Y a rien à faire, Alagna, je n'accroche pas, il joue trop du vibrato, ca m'insuporte car on n'arrive pas à entendre un timbre clair. On a tout le temps le cul entre 2 chaises, et je préfère rester debout😅
I don't believe Alagna was suited to sing Radames. He's about 44 here and his voice is wowing and not holding the vocal line. The aria and opera just seems too big for his voice.
Lyrics: My Man's Gone Now Ain't no use a listenin' For his tired footsteps Climbin' up the stairs Old man sorrow's Come to keep me company Whisperin' beside me When I say my prayers When I say my prayers He come around He come up, he come around Ain't that I mind workin' Workin' means travelers Journeyin' together To the promised land But old man sorrow Mountin' all the way with me Tell me that I'm old now Since I lose my man Since I lose my man Since I lose my man. Source: LyricFind
Il vibrato è un po' crescente.. La voce timbro non male!.. Comq un lirico rotondo... Non drammatico però!.... Tendenza note crescenti.. Comq non male!.. Nel rigoletto mi è piaciuto di più!.
Brava Lorengar, 63 years old, elegant and with a clear voice. The excessively histrionic tenor, it gives me a headache to listen to, his tense jaw demonstrates the technique of high larynx and closed throat, like the singers of today (modern technique)
She was born in 1928- this was 1987. So she was 59 or 60 (depending on the month). Still- superb technique and rock solid at an age when most sopranos are thinking about retirement
Why was she rushing through the song. Her voice is magnificent but her interpretation was not. This is supposed to be a sad song and she conveyed no emotion.
This is *not* simply a sad song. She is enraged. There is pain and sorrow buried beneath the façade of strength expected from Black women in the Jim Crow south. There is a sense of helpless acceptance as she bluntly describes her grim fate. Notice how it contrasts with Audra McDonald’s musical theatre interpretation in which she plays sadness, trepidation, and fear… things that a very young woman might show outwardly, but a mature woman would hide.
@@Lady_A.R the conductor doesn’t lead a soloist. He conducts the accompaniment around the soloist which would be the orchestra and the chorus (if applicable).
@@deshaunx776 This understated interpretation from an acting and character immersion perspective is definitely not the most sensical interpretation given the events that lead up to this song. This should be performed that gives context to the story and character, not a random black older woman’s way of responding to grief.
a unique interpretation...There is rage beneath her lamentation...as if, having been robbed of a great love, expressing her fury over the theft means more than merely " sighing in sorrow.".
Alagna sofre do mal de tantos outros cantores que insistem em cantar óperas que não são para a sua voz. Gostava demais do Alagna lírico, quando se podia apreciar a beleza da sua voz, uma vez que ela não estava sendo exigida além dos seus limites. Tal como Di Stefano, José Carreras, Katia Ricciarelli ... Até o grande, imenso, maravilhoso Pavarotti não resistiu à tentação e insistiu em cantar Otelo. São poucos os que conseguiram cantar quase tudo: Gigli, Callas... Tebaldi gravou Turandot no papel de...Liu. Não de Turandot. E que Liu, diga-se a bem da verdade! Isso é sabedoria. É não pretender correr numa prova off-road, com um Fórmula 1.
В лёгком жанре ,его тенор способен вызвать очень большую гамму эмоций,не будем лукавить это во всех смыслах и в первую очередь вокальном не его ,ведь Верди требует иных голосов,жаль их просто нет ,а все эти кудрявые и рьяные просто орут,даже тогда,когда желают петь piano,нет посредственность и мафиозность добивают Великую Оперу.
Eh,i cachet degli ingaggi piacciono a molti cantanti!Studiare e non fare figuracce piace molto meno!Se questo viene a cantare così dalle mie parti lo prendono a pernacchie e giustamente!
