Rinaldo: 'Venti turbini' - Glyndebourne
Vložit
- čas přidán 1. 11. 2018
- Sonia Prina performs 'Venti turbini' from Robert Carsen’s Rinaldo.
Recorded live at Glyndebourne Opera House, August 2011.
Cast includes
Goffredo: Varduhi Abrahamyan
Rinaldo: Sonia Prina
Almirena: Anett Fritsch
Eustazio: Tim Mead
Herald: Oliver Mercer
Argante: Luca Pisaroni
Armida: Brenda Rae
Woman: Rhian Lewis
Siren: Charlotte Beament
Siren: Rebecca van den Berg
Christian Magus: William Towers
Production Team:
Original Director: Robert Carsen
Assistant Director: Christophe Gayral
Set Designer: Gideon Davey
Costume Designer: Gideon Davey
Lighting Designer: Robert Carsen
Lighting Designer: Peter van Praet
Movement Director: Philippe Giraudeau
Dramaturg: Ian Burton
Rinaldo is on stage at Festival 2019, 8-25 August.
www.glyndebourne.com/tickets-... - Zábava
I just love Sonia Prina ❤️
Top notch staging!
Evviva il teatro, sempre, SEMPRE!
Hell of a tempo!
Beautiful!!
Fantastic!
I always think of Ewa Podles when I hear this Rinaldo aria. She put her signature on that when she performed it. God rest her beautiful soul and muse like voice! This is my first time hearing Ms. Prina sing this. Thank you so much Ms. Prina for performing this so the public can listen to a text book example of a singer isn't quit honed for such a demanding and complex work? While I do sing, but not in a professional capacity I understand my limitations and skill set; I should hope you do the same? I also can regulate and control pitch and tone. This piece should only be executed by a professional coloratura. Hence most skilled opera singers cant pull this piece off. It pushes you to the ultimate edge as it plays with timber, bravado, and dynamic range. Clearly it can weed out the good, the not so good, and the awful... You can't glaze over the technical parts of the composition and make up for it with even worse theatrics and costumes.
You clearly don't have the stamina and breath control and diaphragm techniques to carry out such an extraordinal piece like Rinaldo. Sorry but i don't give an "A" for effort. Go back to the basics and sing within your capabilities.
💖🤩
Witty staging with bike and moon in the background.
Venti turbini, prestate le vostre ali a queste birote.
Glydebourne does some very odd things.
But boy, do they do "odd" - GOOD!!👏🏻
@@janehollander1934 The singing is mostly but not always good. Not a fan of modern productions.
Why bikes
@@ohiorizzler1434 "Why bikes?",,,,,,,,,,,,,,,,,,Because motorcycles would be too loud?
@@GeorgetownDude yeah bro, bikes. the symbol of inspiration, courage, and love.
This comments section is so bloody depressing! So bitchy and moany!!
Sometimes I'm so pleased to have not quite managed to reach the heights of the industry and yet still manage to make a decent living from music.
I cannot bear women singing pieces for countertenors.
it's not a piece for countertenor.
@@bogdiworksV2 it is for alto castrato.
@@Hlnodovik which is not the same.
@@bogdiworksV2 I know that, but since, currently, there are many good countertenors and sopranists, women should play only female characters, unless male singers are not available. Anyway I abstain from those performances.
@@Hlnodovik why should they? They can play whatever if they can cover the tessitura.
Oh God no. Just no.
Trying so hard to sound with a 'man's voice is the most absurd element I have ever seen. Not only does this create a caricature of a voice with no clear articulation and an unstable, shaking sound, but this is completely opposing to the musical outlook of the Baroque period. A clear but firm voice is needed, not this.