No soy culta en ópera, pero la primera que escuché, fue en el silencio de la tarde de un Domingo, después supe que era Madame Butterfly... No entendía nada, pero terminé llorando como cuando se llora en acto de contrición. Esta SEÑORA es INCREÍBLE!!!!... QUE TALENTO SOBRE HUMANO DIOSSSS!!!!!!
es impecable su actuación e interpretación del personaje y la obra 8:27 constantemente fluctúa desde el desconsuelo, la desesperanza, la resignación... hacia el júbilo, la alegría, la dicha de un deseo concedido; y en un milisegundo recae nuevamente. expresa todo con gestos muy sutiles, y jamás sobreactúa. refleja todas sus emociones y los distintos estados de ánimo con los ojos. y como si fuera poco, canta una ópera clásica como *la mejor soprano del planeta*
Han existido tantas Violeta a lo largo de los años, mejores y peores, pero Diana hace su propia versión. Poder escénico, voz viva, radiante y gran originalidad actoral, grande Diana!!!!!
Suzanne Derringer omg yes that’s what I thought when I met her in person here in Los Angeles a couple of years ago she even talks like her a little bit…😍
I would not have thought that this perfect Mozart coloratura would have the technical and emotional chops to become a true Violetta. I am happy to be proven wrong here. She has captured the ambivalence, pain, hope and strength of Violetta here in both her vocal interpretation and her physical presentation of the character.
The opening music from 6:27 to 6:39 is really catchy . It is like you are flying freedomly through the air , and it makes you feel so free just like what violetta has felt
This is by far the closest portrayal to the character of Violetta , Damrau expresses so clearly her fears , doubts, hopes. despair and joy. . It's all in her body movements.She brings the inner rhythm in to her voice , giving us a vivid vocal portrayal of this tragic character , in the Sempre Libera , one of the tour de force arias in the soprano repertoire. Most singers just get through it. But she brings out in her voice not only exceptional vocal colour ,amazing vocal dexterity ,, but also her terrible dilemma in choosing Alfredo over the life she thought was the only thing she could handle. with her dreadful illness. Damrau definitely has the genius to be able to portray a wide variety of emotions and indeed a variety of characters into her voice, bringing extra-ordinary tone co;lour to every phrase she utters. For me, she is by far, the greatest singer we have today.I was totally riveted by this performance of La Traviata !1
Diana Damrau performance of Violeta is really great, and her technique is perfect, but if you want to see a 21st century Violeta you can watch the performance of Stefania Bonfadelly: her technique is not so incredibly perfect, but she sings and acts much better than Gheorghiu e.g. to talk about another of the nowadays leading sopranos.
No they're from people who heard Muzio, De Los Angeles, Callas, Sutherland, Sills and Gheorghiu sing this piece and now have the misfortune of hearing circus actress D. Damrau.
Todas las emociones, facial, manos, cuerpo y en su voz. SI alguien dice que porque corto en los legatos... invito a que lo hagan y hagan lo que hace ella. Es maravillosa. Y por supuesto el fiato es necesario para eso, y ella lo usa todo, casi creí que se desmayaba en el final.
The tempo was a bit too slow for my taste, but she was in great form. And FINALLY a soprano that takes the high E-flat at the end! I would rather not hear the aria without it. Brava!!!
I don't see where I posted it was REQUIRED. I merely stated my preference was to hear it with the E-flat or not hear it at all. I coached opera singers college and beyond, and I know it is optional.
Flyinghow when Cotrubas sang Traviata she would put the HI e she knew it was optional. But it suited her voice a pure lyric soprano a great Traviata. This lady doesn't have the quality. I'm sorry to say. She's not all that bad if you stop making comparisons. Let's face it the Golden Era of Opera is gone. And we have to settle for these voices. I'm sure I offended some people but it's true learn to accept it. When Cotrubas turn 40 her voice started declining. She struggled with a high e. She knew when to retire. The one her prime she was incredible the best Traviata I ever heard. Thank you for posting your Opera loving friend Arnold Bourbon Amaral
@Flyinghow true! I actually prefer the tempo a little faster (like the version of Montserrat Caballe) but Diana's technique is superb, she controls her voice very well and I really like the E-flat. That was very satisfied.
josé caballero is that good or bad? My wife wanted to go see it and December 5th. I told my wife while she's not Cotrubas. Please advise thank you Arnold Bourbon Amaral
@@alkiskarmpaliotis2776 Florez sounds fine He had one really nice moment - his C st the end of O Mio Rimorso His Bb at the end of the Brindisi was swallowed up, and he was late on the cut off.....what I find most problematic is his "acting"
Meravigliosa cantante che amo immensamente ma che pesantezza nel lento di "croce e delizia"!!! così non è violetta. le emozioni per esprimerle non bisogna rallentarle...ma esprimerle pienamente con il loro fluire naturale.... ....tecnicamente è strabiliante e la amo tanto...ma forse la Traviata meglio lasciarla fare ad altre...
I like her tone and diction. I can’t get past her vibrato and her acting is over the freakin top. It’s hard to watch. Let alone endure her screaming of the Eb. It’s just too much. I miss Joan
Everything is perfect but an awkward painting above the bed. Why? I have never seen that a servant showed up during this aria in many other productions. I am quite surprised. What is the purpose?
This "awkward" painting is a huuuuge reference. Olympia is a painting by Édouard Manet, first exhibited at the 1865 Paris Salon, which shows a nude woman ("Olympia") lying on a bed being brought flowers by a servant. Olympia's confrontational gaze caused shock and astonishment when the painting was first exhibited because a number of details in the picture identified her as a prostitute. It may not follow the taste of that era, but it's contemporary to Verdi (the premiere of the opera took place in 1853). By the way, Piave and Verdi wanted to follow Dumas in giving the opera a contemporary setting, but the authorities at La Fenice insisted that it be set in the past, "c. 1700". It was not until the 1880s that the composer's and librettist's original wishes were carried out and "realistic" productions were staged... To me, that element gives even more meaning to Manet's painting in this set as a reflect of that era.
Hopefully you're right. She's unsubtle, graceless, classless, and talentless. She oversings everything, overacts, and is generally overrated. The one thing I can't decide is if she's a light voice trying to make her voice sound heavy by screaming, or if she has a larger voice and is trying to trip through coloratura like a hippopotamus ballerina.
Come on, she is not that bad. Well done. Still, there will never be another Giusy Devinu, who left us far too early. She lived the role of Violetta like no other, her voice and acting were simply flawless. Check it out!
Alkis Karmpaliotis Agreed, to a certain point. Callas's voice sounded more metallic, not as soft as Devinus or even Damraus. Still, Callas' rendition of Tosca's Aria "Vissi d'arte" is unrivalled to this date.
"she delivered the tension, pain, despair blah blah blah of Violetta really well", yeah, through her vocal strain, of course, she's physically tense anyway.
Its all depend on the conductor.. Here diana damrau very strict and too much vibrato... With yannick.. Diana more human and less robotic... Its all. Depend on the conductor
Nuestra Dianita, es una gran soprano Belcantista, la Traviata, es la última de, la trilogía romántica de Verdi, Rigoletto Il Trovatore y la Traviata. Basada en la Dama de las camelias,, Alejandro Dumas, mi Maestro en la Dirección Escénica Emilio Sagi, el Maestro Belcantista. La posicióno, como, una de las mejores, en el Bel Canto. La pobre, tuvo la desgracia recientemente, de compartir cartel con el tupamaro!!!Es berlinesa Berlin, tedesco, es muniques, como mi chico, Jonas Kaufmann, lo firma la chica de la gala y Sra Kaufmann!!! Que arrogancia, nivel más bajo.!!!
I know nothing about opera, but if I must compare Bonfadelli and her, I gotta say Bonfadelli does a superior job. I love Diana as queen of the night, but here I find Her overacting and it’s desperate how she gasps before starting the lines ... I find her over the top
Her singing and acting reminds me of Renato Scotto, and I don't mean that as a compliment. The way she pushes those high notes into the house and her self-conscious acting, which is all indication. Her voice is much more steady than Scotto's, but every so often, there's an unpleasant vibrato on those ear-piercing high notes.
DavidAsset78 She basically sucks. Lets face it. And now she's lost her voice & sounds even worse.In her prime she was very adequate etc. Arnold Bourbon Amaral
@@arnoldamaral7406 Lost her voice? Forgive me whilst I titter - she may not be singing 'O Zittre Nicht' anymore, but Diana's voice is far from gone. She still has wonderful control to a little above high C, is much better about dynamics and emotional control, and given that it's been about twenty years since her debut in classical music, I'd say she's doing just fine.
Diana is clearly a great singer and artist. But this is a mess. Couldn’t the director or conductor tell her to pay more attention to the voice than to her hands and other physical twitches?
Dave Glo This type of “acting” gestures garbage is all the rage in the singing world right now, because 99.999% of singers can't really sing, and the ones who can are barely hanging on. It's not like violin where so many young virtuosos can play flawlessly with near-perfect intonation and tasteful, creative phrasing… Most of the means to beautiful singing has been lost and replaced with “support” and “singing in the mask.” And everyone overcompensates with this s*t.
She's admirable. Emotionally vibrant and technically solid. That being said. I somehow find her voice a bit....thick? And the vibrato quite strong. Generally. Not only here. Does anybody feel the same? I'm just curious. Nevertheless she is a great and very skilled singer. I love her. And she seems to be a very cute person.
theinkbrain dude. I’m not sure what you’re hearing.. but this performance is the poster child for anything but perfect. She’s overacting, her hand gestures are over the top and very distracting, her vibrato is wobbly, and she takes way too many pauses and creative licensing with the tempo. Far from perfect. Perfectly and impressively...the complete antithesis of perfect.
