La Traviata: “Sempre libera degg’io”
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- čas přidán 26. 08. 2024
- Aleksandra Kurzak sings Violetta’s Act I aria in the final dress rehearsal. Production: Michael Mayer. Conductor: Karel Mark Chichon. 2019-20 season. Videography by Pete Scalzitti / Met Opera
Enfin une chanteuse qui sait chanter
No shouting and no wobbling!!
Une voix à la beauté naturelle et une grande artiste !! Merveilleux
Brawo! Dziękuję i podziwiam.
I think she did a great job, it is her interpretation of the role , anguish,pain love, despair and a real woman, all there. Great job Aleksandra !
Love the dress btw
Great voice
bless her heart
Alguien de Mexico que admire este arte.
Tijuana!
Yo, soy mexicano y estudio canto lírico, soy soprano lírica y justamente estoy estudiando esta aria☺️
Estado de México, llevo 15 años escuchando ópera y traviata es mi favorita😊
Beautifully finished with E flat ! 🥂🥂🥂🔥🔥🔥
She performs this song with such anguish. What an Interesting and provocative acting choice. It's great to see an opera singer make such a bold choice and see it through. Amazing
I don't think it's a choice...
It could be an unconscious choice
@@corneliusbates460 she's obviously struggling with the tempo, the lyrics perhaps even the staging
ReGremlin The Met strikers again per usual. 😢 that's called sadness Arnold Bourbon Amaral
Not to mention the portamenti...
Meravigliosa!
Il tempo, il tempo!!!!!!!!!!!
I saw her sing this at the January 31 performance.
Cudownie.
Brava!!!
Well done 👏🏼
Awesome!
❤️❤️❤️❤️❤️❤️❤️
By Verdi. Details...is it possible that the most important name is omitted?
you suppose to automatically know.....
@@MaestroWenarto who told you that?
Brava
Alexandra is different than Ermonela Jaho but so so good !!! Love them both equally 😘
Of course she is different. Not at all to compare both singers. Alexandra is a top singer.
BRAVAAAAAAAAAAAAAAAAAAAAAA
Gorgeous set and costumes. Always wonderful to see a traditional production. Also, this video's thumbnail is frankly irresistible.
"Traditional production"?? With that bed in the middle of every scene??
@@janetflier6192 Good point.
@@jetuberat least they aren't flying with strange costumes through the teather
To all of you saying she might not know what she’s singing...can you tell me word-for-word what Violeta is saying? What is the conflict she’s dealing with at this moment? If you were in her situation, would you do any differently?
The most important question...what were the stage director’s intentions for this moment?
My Master’s thesis was on this character, and I’ve had the privilege of singing Alfredo alongside an insanely talented young artist.. Go read the libretto, then tell me this singer doesn’t know what she’s singing about.
...and even after reading the libretto each singing actress gets to determine how she wants to interpret the emotions underneath the words. Once a theatrical work is out in the world it is controlled by the intetpreters, especially if the composer and librettist are dead. This particular actress focuses heavily on the anguish rather than the character's attempt at self deception. If one doesn't like it that is merely a matter of taste.
Taylor Comstock think you........i will find
The Words for aria:I have a weakness for Opera, et al. Interestingly like study & Discussion more ...( I am Retired Oncology PHARM,Immunizer, thouhg sort of retired)....even with a bad ear that got me out Vietnam...Circa 1970.......be interested in more info, many Libretti & can dig out of Web, etc... THOUHG have a couple fine Texts......
I'm Italian, I know Traviata by heart. It makes no sense for the character to look this frightened here. She is conflicted between a free, frivolous living, and the tie of a serious love. She is indeed worried about seriously committing, because (needless to say) she's ill and because she never has before. So she is scared and here she tries to fight the affection for Alfredo which is starting to take over her heart. But this soprano here whose name I ignore looks totally scared, as if a monster had appeared in front of her, or someone just killed her children. It's about balance and taste. In my opinion she is too enfatic and therefore appears out of character.
Her facial expressions would be okay if she was interpreting Tosca in second or third act. Lol
I think part of what causes the confusion for some people is that this is only the second half of the aria. The dramatic context of what's going on isn't quite revealed to us because we don't know what she went through in the first half and how she embodied that.
Bravo Aleksandra , c'est magique.
Lisette Oropesa will also be singing Violetta, next month, at the Met.
R Arnold and she does a way better Sempre Libera.
Just bought my ticket. I can't wait!
@@jjh2456 Oropesa ? Very unhealthy technique! And probably she will be vocally dead in few years time. Kurzak’s technique is superb !
What's up with the pillows? Were they dusty?
Amazing!
Check out soprano Kasondra Kazanjian
Brava, Ola!
Brava!
My favorite part was at the end when the speed of vibrato was so slow that it sucked away a year of my life
My second favorite part was when her tongue shaking jostled me so hard I accidentally hit the dislike button!
My favorite part was every time she opened her mouth so wide I thought she was about to dislocate her jaw.
@@caruso7998 also a highlight
omg
She sounds like Renata Scotto a little bit
🥺😲
0:42 1:05 1:20
Did she forget some of the words at the end?
I think she was just saving breath for the high Eb
The aria is supposed to be a triumph over silly emotions of infatuation. Here it is sung with angst as though Violetta is to face the ax. Will someone tell all concerned this is supposed to be joyful about a character liberating herself?
Steve Hinnenkamp ??????
What? Violetta goes on to live with Alfredo soon afterwards. Liberating herself, triumph over silly emotions of infatuation? She is trying to mak herself believe all of that, resisting love and the idea of a new life away from the party life and vain luxury of a courtesan, but she is clearly giving in. Honestly, have you never thought that "Sempre libera" is a cry of desperation from someone who clearly knows that her life will change and that in fact she wants it to change but is afraid to do so?
Yes but at this point she is used to laughing off affairs of the heart. Always free is her motto which a courtesan must live by.
What occurs between the acts is not dramatized br Verdi. She has obviously changed her mind. But in Act 1 she is like Scarlett O'Hara, despising men who profess undying love. Read the libretto, listen to music. Her transformation to a woman in love will happen later. That tension is what makes the opera great drama. Don't give it away too early. The audience needs to see Violetta at her peak of indifference before they understand how love has changed her.
Nonetheless many thanks for your well-expressed opinion.
@@stevehinnenkamp5625 are you still in psychoanalysis or this is your natural brain`s flatulent productions ?
I’ll sing for the low fees that these European singers are and that’s on PERIODT
Check out soprano Kasondra Kazanjian
terrible technic...TERRIBLE!
Wręcz przeciwnie, ona ma fenomenalną technikę
Yes, her tongue is shaking all time.
@Sofia
..........you are clueless, and rude
The Met today... how is it possible that after so many great Violettas that have sung on this stage to have such a parody that cannot sing nor act and that seems not to understabd anything that she is singing? Shameful, really! Would not pay a single penny to listen to this in the house, it’s a disgrace!
Hear, hear!
@Bravo LucaCheck out soprano Kasondra Kazanjian
I don't think she understands the lyrics she sings.
filipp721 That bad? Arnold Bourbon Amaral
@@arnoldamaral7406 well yea by her expression almost one can see that she doesn't get the premise behind the story, if you listen to some legendary sopranos on stage they will laugh in the staccatos she just looks sad, which isn't a good thing to finish an act.
filipp721 I think she’s praying to get through this aria AT THAT TEMPO !
This aria is challenging enough let alone keeping up with that conductor on meth !!!
@@birdlover7776 i feel the tempo is fine, maybe she is a bit slow and makes the tempo feel fast, but all in all the fact that she also lost her queue at the last corona makes me think she didnt study the role as much as it was necessary, that or she didnt give her all cause it was a dress rehearsal
filipp721 Agree.Totally could have been because it was a rehearsal . Still, I as well would like to have seen more nuance with the acting
humdrum..Thank you, next! Save the money for the Lisette Oropesa Traviata performances..Without being disrespectful to the soprano singing in this video, why does the Met keep hiring these artists that literally don’t have a clue about what they are doing? it is incomprehensible..
Music Lover Because in this particular case, the soprano is married to one Roberto Alagna. It is still inexcusable, the mediocrity for hire.
The fact that this soprano happens to be Alagna’s wife is not, I suspect, what caused the Met to hire her for this role, and to offer that suggestion does not respect her professional accomplishments. She has sung for some years now at the Met, so had a track record there. She performs at major houses in Europe, and in particular, as respects this role, she had already sung it to great acclaim in Europe before debuting it st the Met.
@@ikey14please check out soprano Kasondra Kazanjian
@@vincec8218 please check my ass..
THIS should not be allowed in the great Metropolitan Opera House. Lady, you need to channel something or someone to bring you into a dimension worthy of the Metropolitan Opera House. This summer stockish one dimensional Violetta will NOT be IGNORED by the people in overpriced seats. This routine Violetta needs to be taken down with dramatic thoughts and inner workings of character and brilliance. Embrace the role with quiet kindness and power of expression. "LET IT GO!!!"
like MARIA used to say.
MrQbenDanny ?????
Oh Cherri Queeryqueennie;I can feel; your`e real pain in the arse,ha,ha,let it go,.,let it go,and let others enjoy the show,and kkep the shit where it belongs,inside you!
Parece que sufriera al cantar (se ve incluso cómo su lengua se tensa) y su actuación no corresponde a lo que dice en el aria. No me gusta...
So heavy. No Scotto or Callas here.
No, they are dead....
@@passiefrucht Check out soprano Kasondra Kazanjian
Love "La Traviata" but this one........ boring... boring!
she literally didn't actually sing the e-flat lol................
She needs to pronounce her words more completely and clearly.