I respectfully disagree with those who think that Battle is anything less than sublime here. I love many, many singers, and Battle is among my favorites.
Battle sounds great...but there is so little connection between the singers... they should be singing with each other Battle seems like she is trying to out do the Baritone instead of this being a duet...
@@simchaTed Why do you feel the need to attack someone who’s just giving their opinion on the performance they just viewed. It’s self-righteous snobs like you that turn people off to classical music. I don’t even necessarily agree with him, but Jesus man. Have a little class.
Battle has a really nice voice. But not very good breath control and lack of ease on that high note, it was obviously out of her range that she has to push for it, in spite of forcing her mouth open and over-rounding the vowels to get those high notes out
Luceafarul you're joking right? She's a coloratura soprano! That being said the role of Pamina is a lyric soprano role. Her voice lacks body and creaminess here and it's not written in her tessitura, clearly. Add to that her German is not exactly her best language...she'd have been better cast as queen of the night than as pamina. In this aria most of the song sits low in her voice. If she could sing this an octave higher no one could complain about her high notes!
Star Maker she's a lyrical singer who can sing coloratura, just like for example Elena contrubas. Lyrical singing is not necessarily easier than coloratura. With coloratura many times you just need to hit those notes and have the agility. You can screech those higher notes out of your range and it's fine since each notes don't last so long. Mozartian lyrical requires smooth transitions and rounded tops, it requires sounding good rather than vast agility. Listen to Barbara Bonney's version for example. The difference is quite huge.
I'm glad we agree :) Bonney is not as well-known as Kathleen Battle because of her restricted specialty and also some personal issues with her life that she decided not to go big into opera. But to me, she IS the definition of Mozart.
Battle always excessively shaped her mouth to adjust resonance. That didn't change the fact that she has upper notes for days. The tessitura for the role of Pamina sits lower, that's all.
I respectfully disagree with those who think that Battle is anything less than sublime here. I love many, many singers, and Battle is among my favorites.
One of Mozart's more delightful duets from 'Die Zaberflote' and done quite well.
Tan Battle com Hemm són ideals per aquests rols.
Battle sounds great...but there is so little connection between the singers... they should be singing with each other Battle seems like she is trying to out do the Baritone instead of this being a duet...
If Miss Battle is good enough for Maestro von Karajan, she is good enough for me. His opinion far supersedes your biased.
@@simchaTed Why do you feel the need to attack someone who’s just giving their opinion on the performance they just viewed. It’s self-righteous snobs like you that turn people off to classical music. I don’t even necessarily agree with him, but Jesus man. Have a little class.
@@adamant1015 why do you feel the need to insert yourself for? Go away
Battle has a really nice voice. But not very good breath control and lack of ease on that high note, it was obviously out of her range that she has to push for it, in spite of forcing her mouth open and over-rounding the vowels to get those high notes out
Luceafarul you're joking right? She's a coloratura soprano! That being said the role of Pamina is a lyric soprano role. Her voice lacks body and creaminess here and it's not written in her tessitura, clearly. Add to that her German is not exactly her best language...she'd have been better cast as queen of the night than as pamina. In this aria most of the song sits low in her voice. If she could sing this an octave higher no one could complain about her high notes!
Star Maker she's a lyrical singer who can sing coloratura, just like for example Elena contrubas. Lyrical singing is not necessarily easier than coloratura. With coloratura many times you just need to hit those notes and have the agility. You can screech those higher notes out of your range and it's fine since each notes don't last so long. Mozartian lyrical requires smooth transitions and rounded tops, it requires sounding good rather than vast agility. Listen to Barbara Bonney's version for example. The difference is quite huge.
I am in complete agreement re Barbara Bonney! No comparison! Kathy was obviously tired here too.
I'm glad we agree :) Bonney is not as well-known as Kathleen Battle because of her restricted specialty and also some personal issues with her life that she decided not to go big into opera. But to me, she IS the definition of Mozart.
Battle always excessively shaped her mouth to adjust resonance. That didn't change the fact that she has upper notes for days. The tessitura for the role of Pamina sits lower, that's all.
Rather lifeless staging here, although the singing is adequate.