I find this aria a million times better than the other one. I dare even say it is more demanding for the soprano, as it requires lower notes, trills, and a voice capable of seamless legato up to the very end. The first two thirds of the aria are beautifully written (almost sounding like lyric soprano terrain), and with the last bit requiring coloratura abilities of the highest level, I consider this aria much more exciting (and rewarding) than the other, somehow better-known one.
I agree 100%. I have always found this aria far more interesting than the Vengeance Aria. Der Hölle Rache is a genre item that never strays from expressing the strict affect of revenge, but O zittre nicht...Zum Leiden bin ich auserkoren is almost a rhapsody, with opportunities for subtle characterisation. In Ingmar Bergman's film, between the Queen's two statements of Denn meine Hülfe war zu schwach (For my aid was too weak), the actress gives Tamino a sneaky sidelong glance to gauge the effect her words are having. I also find this number musically more interesting than the Act II aria. But what can you do? 90% of the public think of Der Hölle Rache when you say the words 'Queen of Night aria', as if there is only one. And, considering there is a sizable population of operagoers who attend performances of Die Zauberflöte just to hear the Queen's arias, I suppose I should not be surprised at this crass disregard for the many beauties of this work.
Couldn't agree more and I also dare say that this aria requires a real Soprano Coloratura while the second aria is very well sung by singers who never truly had great Coloratura Technique but just happened to have the F6s Bergman's Zauberflote was one of the extremely rare occasions I went to the cinema to watch Artistic movies (which in general I find horribly boring and overrated)… I worship Ingmar Bergman (all of his movies)
@@LohengrinO I also am a rabid Bergman fan. I could happily restrict myself to viewing only his films for the rest of my life, with one exception: Babette's Feast by Gabriel Axel.
@@jasonhurd4379...extremely heavy m ovies from a psychological / philosophical point of view... truly and deeply Intelligent to unbearable levels... his quote: Malice is the natural condition of the human soul, kindness its rare perversion, has marked my entire point of view more than Callas has
@@jasonhurd4379 ...nowadays I prefer softer and lighter movies (here is my movies channel :D : ru-vid.com/show-UC4cl7t29x3yCO2yup4mYzOgvideos?view_as=subscriber
She was truly divine. I could only fault her an unreliable trill but other than that I believe it is better to pass to history in 15 years while wrecking your instrument à la Callas than to be a tepid singer for 50 years. Dessay has sculpted her place in history as Ophelia, Olympia, QotN, Konstanze, Zerbinetta, utterly delicious Lakmé, Morgana/Alcina, her renditions of Mozart concert arias and so forth. There is simply no other singer who has done so much justice to this repertoire in the past 3/4 decades with class, respect for the composer, understanding of characters, albeit with some questionable overacting at times.
Lohengrin O often times she struggled with her trills and they were a bit one dimensional. If nothing in her “second career” they became more emotional and deep.
What an intriguing production! The O.R.F. logo at the upper right of the screen would seem to indicate a provenance from Vienna or Salzburg, but I have certainly never seen it before. Imagine having to sing those fioriture while you are rising higher and higher into the air! And Dessay does it so cleanly and with such perfect intonation! Brava to her! Thank you, Lohengrin!
This (especially the star-makeup around the eyes) sort of reminds me of Dresden's quite awful, and kind of infamous production by Achim Freyer. I read somewhere that Dresden's is his third different Zauberflöte production. I wouldn't be surprised if this is one of his earlier two. Edit: The red fingernail-like things give it away. This is definitely Freyer's -mess- work.
@@j.j.schlachtfeld9325 I seem to recall seeing a still from a Salzburg production that showed Sylvia McNair playing Pamina in clown make-up. I wonder if that could have been Freyer?
@@jasonhurd4379 Well, if I remember correctly, Dresden's Zauberflöte was debuted in Salzburg, and in that production everyone has clown-like makeup. Perhaps both productions have been to Salzburg.
@@j.j.schlachtfeld9325 I think that is right! This is 1997 Salzburg production with Christoph von Dohnányi conducting. That was the year they wanted to take “new aesthetic directions”. (with more or less success) ;)
I hate when people call “Der Holle Rache” THE Queen of the Night aria. She sings 2, and this one is the more difficult one to sing. Dessay always did this one great.
She felt she couldnt trust her voice any more. She still sings, she does a lot of smooth Jazz music and covers. I was disappointed that she left opera but understood about her voice. She has done so much in opera. Was surprised that when she "retired" they didnt do any kind of farewell concerts in her honor like they have done with other opera stars
I agree with others about the difficulty of this aria compared to Der Holle. This is all middle voice followed by a frenetic frenzy of coloratura, arpeggios and a High F that has to be sang out of nowhere.
I actually find this one easier! Its not easy by any means, but Der Hölle Rache is really taxing for a lyric coloratura because of the super high tessitura. For a lyric, those sustained notes between F5-Bb5 are rough to do over and over. The coloratura isnt the hard part of der hölle rache, its all the other heavy singing. But thats my perspective as a lyric. Im sure its the opposite for a dramatic coloratura. Thats the trouble with this role... its like its written for two different fachs.
Reading these comments I certainly (and already) understand different tastes for everyone. But, from these comments I think that they are not used to hearing such precise singing. (why to some it may sound "colorless") - that kind of singing is rarely heard these days (I'm talking young Dessay) and what is being promoted as "divinity" these days is nothing of the sorts. We've truly gotten to a place where what has been presented as "great singing/singers" is now even confused as such! (Kinda like fake news, few can discern the difference).
The wig. The makeup. The Edward Scissorhands look. Qué horror. She is petite in size and voice, but she projects easily in the theatre. I heard her several times at the Metropolitan Opera House and she was great. Good musician and better actress. I love her voice in opera and in pop music. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0wHIc9O_pfM.html
... Sarà pure fantasiosa questa coreografia... ma quanto è brutta e spaventosa!! Io sono amante del bello... delle cose serene e dell' armonia che vige tutto intorno.. e non posso dire altro perché non ne ho la competenza... È fuori luogo criticare l' artista in questione.. Lei è una grande Soprano... ma poverina come l'hanno ridotta é orripilante!! Chiarito ciò Mozart è sempre all' altezza della sua immortalità..... e un grande grazie a te caro Lohengrin0 per la tua vasta ricerca in materia!! Ciao.. ciao da Elsa.
I think the "it" factor that she has is that her singing sounds effortless. I can hear the practice and technique with most everyone else, but not with her.
O zittre nicht...Zum Leiden bin ich auserkoren (Do not tremble...To sorrow I am destined), the Queen of Night's first act aria from Mozart's Die Zauberflöte.
Jason Hurd ciao caro,volevo chiederti: che ne pensi della Manon, data alla Scala questi giorni?Condividi le critiche? Scrivi nella tua lingua poi faccio tradurre.Grazie.Ciao.
Jason Hurd ....alla Scala di Milano, hanno dato la Manon Lescaut di Puccini.La critica ha definito la regia pessima,le voci mediocri,io non l'ho sentita,tu?Grazie un saluto dall'Italia.
The more I understand about the human and operatic voice the less I like her. She has no middle voice and no core. The voice is extremely tiny and light. b
Her voice is too hollow and colorless!!!! Ger sound has absolutely NO DEPTH whatsoever. It doesn’t matter how small your voice type is, you should always strive to have a huge sound with depth and millions of colors. She sound shrill!!!
chosentenore Youre faulting her for her god given instrument ? She has a light voice, hence her amazing coloratura capability and extensive range, as well as ease in said range. This thought that one must strive for a big sound is extremely invalid and unhealthy. If you have a light voice, you work to make the best of your instrument, you don’t push it and damage your voice. The key is to sing healthily and with superb technique, as Dessay always does
chosentenore Yikes. Your level of intellect and class was just displayed by your vile comment. Again, as someone who receives classical training, youre trained NOT to push your voice past its anatomical limits. Her voice can be heard over an orchestra, which is loud enough and gets the job done. It’s amazing how you somehow believe your opinion is more valid than that of those who do nothing but praise her supreme vocal prowess. Please excuse yourself. You are indeed hating .
