Il ne peut y avoir de doute, Roberto Alagna est bien le digne successeur du grand Georges Thill, Beau timbre de voix, qui fait justement penser à Thill, diction impeccable, interprétation convaincante. Il est aujourd'hui le plus grand ténor français qui défend notre répertoire ici et à l'étranger comme aucun autre ne peut le faire, car il a en plus le style requis pour ça. Bravo Monsieur Alagna.
This interpretation moved me to tears. Alagna's beautiful singing is so intense in its softness you can't help but cling to each word. I also love the modern take on the set design and the juxtaposition of the yellow roses against an otherwise darkish background. And yes to Stephen Costello!!! I had the pleasure of performing with him this spring and, well, do yourself a favor and become a fan!
Too bad you can't like or dislike comments on YT any more, that said, this is a beautiful moment in the lives of these two singers, when they were both a lyrical soprano and a lyrical tenor.... and now they have gone on to heavier roles... Alagna to Don Carlo, Turandot, and Otello, and Netrebko to Lady Macbeth, which she is singing at the MET now, in Sept/Oct 2014.... an amazing transformation into a dramatic soprano!!
Yes, his scooping is ridiculously everywhere, butI'll tell you what I can really appreciate about Alagna's interpretation of this aria: He's brave enough to go into his head voice to really interpret delicate. For example, he sings every F5 (except for the first "retraite") in his head voice. And the A natural on "faut" at the end is not powerhoused and belted out like every tenor in the world. It's takes a lot of artistic integrity to do that.
The first time i heard this aria i felt a great emotion..the singer was Di Stefano. I've heard lots of different interpretations but i think that Di Stefano in this aria is still at the first place. I also heard Gigli, Kraus, Villazon, and others but i can't find the same emotions...I like this Alagna's version because he uses pianissimo that is the right way to sing because of the dreaming scene.
we must keep in mind that firstly, a majority of the markings on sheet music were put there by the editors not the composers. Secondly, as artists part of creating art is breaking the rules. What artist has ever been successful by following a guideline? Really though, anyone? Beautiful interpretation. Alagna is not my favorite but this interpretation is outstanding, compelling and utterly heart-warming.
Costello?! Mygod, that was a year ago! Since then I saw him as Romeo in Baltimore...no complaints, except that he can't act. Which brings me to my favorite young tenor, Sebastien Gueze...fantastic!!
He is doing things very dificult directly from stage. I like his R, is better than some R a la italiana, french is french.Just no exagerating the throating sound , Bravo Roberto, I also sing like him and i am french What a Pianissimo, Oh.
i`m not algana fan, but there I`so impressed by the sweetest and tender love scene, like the role, the music and escene demands it. i so agree when the people say heard Corelli, Alvarez... cause there are many ways to sing the same aria. I recomend heard: Kraus and vargas too. the singer have the oportunity to interpretate the role folowing the partiture. But when felt in his soul and heart,the music, the aria becoming in this!!! i dont belive in FORTE in these aria. (sorry my foreing english)
colora 40 WHY ,WHY here is allways I think men who are critizaicing most Roberto Alagna. His voice,his French,or Italy how he is singing,his fibrato and so on.I am very near to answer, You are so gelous, he is so beautyfull ,fine body, nice hair yes, look at his hips. nearly 50 years old and body what all men never get. On stage first lover.Yes here are som reasens for mens behavior.And so many are not loving you-ever.
The old-timers mentioned here may have sung the Dream beautifully, I don't know, but their day is done, as is Alagna's. For the best rendition imaginable, by a glorious new voice and artist, listen to Stephen Costello, right here on good old RU-vid.
I love Gigli's version too, but I really prefer hearing it in French. Tagliavini also does a lovely version in Italian though. My favourite, I must say, is Jussi Björling's from 1938. Just beautiful.
@Seabizzle19 OMG what is it with people actually criticizing Alagna's French?? He is a native French speaker, born & raised in France, and is known for his perfect diction & phrasing in the French repertoire. And you are from Canada, home of the world's worst French??
mltube: His name is Alagna, is not something that you eat! Obviously your comment are in bad faith. You may not like his voice, that doesn't mean he doesn't has it.
I let hear the "dream"-aria (Manon) from Villazon and from Alagna to a friend. His comment: "I like Villazon because he sings louder"!! True, but reveals the perverted! taste which many have today! Villazon's attack is unclean and he sings not a real "piano" (sings only more silent). Alagna sings a real "dream", a fine piano on full breath and legato. Reminiscence of "belcanto" (as f. i. Ferruccio Tagliavini). All twho don't have an idea of "good" singing should not write stupid comments.
NUNCA UN PP ES SIGNIFICADO DE "FACIL"... ES AUN MAS COMPLICADO.... Y CON ORQUESTA EL DOBLE ... PUES TIENE QUE ESTAR COLOCADO PARA QUE SEA SONORO... DEBERIAN DE HACER EL INTENTO ... CON FULL ORCHESTA.... Y SE DARIAN CUENTA QUE CUESTA MAS... QUE A PIENA VOCE...
yes, i've heard his performance and i have to say that at the first time i was laughing because of the strange sound of the german language in this area...otherwise the aria is well sung and it gives the idea of the dream. In fact i don't like interpretations that use liric "heavy" voice. I've heard lot of times flat interpretations with the same quality of voice in all the aria...do you agree with me?
And by "head voice" you mean unsupported falsetto-ish voce finta or something? I'm all for artistic integrity and singing with dynamics, but that is not a sound that impresses me.
Scooping ftw! I really don't understand why he has to scoop every third note. Such tasteless overuse of an effect. he has a beautiful voice, and I really he think he ruins an otherwise great performance with that worthless habit.
Alagna è un tenore da quattro soldi, e lo potete sentire. E' un cantante che ha avuto l'occasione di cantare nell'Aida, alla prima della Scala, e siccome non è capace di cantare "celeste aida", e lo sa benissimo, alla seconda rappresentazione è stato fischiato e come un coniglio pauroso ha abbandonato la scena. Vile! E' davvero un cantante di seconda classe. E siccome è ancora giovane, gli consiglio di cambiare lavoro, avrà un futuro.
...ok, you are paid for this comment by Costellos Manager. Costello is far away from being a star. His voice has a permanent tremolo and he is not capable of a true piano. I am not a Fan of Alagna, but he sings in another "World". Costello is just another Tenor, one of 100 or 1000...
It sucks because you know if you boo him because of his scooping, he'll just flick you off and leave the stage. Maybe that's not a bad thing though. . lol
I don´t like the french r´s but he sings the aria so lazy listen to alvarez version if you want a modern version worth the name or listen to bjoerling or Geddas or Kraus or just about anyone from the 30-60th this is sloppy!!!
Eh bien ! Il est fatigué, le pauvre Alagna ! Je l'ai vu chanter Manon à Paris il y a trois ou quatre ans, c'était autre chose que ça. Il évite toutes les difficultés de l'air, il en rajoute, fait des portamenti impressionnants à tout bout de bras pour parvenir à l'aigu... Très déçu !
