Absolument magistral. Il n’y a pas la moindre faiblesse ni dans sa voix ni dans l’interprétation artistique. Une bombe pour les spectateurs qui ont eu le bonheur d’y être.
Beautiful presence and interpretation. What a charming Eboli ❤️ too bad her planned Munich and ROH performances had to be canceled due to current situation. Really wish to see her playing this role in near future again. 💗
Never heard her singing with such heavy chest voice. Didn’t know she had it in her! Fantastic stuff. More dramatically involved than I’ve ever seen her too. And it’s rare to get a genuinely beautiful Eboli!
Suggestion: look up her rendition of Jane Seymour in Anna Bolena here on YT, Vienna 2011. In their confrontation scene, Garanca squarely outshines Netrebko in the title role. Simply breathtaking.
I still don't think it's enough, though it's better than it used to be. The heavy and slower vibrato worries me, though. Incidentally, what a hideous production.
Great moments of opera it’s actually not true, developed chest voice. It s a constricted collapsed sounds...exaggerated Val salva maneuver. I can’t believe she is a mezzo, with no chest voice!
Comment fait elle pour avoir une tessiture aussi étendue sans détimbrer c'est juste magnifique tellement virtuose comme morceau et ça paraît si simple pour elle ❤
This is quite good!! I saw her sing this in an outdoor concert and it was laboured and forced or contrived I’m not sure what was going on but this is so much better!!
I can't help but miss the barn burning pyrotechnics that heavier mezzos bring to this role, but I thought she managed it really well. Much better than I was expecting. I'm not hearing a wobble that others are mentioning and it doesn't 'feel' like she's out of her depth. I just read that she intends to do Amneris and Kundry(!) in the next couple of years. I feel like the latter will be good for her, considering she's coming from specializing in the sort of sensual french seductress roles
Bellissima e potente voce in una romanza dove la Verrett rimane insuperabile ma questa volta la Garanca si avvicina a quei livelli anche grazie ad una interpretazione più approfondita.
MANTO REAL Vivendo os últimos anos de sua vida na solidão, no seu canto Na bela propriedade Svnta-Agat, o compositor Giuseppe Verdi Cantarolava: "Vou dormir para sempre sozinho em meu manto Real", a ária do rei Filipe, da ópera Don Carlos. Pensar no verde Da bandeira, o manto real dos brasileiros, em momento ligeiro, Na solidão das matas virgens, hoje morrendo à derrubada, que Antes a região amazônica possuía, lenda da raposa e galinheiro Que está hoje, na pandemia, aos exploradores sendo entregue. O manto real é a aura luminosa que construímos com o pensar Nos momentos felizes em doarmos amor aos necessitados sem Pensar em ser lembrados em nossa vida fluindo bem devagar. Um novo manto está sendo construído no planeta que ascende Uma oitava a mais em consciência planetária, compreendessem Todos a necessidade de ser feliz para sempre na luz que acende. (*) (*) FERNANDO PINHEIRO, presidente do Academia de Letras dos Funcionários do Banco do Brasil. - MANTO REAL (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
I beg to differ. Whilst I love TT, and I actually find her Carmen at the same level of EG’s, not so for this aria. Instead try Shirley Verrett. I think that SV and EG are up there, alone (in the recorded age)
not old enough to having heard these ladies live; old enough to have listened to all of them (except Ebe Stignani) in recordings. Now, out of curiosity old man (as- sadly - few yearspast 40 ... i am a boy...i wish), were yo at Bastille hearing EG live? ...because...you see..i was there, twice. But yes i understand ..the good old days huh? always better...lol
Is she really a mezzo? She goes soooo high! How is it that mezzo are singing high B, when that's supposedly the realm of sopranos? This is a general question.
mezzos can go up to high C too! it's just less accesible than a soprano's which means it's harder to pull it off and make it sound good. elina's top is a bit constricted though
...the best ever...? You never heard Shirley Verrett live. But, to be fair, that was 40 years ago. Back then there was also Grace Bumbry and Fiorenza Cossoto. Of the lighter Eboli's (and Garanca is definitely light) there was Viorica Cortez and Tatiana Troyanos. You can hear them all in youtube.
Again, of the lighter-voiced Eboli's she is certainly one of the best. But, to compare this with Verrett (or Bumbry, or Cossotto) in their best years is, well...ridiculous. However if you never heard any of the aforementioned ladies live, I can understand why you think that.
Современный театр вызывает у меня отвращение. Он унижает благородство, искажает красоту актера. Верди при взгляде на интерьеры и мизансцены модных спектаклей наложил бы на себя руки. Верните на сцену волшебство, чтобы такие, как Элина, могли в нем участвовать!
I have been waiting for Garanca to sing Eboli since I first became aware of Garanca a couple ofyears ago. I thought her musical and extra-musical intelligence and her having the looks that are dealt with in Ebolis aria would give a unique combination. Similarly to her Carmen, what is available on the internet does not justify this expectation. Not only does she not really project the repetitive and varied "don fatale" and "maledico", she is quite far from understanding the changes in tempi as what they are likely intended to be, namely spontaneity and changes in immediate plans "un di mi resta").Verdi (or Schiller) gave Eboli audacity, but also boundaries of faith, unanswered love for Carlos, disappointment by a humbling rejection, being embedded in an autoritarian system and presumably genuinely respecting Elisabeth are what Verdi tried to bring to life. Maybe that a person as successful as Garanca can only with difficulties understand the boundaries of circumstances, and requires a producer to take a bigger role. Maybe stagings that, like suggested by another clip of the Paris staging, allowing her to project cynicism will make a difference, lets hope she will excel again with the "older" roles like Klytemnästra or the Hexe of Hänsel und Gretel, or maybe the life she has given to Mozart and baroque roles will remain her best - the musicality she has sometimes helps but not always, and some careers in modern times show more promises than realizations.
You did notice she was singing in French, right? Even though that is the original libretto, I strongly prefer the later Italian version. Either way, it wouldn't be fair to hold the undramatic effects of the French language against any singer. For the rest, I think Garanca artfully overstepped the staging - and the audience felt it.
A fine performance, but the acting is way over the top. Can someone who's seen this production tell me how the director justifies an auto-da-fe in a modern setting?
Soprano . Vocalità gonfiata . Canto moderno che può impressionare solo gli intenditori poco preparati nella materia. Registro acuto e vocalità simili e quelli della Netrebko … no comment. PS Alla fine aspetto la versione senza microfono 🎤… il vecchio
@@gm2709 Questa è la voce del soprano drammatico, e ancora . Accanto ai mezzosoprani che facevano parte del passato glorioso La Garanca sembra a uno soprano lirico pieno gonfiato. Il medium e la voce di petto poco convincenti . Se mi ricordo bene Eboli la interpretavano anche i contralti veri, da anni spariti dalla circolazione. O tempora o mores … il vecchio
If she sang the "schwa" vowel the sound would be weaker. It's a technical matter, and a vocal coach, rather than a vocal teacher, probably advised he to do this.
Music and phonetics are not always good friends and some vowels can't be sung in very high or very low notes or make it impossible to be heard over the orchestra.
Escenografías y vestuarios anacrónicos para libretos basados en hechos históricos y personajes reales, pobre Elina que no parece una noble del siglo XVI y tiene que hacer ver que lo es cantando porque nada más lo indica 😖😖😖
C'erano migliore di lei, ci sono peggiore di lei. In ogni caso si tratta di una cantante molto intelligente, che sa come utilizzare la voce, anche se il ripertorio non e totalmente adatto.
Senti piccolino. Io parlo sloveno, croato, italiano, francese, tedesco, inglese e abbastanza bene spagnolo, russo e ceco. Se non credi, vedi miei altri commenti. Quando tu potrai lo stesso, fammi sapere.
per me puoi parlare anche Sanscrito, the point stands, mon ami, porque si haces errores en una lengua, je pense que tu debria ser un poquito mas prudent in crtiticizing others. (I spared you from ancient Greek and Latin...that i do know...by the by).
All wrong. No force, no intensity in her chest voice, the high tones don't project or have the required squillo. It's a beautiful voice, but Eboli requires a dramatic weight that she simply doesn't have. And the production- what the fuck? This is supposed to be the court of the King of Spain in the 16th century, not some yuppie apartment for a middle class woman.
I actually think that she pulled off the role a lot better than I'd thought she would. It seems that more lyrical voices fare better in the French version; while the Italian version definitely requires voices with more bite.
