is not, it suffers, as it has here. Her technique is good and she sings with conviction but she struggles to create volume and drama because her voice isnt up to it and you can hear that
j'ai comparé une dizaine de versions (Somionato, Verrett, Tebaldi, Ebe stignani, Horne, Cassoto, crespin, Bundry, Marton etc... et bien sûr Callas , ce n'est pas la pire LOIN DE Là (juste ce Don fatale) je mets à part SCHWARZKOPF ... dont ce n'est pas le répertoire.
I agree with comments below that she is needlessly pushing her voice into "dramatic" singing when if she would sing with her pure vocal majsesty she would have more impact. Many lyric mezzos have sung Eboli quite successfully and some dramatic and spinto mezzos have ruined themselves trying to achieve what Verdi demanded in this aria and this role. There should be regal elegance [something that Garanca has show in spades in some of her Donizetti roles] and a human desperation that is not being expressed to other but is an internalized review of her foolishness and her guilt.
*QUESTA ARIA E NO PER LEI , E PER A LIRICO MEZZO O DRAMATIC PER IL COLORE E IL REGISTRO VOCALE, QUELLA VOCE E PER LIGERO COME MOZART O ROSSINI MA NO PER VERDI*
What funny comments....it needs a "dramatic mezzo", very often its sung by a high dramatic soprano, and very successfull.
She is a real mezzo and a superb singer, good voice and very good technique, as you can see/hear very seldom. Maybe she is trying to do what some people here advice her to do...to do too much, and calling it dramatic. Its not necessary to sing this area dramatically loud, you have to serve the intention of the situation, and the situation has some more colours to offer, then to shout. For my opinion, she could sing much more lyrically and less dramaticly, that comes automatically by singing the high notes. But even with those, the best and most successful is to sing the legatobow with maximum of control and absolutely musically. Eboli is a full hearted loving character and not a kind of "female Alberich". So for my opinion it would be a little more ideal, if she would have sung more lyrically. I dont need those "Applause-Singing for being maximum exhausted".
+Kai Günther
''real mezzo'' ?! )))))))))))))
ahahahahahahahahahahahahahahahah !
mein lieber freund, das ist ein soprano .
ahahahahahahahahahahahahahahahah !
bodiloto lol, she's lyric mezzo.
To each their own..
when she debuted Eboli at Opéra Bastille in 2017, she did sing it in a more lyrical way and got hugh ovation from the audience:)
She’s so throaty.
A role that all of us have to... survive. Well done to all mezzos who have proven themselves by singing this EXTREMELY difficult role!!!!
She can sing this as a concert piece but she should never do the full role for a sustained period of time, she is a consummate and intelligent artist and I am sure she knows this, It is probably time to stretch - but not push the voice- Those of us who love her voice just want her not to do any damage- I am sure Elina knows her instrument better than any of us and will do what she thinks is right. we can only admire from afar and wish her luck and continued success
Eccsodus
She actually gave a stunning performance in Paris last night. It was in a different league to this
Thank you wonderful Elina Garanca for sharing your beautiful voice to the world. God bless you! ❤️❤️❤️
Fantastica!!! Bravissima!!!
Simply wonderful.
EXCELEBTE. ES UNA MEZZO QUE PUEDE CANTAR COMO SOPRANO. ES UNICA. BRAVO!!!!!!!!
Фактически!! С первых нот невозможно оторваться!! Браво 👏 👏👏👍
Non voglio fare il "Critico", ma dico solo che la Dimitrova, grande soprano drammatico, mi sembra più mezzosoprano lei della Garanca
Meravigliosa e bravissima ELINA👍❤
Is not for this voice, Verdi is for Bigs and darks Mezzos heavy
Recently, she said that her voice has been moving in a more dramatic direction (Opera News, April 2017). It still sounds like a lyric mezzo to my ears, and I hope she doesn't push it into destruction.
Well she has changed her technique quite a bit. There is much more chest participation and integration than previously, the transitions into chest are well executed, which surprised me! However I still get the sense that this is a bit heavy for her voice, I would have liked a toned down version in terms of vocal pressure, it would have sounded a bit less harsh. If I have to choose, I prefer musicality over power. Even though she did not go overboard, this kind of singing can damage her voice if it is repeated too often.
Too late , She sucks
@@pureffm :: how does a voice "move in a more dramatic direction" ( Opera News, April 2017 ) without the singer pushing it in that direction ? your explanation, explans it well. i'm not an expert but you really don't have to be ... all you have to do is listen to Nebtreko ... _then & now !_ if garanca continues, as you commented, she will be in the _then & now_ class of the voice moving around, _on its own,_ to more dramatic _experiments._
Элина Гаранча Своим голосом , своим редким талантом заставляет меня слушать всё , что она поёт . Это в моей жизни впервой . Молодец ! Умница !
Да,она всегда очень убеждает....смелая..! Мне понравилось тоже ...Спасибо ей !
Как жаль, что эту арию не пела великая Синявская! Какая потеря для истории оперы!
@@maxgor-rus8838 высока для нее была
Bravissima!!!
Magnificent vocal art
Toujours plus magnifique sur scène avec tes représentations éblouissantes, ma sublime Elïna Garanča adorée à la passion, ô mon Rossignol au beau visage auréolé des chatoyantes cheveux dorés, tes hymnes aux sonorités exquises et gracieux ébranlent des doux frémissements mon âme granitique.
Ô mon Rossignol obsédant, tes yeux grands et bleus d’éclats transfigurateurs, ô mon Oiseau du lointain paradis musical de la Lettonie, Oiseau de mes mirages de tendresse et fantasmes d’amour spirituelle : enivrant mirage doré des mille et un décors des splendeurs mirifiques, des souffles du suprême lyrisme enchanteur du bel canto frémissant, vibrant de captivantes émotions.
Peter, ton Cavalier de Prose enchanté.
Не ожидал такого прекрасного исполнения от лиричнейшей Элины. Думал, эта ария всегда будет принадлежать Веррет или Образцовой. Спасибо!
Bravo!!!
FANTASTICA
Terrific - Thanks.
Why terrific? Her bright and at the same time dramatic voice is perfect as Eboli because this princess by Verdi is a very young woman who curses own beauty. Many sopranos sing this aria, but the one right is Garanca's voice (pure mezzo-soprano). Thanks.
Terrific is a positive adjective. It means "extremely good". :)
Elina grandiosa
pour moi, c'est superbe!!!beaucoup mieux qu'à la Bastille!!!!!
hermoso siempre quise que ella cantara esta aria muy bello hermosa voz y técnica
superbe,merci Madame
She is simply amazing. My favorite mezzo-soprano.
Listen to Obratsiova, Cossoto
hermosa interpretación canta muy bonito
Jeez, people--stop criticizing her because she doesn't have the giant voice of an Obraztsova. If you saw this woman's Eboli onstage you would be thrilled to the bone--and if not , you're just either an old pedant or a young snob. Enjoy the opera that is given you while it is still alive.
Si la belle Elina continue dans cette direction , ce ne sera plus qu'un lointain souvenir dans quelques années . Ce n'est pas un mezzo dramatique . Les grandes Eboli ont pour nom Bumbry , Cortez et Zajick ... Avoir un aigu facile pour une mezzo qui chantait il y a quelques années ROSSINI et MOZART est normal
Plus Troyanos
amo essa ária e Elina S2
she is amazing maybe this is not quite right for her, but she did it very good love her
Glorious
Un aria muy pesada para su tipo de voz, y la ha interpretado magistralmente. Muero por verte próximamente, Elina.
questa è la prova che Garanča ha la voce del soprano vero.
Así es, eso se llama técnica y buen gusto. Así tu voz no tenga el peso para el papel, lo cantas y lo haces correctamente. No quedas en ridículo. No es la mejor interpretación pero queda bien.
Very nice!
Essa mulher não é Mezzo nem aqui nem na China
Charles Castronovo and Elïna Garanča sing the Zarzuela duet "El duo de la Africana" by M.F. Caballero at a concert in Gottweig, Austria 2009.
Pour le concert de plein air près du monastère de Gottweig en Bas Autriche en 2009, le chef d’orchestre Karl Mark Chichon a adapté avec son génie ibérique de Gibraltar, magnifiquement dirigée et exécutée par l'orchestre, un extrait de l’opérette espagnol burlesque « Le Duo de l’Africaine » à l’ambiance autrichienne en exploitant l’extraordinaire virtuosité vocale de mezzo-soprano de sa sublime Dulcinée enchanteresse blonde du bel canto, son épouse Elïna Garanča aux grands yeux d’un bleu fascinants, dans un extrait à la musicalité bien choisie pour la représentation dans ce cadre rustique. (En 2005 ce duo fut chanté avec une autre séduisante mise en scène d’Elïna Garanča avec le ténor Marcelo Álvarez dans les splendeurs sélectes du Gala concert de l’Opéra de Wien).
Le ‘Zarzuela duet El duo de la Africana’ de M.F Caballero, publié le 13 mai 1893, à l'Apollo Theater à Madrid, est une opérette théâtrale de grand succès populaire d’une durée d’une heure. D’un milieu affairiste, l’amusant mélodrame met en scène les intrigues amoureuses, passionnelles et conflictuelles d’un jeune homme (ténor) de bonne famille, follement amoureux d’une innocente jeune femme riche et gracieuse de l’Andalousie (mezzo-soprano).
Dans le merveilleux arrangement en Autriche, l’héroïne folklorisée est scénarisée en modeste, l’innocente villageoise autrichienne nommée pour l’ambiance « Elïna », cette cantatrice mezzo-soprano d’une poignante grâce incantatoire. Costumée, en vertueuse villageoise autrichienne, elle chantante en espagnol son candide dédain des avances audacieux de l’élégant soupirant, mimant l’émotion des gestes avec son exquise perfection, en harmonie avec l’expressivité des couleurs modulées de sa voix exercée à la perfection.
La participation du fringuant soupirant est chantée par le ténor Charles Castronovo, déployant tout le talent de séduction virile avec son art vocal, des impressionnantes tonalités expressives de sa voix virile d’un typique macho espagnol : - « Je vais dire à mon charme, Je vais vous dire mon amour, Je vais dire à ma gloire, Je vais dire à mon ciel…, » pour lui ordonner en allemand d’un enthousiasme exubérant : « Elïna viens avec moi ! ».
Elïna, si ardemment convoitée dans ce duo d’amours et querelles aux sonorités de belles harmonies, après avoir chanté sa participation en espagnol, se détourne outrée de cette audace, lance au ténor en allemand haute et claire à la tête : « Jamais ! »
La flamme de mon cœur est venue avec moi dans l’Histoire, avec son « Cavalier de Prose » inspiré et enchanté » Peter.
Класс.
ФАНТАСТИКА!!!! КРАСАВИЦА!!! УМНИЦА!!!
Oh, these know it all people. She is a great artist, a beautiful voice good technic.
At her best her voice and its delivery can cut the listener in two exposing the human heart and soul..
It's better to be a know it all than to be an ignorant. She is bad.
@@Ignasimp Ha ha ha ha ha - go take your meds, fool. Youknow nothing.
@@Ignasimp thank you she's so overrated I wouldn't go to see her if it was free
@@arnoldamaral7406 Unfortunately, I've heard worse!
voce fuori ruolo
un commento saggio.
+Lino Anzoletti
e non voglio parlare delle voci dei contralti veri che avevo sentito dal vivo! /Boika,,Penka,La Nicolai,Zorina etc.etc.etc.../
già i soprani degli anni 1958-78 avevano delle voci più grandi e scure...
per rinfrescare la memoria del pubblico moderno basta citare un nome solo - La Dimitrova .
anche La Petrova /il soprano preferito di Toscanini.../ alla fine della sua carriera cantava la Cieca,Leonora,Eboli... con una vocalità molto più scura di quella della Garanča, e aveva una voce molto più bella e grande.
Che fatica
Elïna Garanča, Ave Maria (Mascagni). Christmas in Vienna 2008. Dirigent Karel Mark Chichon.
Sous la direction de haute volée de son génie d’épouse Karel Mark Chichon, leurs cœurs d’amoureux battant à l’unisson , les arias et chants spirituels sont les participations scénarisées par Elïna Garanča avec un charme exquis et d’une facilité vraiment délicieuse. Élevé toujours plus haut au degré de la perfection par l’arrangement orchestral de son talentueux maestro, l’Ave Maria de Mascagni, après le prélude des ravissantes notes pincées de la harpe accompagnés des lignes harmonieuses du cor anglais et des flutes, sur le fond du raffinement orchestral, les sonorités douces, caressantes de l’enchanteresse Elïna fait vibrer les âmes des effets harmonieux célestes les plus éthérés, des émouvantes couleurs expressives modulées sur son large registre tonal.
La sublime Elïna souffle du fond de sa délicate gorge de virtuose enchanteresse, sa voix parfaitement flexible : souligné de sa gracieuse mimique gestuelle, pleine d’aménité évocatrice du sacrée, cette riche mélodie, merveilleusement douce semble couler sans effort de ses lèvres de Fée fascinante, déchaîne à l’écho tout un jeu d’harmonie d’une religiosité lumineuse. Ses strophes d’une chaude intonation se diffusent, remuent à leur rythme les sentiments de son auditoire recueille, l’enivre des plus douces voluptés spirituelles avec un ensemble polyphonique de merveille.
Peter, son Cavalier de Prose enchanté.
WOOOOHOOOOOOOOO!!!!!! my goodness!
Not her repertoire. She lacks the power in order to do it without shouting. czcams.com/video/sz9uTMuXj8E/video.html
Does anyone know where this is located?
Beautiful!Brava!
Where was this?
Elina will be a great EBOLI.... What a voice.. Thanks Elina.
This is a very exciting rendition of the aria. She is not straining. She has strength and stamina. She does not distort her middle and lower voice like some of the mentioned dramatic mezzos do. What really matters is how this would sound in the house without amplification. From this performance however I really like her. I would identify with her character and would love to hear her in a live performance of this role.
She absolutely doesn't have the strength or stamina
how ridiculous for some people always here to compare Elina's singing to other singers that they loved. everyone has different taste. what makes you think that you are the music god who can decide which voice is good and which is bad? if you don't like it, just leave to find someone you love to listen. simple and easy.
Because she's making a mockery of the greatest art form in the world get over it she sucks
@@arnoldamaral7406 that's only your opinion. Not everyone cares. Get over it.
Мадам, как и Нетребко сейчас, поёт не свой репертуар. Зачем ? Ну совсем не её эти драматические страсти, не идёт ей это. Голос и техника не позволяют. У неё прекрасное лирическое меццо с красивым тембром, но здесь мы слышим натужный грубый звук и он совсем неубедителен. И рядом видео с Образцовой. Вот это Эболи ! Элина, прекрати, без голоса останешься ! Тебе и так есть что петь
정열적인 모습이 생생하게 표현합니다👏👍
Elina Garanca explaining why Sarah Brightman is actually a pop singer....
4:05
bello !!!!!!!!!!!!!!!!!!!!!!!!!
I hear a lot of lyric color here; I do hope she speaks with Christa Ludwig to gain some direction.
Some of her colors remind me of Christa Ludwig, however Ludwig sat her voice up right and had more power. I believe she should have a conversation with Ludwig about her voice to gain a sense of direction. After all Ludwig is in vocal instruction these days so that should help.
I prefer a slightly darker sound, however with time some spintos in the voice could develop some. Maybe she could work on her top to sing some lyric to spinto soprano repertoires.
Absolutely agree with you!!!
@@erichmayr7299 Unfortunately Ludwig passed recently; moreover I hope this Mezzo finds peace with her sound God bless to all.
She should sing Haendel, Mozart, Donizetti and Bellini
hahahaha those comments. people dont get that once you become a Elina Garanca you can sing whatever you waaaaannnnnnttttttt
@@xxsaruman82xx87 I think he means you get to sing whatever you want. When you're a Garanca, or Netrebko, or Kaufman you get to call the shots because there will always be plenty of fans eager to buy tickets no matter how inappropriate the repertoire is for those singers.
@@1stdivaofkiff50 I hope that’s what she means
@@xxsaruman82xx87 sorry... she
@@1stdivaofkiff50 Wondering if you know who Saioa Hernandez is? She’s great :)
@@xxsaruman82xx87 yes, I'm a bit familiar with her. It's a good sound. To me she had the right color and weight for a spinto but I hear potential problems. Just like with Lise Davidson has the right color and weight for a jugendlich but to me these heavier voices aren't being developed properly. I hope I'm wrong.
Tolle Frau!
I like this best of her; how nice and what sweet low voice. The way approaches to singing go today makes it hard to tell if a voce is too lyric or not; real power can be tricky, but it all gets beautiful enough; once upon a time when even the lightest lyric voices piped from their breastbones and ribs (Sayao, I think about) and head/mask/throat, thats when you get the categories more clear. Sayao might have done Butterfly today, as she dreamed. It's all good. I think. Kisses Elina!
She will sing in opera Bastille next October.
Thanks for the warning my friend. 🇫🇷🤔 Arnold Bourbon Amaral
Еліночка дає жару.1
The top is there all right, and pretty easily too - it is the middle that is worrying - she is quite often badly flat 1:44 and the sound gets hooty. The slow middle section is a killer to sing - low tessitura and long phrases. This is where you can tell if a singer should be singing this aria or not. She has always had a chest voice that doesnt have as much color as one would like - sort of woofy. Who knows maybe she will sing herself into this aria - she did say the role was on the horizon.....
Her very first "o don fatale" phrase is flat
It seems she did, her approach 2 year later seems to have evolved in the right direction?
czcams.com/video/UOGqDPmJmNo/video.html
What do you think?
Kein kommentar. Sie weisst es besser als keiner.
she is pushed to this kind of rep which will kill her....what a pity
amazing!! she just got it.. became a real dramatical mezzo!. brava
You should know ... you CANNOT BECOME a dramatic voice. Either you are Born with a dramatic voice or with a lyric voice.
If you are a dramatic voice you should never lighten up your voice. If you are a lirico, then you are a lirico.
Through the perfection of your technique you CAN SING dramatic roles too... but it doesnt make you dramatic singer.
Peace my friend!
I dont like listening to Garancas middle voice. I dont like her timbre.
But her high notes are top!
For a mezzo she has very clear high notes.
Generally i like her voice, but i was never Sure whether she was a high mezzo or a soprano.
And yes she cant even have the Level of obraztsova or other great singers from the past. But she gave her best ... and that has to be mentioned!!!
Her husband is conducting great!!!
She screamed the whole Aria if you like that sort of thing go for it
@@arnoldamaral7406 i read an article about an opera singer in a magazine. I dont know who was interviewed, but the reporter asked the artist, what is opera singing like to be ... she answered "opera singing is actually a cultivated way of screaming"
LOL 🤣
Хороша.
...per lei troppo impegnativo...non adatto alla sua voce . Ciò non toglie che sia una donna affascinante .
A true mezzo. Brava!!!!!
Люблю Еліночку.
The vowels especially, the A vowel are too dark trying to make it more mezzo like. As a result a lit of flat singing....
Wrong repertoire, This is Jamie Barton territory.
Is Jamie a dramatic?
Nelle Biremandie no. Her version in this opera wasn't very good
She has a gorgeous and easy top range. I think she's actually a soprano who has pushed herself into mezzo rep. She may be between fachs, since she sings Octavian and Carmen very well. I think she should try some of the lyric soprano rep. Dramatic mezzo rep is totally wrong. She worked so hard singing Dalila this Fall, and even though she's wonderful, she didn't carry enough. For some reason she's put on weight -- I wonder if she's doing the Anna Netrebko thing -- put on weight and start to sing bigger (an equally inappropriate) rep. It's really too bad for singers to wear out their voices like this. Garanca is so gorgeous, with a gorgeous tone and feminine color. Why waste it!!
Creo que la voz de garganta no es muy adecuada para cantar don Patatón don Carlos procuraré encontrar una versión muchísimo mejor saludos
She surly possesses a beautiful LYRIC instrument, however Eboli needs a dramatic mezzo. Her low register sounds extremely forced here and a bit colorless. She was very powerful in the lyric repertoire, why pushing her gorgeous instrument on an unsuitable repertoire? Way too light for the part.
She does a nice job with it, but it's not her fach. I hope she doesn't sing the role. It's not good to put your feet into shoes that are too big. I think she has a very beautiful lyric voice, but it seems to me the dramatic voices do not have the contracts these days, they are not pushed by their agents and advertised, nor do they have the "look" that unfortunately seems to be the most important thing these days before having the right voice.
She's been an intelligent singer, old and experienced enough to know what's going on in her voice and if it is time to add heavier roles.
I completely defer of you. Her low notes where rich and creamy and her high notes very well placed.
Sorry, but I think you´re wrong. During the entire aria the voice is never relaxed, she puts so much pressure on her chords and still does not come to the point at which she finds the right approach for her emotions. Everything she sings is ice cold. And don´t mix pressure and a loud voice with emotional singing ;-)
Chill, it's one aria in a recital. As far as I know she hasn't scheduled the full role.
Altonahh10
And I completely defer!
Col microfono..?
Certo. All'aperto sempre.
Elina napiyon?
Не узнала Гаранчу, расширенный звук, тяжелый... В этой арии как нигде проявляется ее сопрановость, которую она скрывает.
Bellissima e bravissima. Quanti rosiconi 😁😁😁😁😁
Just beautiful! But very boring audience.
People who say this aria needs a dramatic mezzo-soprano (yes, of course it does, I agree on that part) CLEARLY don t know what they are talking about, as if Elina didn t fit the bill! Here s for their education:
A DRAMATIC MEZZO-SOPRANO has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F3) to the G two octaves above middle C (G5).[1] The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers like Wagner and Richard Strauss. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles.
Exactly... your "educational" information proves exactly what many of us here are saying .... Garanca is a wonderful singer but dramatic mezzo she is not. Her voice is absolutely not "broader and more powerful" nor does she "sing over an orchestra and chorus with ease ".... there's a lot of pushing and struggling here! Make no mistake, this is a tough aria for anyone to sing and she makes a commendable effort but it really pales in comparison to the rich meaty sound and effortless fullness of a *real* dramatic mezzo...
vocalità poco adatta à questo ruolo.
Su interpretación es muy acertada. Su musicalidad estupenda. El color de su voz bello. Pero todo este conjunta excepcional, no cuenta ya que el personaje de Eboli exige otro tipo de voz más opulenta . I)gualmente gracias a Elina por su interpretación.
People here are talking SHIT!... you need a dramatic voice, she sounds this and that, etc... what I hear here is more than enough to realized she's ready for it. If you sound more dramatic and darker than this, then you should be singing contralto.Fabulous... Brava!
Agree with you entirely. Elina triumphs: she has voice + looks. What else can one possibly demand???
Way to dramatic for her. Forced, open high notes and not enough meat on the lower register. Beautiful voice for Mozart and lieder but not a Verdi mezzo at all
Not even for Mozart. Even for singing Mozart chest voice must be developed.
I love Elina--especially in her recent (and perhaps last) performance of Octavio at the Met. But this is NOT her aria or role. Listen to Giulietta Simionato at Salzburg in 1958 if you want to see how incredible Verdi's music can really be. No one I've heard has ever come close.
A servicable eboli certainly, but this role had really ought to be sung by a dramatic voice, either a dramatic mezzo, or a high dramatic sopranno with a solid low register. When it is not, it suffers, as it has here. Her technique is good and she sings with conviction but she struggles to create volume and drama because her voice isnt up to it and you can hear that
True!
A fine rendition, although it doesn’t erase memories of Dolora Zajick or Shirley Verrett, both of whom I saw in the theater.
She is really struggling with this aria!
j'ai comparé une dizaine de versions (Somionato, Verrett, Tebaldi, Ebe stignani, Horne, Cassoto, crespin, Bundry, Marton etc... et bien sûr Callas , ce n'est pas la pire LOIN DE Là (juste ce Don fatale) je mets à part SCHWARZKOPF ... dont ce n'est pas le répertoire.
A mon avis, il aurait fallu ajouter Elena Obraztsova et exprimer votre opinion.
Mamma mia che strazio, verdi di sta rivoltando nella tomba.. pessima !!!!!
I agree with comments below that she is needlessly pushing her voice into "dramatic" singing when if she would sing with her pure vocal majsesty she would have more impact. Many lyric mezzos have sung Eboli quite successfully and some dramatic and spinto mezzos have ruined themselves trying to achieve what Verdi demanded in this aria and this role. There should be regal elegance [something that Garanca has show in spades in some of her Donizetti roles] and a human desperation that is not being expressed to other but is an internalized review of her foolishness and her guilt.
Good voice, bad direction. Fine the use of cimbasso instead of tuba
So not for this role... Wish ppl would sing their repertoire ...
I agree. She can't touch Troyanos
@@crazyorganist1609 Or Verrett, Bumbry, Cossotto, Baltsa, Obraztsova, let alone Simionato, Barbieri, Nicolai, Stignani or Dominguez.
Doom & gloom. 😮🤐
C'est bien, mais ça n'est pas une mezzo. Une soprano qui descend simplement.
*QUESTA ARIA E NO PER LEI , E PER A LIRICO MEZZO O DRAMATIC PER IL COLORE E IL REGISTRO VOCALE, QUELLA VOCE E PER LIGERO COME MOZART O ROSSINI MA NO PER VERDI*
This is no within her range of expertise. She is actually shouting. Just listen to EBE STIGNANI.
Please........try Zajick, Verrett, Obraztsova, or Resnik if you really want to hear this aria, NOT Stignani. And Garanca wasn't shouting............
MrSkylark1 Completely defer!
La Nicolai e la compagnie...
Pure dramatic soprano, she is not a mezzo, therefore cannot cover dramatic mezzo repertoire. But a lovely singer nevertheless.
Troppo lenta e pronuncia orribile.
Wrong
Una voce fantastica e stupenda...ma questo non è il suo repertorio....