same here... more comfortable. i guess it's about make it sound as good as one can, and although he could do it in A i believe that was what guided his choice!
@Emilmt Cencic is really a wonderful Cherubino! Splendid voice with a velvet timbre! But he transposed this piece a bit lower, though it suits him very well. I've found that the most perfect Cherubino ever is Nicholas Spanos! His version is the most beautiful and enchanting one! You can listen to it and compare. And it's the most accurate one, sung high in the original key.
Voi che sapete che cosa e amor, Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor. Quello ch'io provo, vi ridiro, E per me nuovo, capir nol so. Sento un affetto pien di desir, Ch'ora e diletto, ch'ora e martir. Gelo e poi sento l'alma avvampar, E in un momento torno a gelar. Ricerco un bene fuori di me, Non so chi il tiene, non so cos' e. Sospiro e gemo senza voler, Palpito e tremo. senza saper, Non trovo pace notte ne di, Ma pur mi piace languir cosi. Voi, che sapete che cosa e amor Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor, Donne, vedete, s'io l'ho nel cor.
@90lysander Notice, that I didn't accuse you of saying anything about countertenors. It was just a question. I know that Mozart wrote his early operas for castrati like Mitridate, re di Ponto. Actually, 3 operas for castrati. But later times changed and they already began to introduce this weird fashion to replace them by women as at that time falsettists couldn't compete with castrati. But nowadays countertenor's technique is brilliant. Still, I think that a MAN is closer to the BOY character!
I'm not sure why the Spanos performance seems higher: Cencic does not transpose and this is Nott; it's authentic B-flat. I seriously doubt Spanos is using B-natural, far more likely the discrepancies in electronic recording-uploading have slightly "compressed" the Spanos rendition. (It's not a full half-tone higher either; I'd also love to see the reaction of a professional accompanist when instructed to ignore the 2 flats in the signature and "pretend" there are 5 sharps instead...)
@arpeggio1358 I agree with you and would like to hear Cencic live in this role too. The only difference is that female mezzos were not convincing to me as a young man at all no matter how wonderfully they sang. First I heard this aria in a man's rendition exactly here in this video. It was like heaven and earth:-). Only then I realized what this character really is as before it was just a weird comedy for me when women pretended they were Cherubino. Sorry, tastes differ. Please, forgive me:-)
@90lysander What about a mature countertenor in this role? He is heard very well in many houses! If for you a female singer is more convincing in a role of a young man, well, listen to it and be happy! But don't you think that this weird practice to use women in men's roles introduced long ago to forget about castrati has lingered already too long? How about bring back more LOGIC even to OPERA? Besides, women were only a cheaper substitutions for castrati as they don't have this specil magic!
I think he's fantastic singing Handel but his Mozart is not to my taste, I prefer a singer who can really keep a more fluid line going, say a good lyric mezzo soprano. For the people saying it's a man's role it was written to be sung by a woman you know. (I'm not saying a counter tenor can't sing it if he wants.)
@90lysander Well, it's just sharing opinions, but actually you put words in your mouth yourself. E.g. Cherubino is more convincing to you in women's interpretations than in countertenors. So, one woman adresses to other women like friends:"Donne, vedete, s'io lo ne core..." Woman's talk. Just one woman is dressed in mascarade clothes. If she is more convincing to you in a MALE character than a countertenor you DO take singing isolated from action and can just enjoy a VOICE. I prefer more logic
@90lysander Nice compliment for Cencic that he is so great but any good mezzo or soprano can sing a MAN better than he! Sounds like a mockery to me. Actually, I can explain but not sure if you'll understand as only people with sophisticated enough tastes can appreciate CTs' singing. Obviously, you are NOT one of them. There's special magic that can be found only in high MALE voices. Women can be good, but it's a DIFFERENT colour and quality! No CB can replace it as she is a "castrated castrato"!
@90lysander I guess you are really just old-fashioned and also a traditionalist who just take opera as an abstruct thing where singing is isolated from the action. Of course, tastes differ, but I personally will never agree with you that a countertenor in a man's role is "odder" than a woman in a trouser role! Why are you so prejudiced against the whole category of voices?! There are just bad singers in any other, but I've never heard people say they don't like e.g. tenors! But Cencic is GREAT!!
I think the performance is boring and not very accurate in some places, not much feeling or meaning expressed, and Italian a bit at fault..and don't like this type of voice for this aria, it is a bit too rich..
He sure can sing! This is wonderful.
He's the most perfect Cherubino ever.. Amazing voice
Bravo! Graceful voice!
BEAUTFUL!!!!!!!!!!!!!!!
unfassbar schön!!
fantasticooooooo!!!!!
Ecco, questo è il più autentico Cherubino immaginato da Mozart
fantasticooooooo
Il mondo è pieno di miracoli... incredibile, sono impressato..!!
same here... more comfortable. i guess it's about make it sound as good as one can, and although he could do it in A i believe that was what guided his choice!
because women have delicate voice, perfect for a young boy like the character of cherubino
Take away the visual and I just might love this
Cencic is really fantastic! One more real artist added to the LITTLE list in my pockets.
I would also prefer him to wear something more classical but the main thing is still his voice, and it's amazing! Great performance! Bravo Cencic!
@Emilmt Cencic is really a wonderful Cherubino! Splendid voice with a velvet timbre! But he transposed this piece a bit lower, though it suits him very well. I've found that the most perfect Cherubino ever is Nicholas Spanos! His version is the most beautiful and enchanting one! You can listen to it and compare. And it's the most accurate one, sung high in the original key.
Voi che sapete che cosa e amor,
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor.
Quello ch'io provo, vi ridiro,
E per me nuovo, capir nol so.
Sento un affetto pien di desir,
Ch'ora e diletto, ch'ora e martir.
Gelo e poi sento l'alma avvampar,
E in un momento torno a gelar.
Ricerco un bene fuori di me,
Non so chi il tiene, non so cos' e.
Sospiro e gemo senza voler,
Palpito e tremo. senza saper,
Non trovo pace notte ne di,
Ma pur mi piace languir cosi.
Voi, che sapete che cosa e amor
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor,
Donne, vedete, s'io l'ho nel cor.
Actually, this was written for a mezzo. Trouser roles are usually used for comic effects.
Holy shit.
Herrlich - auch der Hut, haha...
Christian Waldau
@90lysander Notice, that I didn't accuse you of saying anything about countertenors. It was just a question. I know that Mozart wrote his early operas for castrati like Mitridate, re di Ponto. Actually, 3 operas for castrati. But later times changed and they already began to introduce this weird fashion to replace them by women as at that time falsettists couldn't compete with castrati. But nowadays countertenor's technique is brilliant. Still, I think that a MAN is closer to the BOY character!
geniale!
I'm not sure why the Spanos performance seems higher: Cencic does not transpose and this is Nott; it's authentic B-flat. I seriously doubt Spanos is using B-natural, far more likely the discrepancies in electronic recording-uploading have slightly "compressed" the Spanos rendition. (It's not a full half-tone higher either; I'd also love to see the reaction of a professional accompanist when instructed to ignore the 2 flats in the signature and "pretend" there are 5 sharps instead...)
@arpeggio1358 I agree with you and would like to hear Cencic live in this role too. The only difference is that female mezzos were not convincing to me as a young man at all no matter how wonderfully they sang. First I heard this aria in a man's rendition exactly here in this video. It was like heaven and earth:-). Only then I realized what this character really is as before it was just a weird comedy for me when women pretended they were Cherubino. Sorry, tastes differ. Please, forgive me:-)
this is transposed down to A flat major. good deal
@weddinganejakopp And they should be!:-) Cencic's is the highest standard + no women can sing as beautifully as men+ it's a MAN's role!
Ar man pasigirdo, bet aukštas natas jis kiek žemina?
his cup must be too tight lol
ok, ok, he's good.
She mispronounced his last name. It's Tzenchic with the last C being pronounced like in the Italian "ciao". :)
Wow you must be tone deaf cause it was perfect.
I think this part should generally be sung by a boy soprano since in Mozarts opera Cherubino was a littel boy who fell in love to an adult woman.
A lot of mezzo sopranistas become jealous when hearing that.
@90lysander What about a mature countertenor in this role? He is heard very well in many houses! If for you a female singer is more convincing in a role of a young man, well, listen to it and be happy! But don't you think that this weird practice to use women in men's roles introduced long ago to forget about castrati has lingered already too long? How about bring back more LOGIC even to OPERA? Besides, women were only a cheaper substitutions for castrati as they don't have this specil magic!
@TheSaphire69 actually it was suppose to be sung be a men, reguarding the fact that is a man character, but is usuallly sung by a crossed dressd woman
I think he's fantastic singing Handel but his Mozart is not to my taste, I prefer a singer who can really keep a more fluid line going, say a good lyric mezzo soprano. For the people saying it's a man's role it was written to be sung by a woman you know.
(I'm not saying a counter tenor can't sing it if he wants.)
@90lysander Well, it's just sharing opinions, but actually you put words in your mouth yourself. E.g. Cherubino is more convincing to you in women's interpretations than in countertenors. So, one woman adresses to other women like friends:"Donne, vedete, s'io lo ne core..." Woman's talk. Just one woman is dressed in mascarade clothes. If she is more convincing to you in a MALE character than a countertenor you DO take singing isolated from action and can just enjoy a VOICE. I prefer more logic
@90lysander Nice compliment for Cencic that he is so great but any good mezzo or soprano can sing a MAN better than he! Sounds like a mockery to me. Actually, I can explain but not sure if you'll understand as only people with sophisticated enough tastes can appreciate CTs' singing. Obviously, you are NOT one of them. There's special magic that can be found only in high MALE voices. Women can be good, but it's a DIFFERENT colour and quality! No CB can replace it as she is a "castrated castrato"!
@90lysander I guess you are really just old-fashioned and also a traditionalist who just take opera as an abstruct thing where singing is isolated from the action. Of course, tastes differ, but I personally will never agree with you that a countertenor in a man's role is "odder" than a woman in a trouser role! Why are you so prejudiced against the whole category of voices?! There are just bad singers in any other, but I've never heard people say they don't like e.g. tenors! But Cencic is GREAT!!
I think the performance is boring and not very accurate in some places, not much feeling or meaning expressed, and Italian a bit at fault..and don't like this type of voice for this aria, it is a bit too rich..
Completely outta tune.