Vivaldi Countertenor Valer Sabadus: Antonio Vivaldi Aria "Gelido in ogni vena" (opera "Farnace", 1727). Antonio Vivaldi. Aria "Vedro con mio diletto" (opera "Giustino", 1724).
I have been following the whole development of the art of the countertenor movement since the seventies and witness the incredible high level it reached in the present time, This man is another example of this !!!!!
In addition to the amazing voice, it is the rare case where the high level of professionalism didn't become the grave of the heart with which he sings.
Unbelievable that this perfection can be achieved in a live concert. This voice is amazing and transports even the most refined emotions. It’s a journey in time. I think this aria could be sung different, but not better.
A brilliant voice and yes body language ,what a wonderful gift to music we should treasure these musicians all the hard work that is put into these performances
Definately my favourite Countertenor right after Iestyn Davies. Love the natural, masucline voice colour and empathy they both cultivate without drifting away into plastic drama or travesty. They DO NOT try to sound like women. That's what I like about them.
I dont mean to be offtopic but does anybody know of a way to get back into an Instagram account? I was dumb lost the password. I would love any help you can give me!
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hay casos que la voz parece más femenina pero en este caso Valer consigue una voz claramente masculina pero con agudos de una delicadeza y suavidad extrema. La belleza de los sonidos agudos, el porqué a algunas personas nos parecen tan bellos y emotivos ya escapa a mi razón...sobriedad masculina más sutileza femenina todo en uno...
Voz delicada, siempre me pareció hermosa y sutil como una estrella brillando parpadeante en una noche de invierno. No es de una potencia o volumen extraordinarios, pero es absolutamente hermosa, delicada, y el timbre es increiblemente limpio y elegante. Además, su expresión es inmejorable y su belleza física y elegancia, incuestionables. Observarle y escucharle cantar es siempre una experiencia artística muy muy bella.
This is definitely a man singing in high voice-a countertenor, and a very fine one. (Some commenters don’t seem sure it’s a man. Yes, it is. Wonderful, isn’t he?)
Valer’s voice is strong and fine like spun silk, thinning breathtakingly in places almost to the point of vanishing, so we dare not breathe lest by breathing we break the thread.
Hace unas fintas con la voz, usa unos graves tan cavernosos, y tiene un control de la respiración de la que muy pocos contratenores pueden presumir. Un portento. Bravo.
How does a man sing so brilliantly, while using his falsetto voice and STILL maintain such strong volume? How is it even physically possible? 🤷♂️ Anybody?
In the old days they used to castrate boys to keep them singing like this well into adulthood. But now it's purely natural technique. Some people are born with blue eyes..some brown. And some men are born with vocal chords that enable them to sound like women. Strange but true!
Terriblement beau et dramatique. Ce contre-ténor est plein de talent et de richesse intérieure, mais je balance souvent entre enthousiasme et déception . La deuxième partie "Vedro con mio diletto" est décevante . Son lascia sh'iu pianga est pour moi une catastrophe, alors qu'il avait tous les atouts pour en faire une merveille ....
Молодой, талантливый контратенор, уже успел показать себя в опере Артаксеркс Винчи с такими светилами, как Филипп Жароуски и Франко Фагиоли, где он очень органично исполнил роль Семиры (в зелёном платье). Редкий, нежный, мелодичный тенор, развивающийся дальше, вперёд, к идеалу.
Valer's body movements and face expressiveness are not done because he did as performance visuals. For one hand, he is the center of a lot of instruments that are playing striking high notes and very bass and grave notes simultaneous, in incredibly passionate concerting. The sorority is evolving him without chance to escape. His body, mind and soul are lost in such enchantment. Second: about and precisely his face expressiveness. For a soprano woman is very easy to reach those high notes without forcing her body and head. For male falsetists it's more complicated to achieve that kind of sounds without sacrifice something. Except, there is some kind of "natural" "castrattization". In my case, due my lack of testosterone since I was child, I can easily reach B7 with chest/head/body /head combination without the need of force my face's muscles. I noted that for classical singers males that need to do falsetto, they need to do a lot of training for educate their voice. BTW: B7 sounds horrible! It's a kind of whistle. My niece's canary loves it... I don't! Just as personal commentary, in my case, I would like to start studies in such beautiful career, but due my almost complete blindness I can't. My State university hates me literally because as the result I finished chemistry and graphic design careers with laureate against their desires that people with disability could go for superior studies, my university must do modification to allow it by Constitutional order. I am wore of them... Specially, as the Music School representatives said they don't have the tools for "help" me.
About your second point, that's not necessarily true. Yes, many countertenors use the big facial gestures as some sort of psychological "crutches": when they perceive a note as high, even if it sits well within their range, they do it as a way of taking stress away from the act of singing, as a mental support of some kind. That doesn't mean they cannot reach those notes if they put on a poker face; it's just a way of reducing tension. As a countertenor myself, I sometimes tend to do these kind of facial expressions when I am approaching the upper limit of my range; but then again, when I realize I'm doing it, I can avoid it without any problems. It's just a bad habit: a tendency that can be avoided. Also, this kind of grimacing is not exclusive of male altos or sopranos, by any means. I know many women who do exactly the same, Cecilia Bartoli being the most famous one that comes to my mind.
Interesting what You Tube throws at us First time I had heard this counter tenor and to my ears I prefer him to some more well known singers but in Vedro con mio dilettoI much prefer Orlinski who seems utterly at ease with nothing forced. In fact overall I think Orlinski is one of the best counter tenors around today
Orliński: sadly he is spoiling the gift of his voice by: not training enough. and lose fans (i am not alone) Or is this hopefully the negative impact of this corona shutdown and he will come back... wait and see.
I would suggest you look at the the volume of work he has been receiving lately/Opera with Joyce di Donati but I suppose you would consider her a top flight soprano
Me parece curiosísimo que habiendo visualizado esta maravilla 57000 personas no lleguen ni a 1500 personas las que lo aprecien para simplemente darle a una tecla. ???