Wonderful post: thank you, CMIM and Opera de Montreal! The suggestions about timing in the recit were most helpful, and Kirsten LeBlanc implemented them readily with a bit more coaching (conducting!). These suggestions can be applied by others in a variety of recits. I liked that Kiri did not dwell on specific technical issues in the aria, but rather a principle that many young singers need to consider: readiness of voice for a particular work.
I would recommend to her Haendel, to keep the lightness, freshness and briljance. In a few years indeed. I love the silver in her pitch, very beautiful voice.
"I thought I was going to shoot myself plus all the teachers". LOVE Dame Kiri. I also like that she demonstrates here....not in full voice...but she does it and its easier to follow.
Kiri had a beautiful voice but she was never a very intellectual singer as these masterclasses prove. The generalised advice about "taking your time" and the lack of insight into the Italian text are very revealing. As for the nonsensical statement about not needing the aria if the recitative is well done - I think not! The recitative actually needs quite some variation in its tempi and also some elasticity in its interpretation. The section that begins "fin nella strada per fermarlo, e sono assalitrice d'assalita" needs to speed up and sound quite crisp - not slow down. The phrase "col dargli morte!" needs to be molto deciso.
Sorry, but Kiri has no idea about how this recit. works. All this nonsense about spaces, time and slowing down is exactly the opposite of Mozart's intentions. You only have to save the voice if you're not up to the role and its demands. Just listen to Joan Sutherland singing this - phenomenal. This young singer, who nevertheless has a lovely, voice is not ready for this.
I was always taught it's only in accompanied recit that u go slower etc. That's more with baroque opera but it's the same principle. This isn't exactly a secco recit (has strings and all, not only continuo), but I see what you're saying. The recit is more speaking on pitch because it's the story moving ahead. The aria is one emotion/thought drawn out.
@@celibidache1000 I have seen Kristen perform live a number of times and she is a wonderful and talented artist, but before singers can become great artists, they must be students. I highly recommend you read Renee Fleming's The Inner Voice to get some insight into the work, dedication and TIME it takes to master your craft. 10,000 hours of practice. Have you done it? It is also worth mentioning that the psychology behind poor and developing technique is often an anxiety around having a large enough or impressive enough sound - in fear of people like you judging and tearing it apart. So congratulations - YOU actually are the problem with the art of opera today! I feel so sad that you hear only problems instead of beautiful music. What a horrible way to live. If you want opera to survive, cutting down young students is the opposite of productivity.
@@juliakennific9375 That tired old "you're the problem" narrative ... Will you throw a "can you do better" at me next. Here's some logic for you: if you study bad technique for 10 000 hours, you will still be a bad singer. She is using her voice completely wrong, anatomically and acoustically. She will ruin her voice in a couple of years if she doesn't drastically change her technique. Renee Fleming? One of the worlds most overrated singers who can't even sing anymore. Please! So, tell me what you know of singing technique, and, since you seem to know, technically, in what way is Kristen's singing great?
@@celibidache1000 yeah that's why Renee Fleming has an international career and you're commenting on youtube. can't wait to see your version of Or Sai, chi l'onore on your channel! end of day sound good? since you know so much. :*
I'm sorry to say Dame Kiri is WRONG! This young woman can sing this aria right now. Dame Kiri would be a horrible Donna Anna because she never had a full voice. Her voice was very silvery but not rich. That's why something like this would kill her. This young woman however has a very rich voice. The fact that the singer was able to crescendo on all of the sustained top A's shows she can sing this aria and role. This aria always sounds hard because of where it sits in the voice. All passagio. Unrelentingly.
thrillingopera she generally sang very well, but near the end of the song(10:28 to 10:32)，it seems that she was tired to support her sound. She may use too much energy than she was able to in order to do full voice, so I think the sound was a little sharp and tight. I guess this is why Kiri said this. From my perspective, she has a good voice.
I forget which Donna Anna said this but "Or sai" is like the Queen of the Night's "Der Hölle Rache" minus the top F's and "Non mi dir" is the Queen's first aria. Truly all passaggio work, fiendish! That's why Mozart arias aren't always the best for young singers. From this recording, (and of course, not being in the hall) I actually thought what a wonderful Zerlina she would make.
What a stupid thing to say that Te Kanawa never had a full voice. Donna Anna just never was her fach, but she was an incredibly gorgeous Elvira. And indeed there are much more suitable Mozart roles for this promising young soprano than Donna Anna.
This is your opinion, it is not a fact. How many times a singer will hear “You should sing this” or “you shouldn’t touch that role”. The only person who will know exactly what fits and what not is the singer herself/himself and from time to time a teacher or a coach who spends significant amount of time with the singer may have a good feel about what may fit. The singer will know how the voice feels after singing a certain part.
