Mezzo-soprano Dolora Zajick sings Eboli's aria "O don fatale" from Verdi's "Don Carlo" on opening night of the season at Teatro alla Scala, December 8, 2008
Абсолютно досконале аиконання увєї надскладної арії - як у технічному,так і в художньому плані! Неймовірна справжня італійська вокальна школа дала свій переконливий художній результат! Звучання Голосу Долорес дарує справжню насолоду!
She is THE mezzo voice of the past twenty five years since the retirement of Shirley Verrett.. Dolora navigates these parts with intelligence and musicality. She sings the hell out of Azucena.. a difficult party with several written high C's which she performs an they sound good.. unlike others who either skip them or scream them.. She has good technique. Thats why she keeps singing, and she is a fun, lively person too.
@@xxsaruman82xx87 she is not. And having high notes doesn't make you a soprano. Zajick herself has talked about this at length. She's a master technician.
@@michaelblack1977 No, she absolutely is not a ‘master technician’. Of course high notes don’t make a singer a soprano. The colour and tessitura of the voice makes a singer a soprano, and Zajick’s are that of a soprano. She doesn’t sound like a mezzo at all.
@@xxsaruman82xx87 Wrong. She is a mezzo soprano. And one of the greatest mezzo sopranos of all time. And no one wants to hear your hateful remarks about one of the greatest voices in operatic history. Fie on you!
@@SymphonyBrahms You are the wrong one. Saruman is right. Neither Zajic is a mezzo nor she masters the vocal technique. Bad diction and squeezed sound especially in the middle register
Ms. Zajick sings this extremely difficult aria come scritto, no rewriting some of the text underlay to make the breaths come in easier places like many singers. While I enjoy it when the mezzo holds the final note for a few bars, Verdi didn't write it that way. Her top notes are dead center of the pitch, no pushing. A brilliant Verdi mezzo.
Princess Eboli: dramatic mezzo Eboli has betrayed her Queen and friend Elizabeth to the Queen because her advances to Carlos have been rejected. In retaliation, Elizabeth gives her the choice of being exiled or becoming a nun. After she leaves, Eboli curses the gift of beauty that she has been given, saying that it has been the cause of all her problems. She swears to save Carlos from the imprisonment that has resulted from her betrayal.
+Zashorigin sono contento che non sei d'accordo con me. ogni opinione venga rispettata,ogni. ancora una volta entrambi abbiamo una visione differente una dell'altra, così il mondo è diventato ancora più bello di ieri... dire ''non sono d'accordo'' è facile... non avere paura,dimmi perché non sei d'accordo con me? esprimi la tua opinione,sono molto curioso di leggere i tuoi argomenti. ciao.
Just listen to the orchestra accompany Callas in this aria. 1962 Hamburg. She could permit herself everything (although not able anymore) what a tension what a wonderful sound of this orchestra aways supporting the singer with such energy, perfect sound, dramatic short notes where it is written. It just does not exist anymore... those were the days. Strong singing Zajik brava!!
Zajick is already a legendary mezzo, following in the steps of Stignani, Barbieri and Simionato. This is a great performance of this aria. And it's interesting to notice that La Scala is saving money on sets, if you can call this bare stage a set. It actually resembles a waiting room at a bus station, except that the bus station is nicer.
Dolora is an absolute legend at this point. Who doesn't love big, dark, mezzo voices singing perfectly? BRAVA! ❤ The set is simply a joke for any production SPECIALLY for La Scala. Ridiculous. Who authorized that? 🤦🏻♂️
A praiseworthy performance, but to my ears Shirley Verrett wins with Obraztsova and Horne also in the top tier. I would love to have heard any one of them in live performance! Ooops, with everyone else deceased I guess it's gotta be Zajick -- cuz I ain't never gonna hear anyone live now, but I can revel in their recordings.
I love Horne but she was a disaster in this role. Since she is a contralto -even herself admitted that - the role was too high for her, and they lowered the key and she still could not sing it... But as a bel canto contralto\mezzo she is unbeatable.
She sings it well enough - even impressively at times but absolutely no individual timbre. One can admire her but there is nothing about that voice that gets me going
hobo1975 Shirley Verrett was trained as a soprano and took on high mezzo roles to get in the door... but she was always a soprano! Ask most voice teachers and they would agree!
dasingaman1 Actually she took on a helleva lot of of low mezzo roles at the beginning (Ulrica, Orpheus, Favorita) becuase the voice was definitely deeper when she was younger and progressively moved higher as she got older.
Just simply fabulous.. this role was not written for a "mezzo" Verdi thought of this as a soprano role, And Dolora, is simply the right voice for this role. Tough aria, sounded easy in her hands.
oh yes! I totally forgot! she injured it during rehearsals. That explains it. That's why I found her performance peculiar physically.I just couldn't put my finger on it.Wow! She must of been in quite some pain.
Cossotto, Obraztsova and Zajick are the greatest mezzos. They have those fantastic dark chest sounds - real mezzos. I also adore Oralia Dominguez, but her vioce is different.
I'm a mezzo and my vocal coach is always making me not let any darkness into my voice. I don't know why. Maybe it's because she's a dramatic soprano, but I her book, this kind of darkness is "wrong" and she says I shouldn't even be listening to other mezzo because I could pick up their bad habits. I've never run into the issue before...
@@frankG335 It sounds very likely your coach is trying to keep the tone forward and focused. Not necessarily a bad goal. For some observers, avoiding too much of the reverse -- though a darker sound can sometimes carry remarkable drama with it -- actually preserves the voice longer. Granted, I've encountered aficionados on both sides of the question, some asserting that a brighter more forward production does not preserve the voice longer after all. But I've never heard anyone assert that a more forward sound can actually imperil one's instrument. So your coach may simply be playing safe, even doing you a favor(?). For the lucky ones, a bright forward production may not preclude a richer more vibrant sound entering gradually into the tone over many years. That's what happened with Fiorenza Cossotto, who still had her top C for her farewell Azucena at the Met (I was there), a generally rich unmistakably mezzo sound and had started with a bright forward placement that she never abandoned, the tone growing richer without her trying to push it there.
La dama de compañía de la nobleza que esta a las órdenes de la princesa Valois esposa de Felipe II se confiesa culpable de haber tenido relaciones con el Rey y es desterrada como castigo.Hay una escena en que se autolesiona porque su belleza ha sido la culpable del desliz que tuvo con el Rey.es como una medición del mal causado.
LA PROTAGONISTA PRINCESA AYUDANTE DE LA ESPOSA DE FELIPE II se lamenta y se lacera por su gran ermosura que la condujo a tener relaciones amorosas con el rey y hombre más poderoso del mundo y por ello perder el cariño de su reina y condenada al exilio.ES UN ARIA TREMENDA de meditación grave interior.
No Wonder she was the best singer in the cast that night! I would have liked her to run out at the end though. Musically and dramatically at the end of this aria, I've always imagined Eboli running offstage like a bat out of hell. Here, Dolora is taking tiny baby steps. If she physically can't move that fast any more, it would have been better just to stand there till the curtain came down then.
+Zashorigin calma ti piccolino . è ovvio che conosci poco il mio mestiere. sai cosa vuol dire di avere la voce della mezzosoprano vero? la Zajick aveva una voce meravigliosa del soprano drammatico,il colore della sua voce apparteneva alla corda del soprano drammatico vero. per esempio la Zajick aveva quasi la stessa vocalità come erano le voci della Dimitrova,La Marton etc... e per dirla tutta sai quali erano le voci della Barbieri,La Nikolai,La Dilova,La Kosseva etc.etc.etc... ? queste Signore avevano la voce del mezzosoprano vero. dal vivo anche La Dimitrova cantava a volte con un colore di voce più scuro della voce della Zajick... la Zajick proprio come la D'Intino nel medium non ha il colore del mezzosoprano vero. dal vivo era così. sei libero di pensarla come vuoi,ci mancherebbe. questa è la mia modesta opinione. il vecchio ciao. P.S. prima di parlare devi riflettere amico. a cosa ti fa pensare questo soggiorno enorme e vuoto ?! e per quale ragione l'hanno costruito ?! cerca la risposta giusta caro ...
bodiloto Zajick ha detto che lei ha la un colore chiaro, ma lei è un mezzosoprano perché i suoi passaggi sono gli passaggi d’un mezzosoprano. Un mezzosoprano di Verdi è un po’ simile a un soprano.
Great Azucena but not great Princess Eboli. She lacks the character, charisma and personality this grand role requires. She has the voice, but this role is not suited for her style.
I am sorry to all her fans but I do not like her. Do you want to hear really great performance? Go to Shirley Verrett and Grace Bumbry. Especially Verrett....
Вот за что я не люблю порой оперу, так это за несоответствие зримого и слышимого. Когда вот такая объёмная мадама проклинает свою красоту - веры ей нет. Как бы она распрекрасно не пела. Ну, есть же в конце концов прецеденты - Образцова, Гаранча, ну и и другие красивые женщины для подобных ролей.
