Asmik Grigorian: Senza Mama (Puccini) 

OH MY GOD why omit the miracle immediately after??

I heard her - she was very very good. I was extremely sceptical I must admit (after being disappointed by her Lady Macbeth). But she surprised me (and many others in the audience). She never sounded overtaxed, the voice rode well over the orchestra and the top notes were very exciting. It was a different Turandot that one normally hears (more in the Sutherland mould) but nevertheless very convincing

That’s the first time I heard her live, and I nearly fell out of my seat several times she was so extraordinary. I’ve never seen such a brilliant performance. (I was skeptical at the casting and the production when I first saw, too).

@@acacia-bloom Totally agree! I heard her in Turandot as well. I've seen countless Turandots from Gwyneth Jones to Anna Netrebko. But Grigorian is one of my favorites. Her Turandot wasn't a conception, but a living, feeling person. Her sound is very exciting: opulent, but not massive. It shouldn't work, but boy does it ever! I would kill to hear her in more Strauss roles.

L'ho notato anch'io e l'ho lasciato passare come un'interpretazione. È, ovviamente, l'opposto della Callas o della Scotto. Sembra già un desiderio di morte, ma non disperato, non appassionato, ma rassegnato.

Io penso che Puccini riserva alla disperazione piu profonda le linee di fraseggio piu chiare e "semplici" come all inizio di "vissi d'arte" o " tu che di gel sei cinta" o sola perduta".. et ogni portamento o spezzamento disturba 🤷‍♂️

Disperatione al di la Dell'emozione, di ogni speranza

Nah.

She apparently interprets the game differently. For me, it is wrongly thought here, because you cannot replace passion and despair with resignation and a longing for death. The conducting tears the aria into small morsels and takes away its flow. But I still find it an exciting interpretation. And especially as Senta - that is, in the German part - I didn't think she was good at all.