What funny comments....it needs a "dramatic mezzo", very often its sung by a high dramatic soprano, and very successfull. She is a real mezzo and a superb singer, good voice and very good technique, as you can see/hear very seldom. Maybe she is trying to do what some people here advice her to do...to do too much, and calling it dramatic. Its not necessary to sing this area dramatically loud, you have to serve the intention of the situation, and the situation has some more colours to offer, then to shout. For my opinion, she could sing much more lyrically and less dramaticly, that comes automatically by singing the high notes. But even with those, the best and most successful is to sing the legatobow with maximum of control and absolutely musically. Eboli is a full hearted loving character and not a kind of "female Alberich". So for my opinion it would be a little more ideal, if she would have sung more lyrically. I dont need those "Applause-Singing for being maximum exhausted".
She can sing this as a concert piece but she should never do the full role for a sustained period of time, she is a consummate and intelligent artist and I am sure she knows this, It is probably time to stretch - but not push the voice- Those of us who love her voice just want her not to do any damage- I am sure Elina knows her instrument better than any of us and will do what she thinks is right. we can only admire from afar and wish her luck and continued success
Recently, she said that her voice has been moving in a more dramatic direction (Opera News, April 2017). It still sounds like a lyric mezzo to my ears, and I hope she doesn't push it into destruction.
Well she has changed her technique quite a bit. There is much more chest participation and integration than previously, the transitions into chest are well executed, which surprised me! However I still get the sense that this is a bit heavy for her voice, I would have liked a toned down version in terms of vocal pressure, it would have sounded a bit less harsh. If I have to choose, I prefer musicality over power. Even though she did not go overboard, this kind of singing can damage her voice if it is repeated too often.
@@pureffm :: how does a voice "move in a more dramatic direction" ( Opera News, April 2017 ) without the singer pushing it in that direction ? your explanation, explans it well. i'm not an expert but you really don't have to be ... all you have to do is listen to Nebtreko ... _then & now !_ if garanca continues, as you commented, she will be in the _then & now_ class of the voice moving around, _on its own,_ to more dramatic _experiments._
Jeez, people--stop criticizing her because she doesn't have the giant voice of an Obraztsova. If you saw this woman's Eboli onstage you would be thrilled to the bone--and if not , you're just either an old pedant or a young snob. Enjoy the opera that is given you while it is still alive.
Toujours plus magnifique sur scène avec tes représentations éblouissantes, ma sublime Elïna Garanča adorée à la passion, ô mon Rossignol au beau visage auréolé des chatoyantes cheveux dorés, tes hymnes aux sonorités exquises et gracieux ébranlent des doux frémissements mon âme granitique. Ô mon Rossignol obsédant, tes yeux grands et bleus d’éclats transfigurateurs, ô mon Oiseau du lointain paradis musical de la Lettonie, Oiseau de mes mirages de tendresse et fantasmes d’amour spirituelle : enivrant mirage doré des mille et un décors des splendeurs mirifiques, des souffles du suprême lyrisme enchanteur du bel canto frémissant, vibrant de captivantes émotions. Peter, ton Cavalier de Prose enchanté.
how ridiculous for some people always here to compare Elina's singing to other singers that they loved. everyone has different taste. what makes you think that you are the music god who can decide which voice is good and which is bad? if you don't like it, just leave to find someone you love to listen. simple and easy.
Why terrific? Her bright and at the same time dramatic voice is perfect as Eboli because this princess by Verdi is a very young woman who curses own beauty. Many sopranos sing this aria, but the one right is Garanca's voice (pure mezzo-soprano). Thanks.
This is a very exciting rendition of the aria. She is not straining. She has strength and stamina. She does not distort her middle and lower voice like some of the mentioned dramatic mezzos do. What really matters is how this would sound in the house without amplification. From this performance however I really like her. I would identify with her character and would love to hear her in a live performance of this role.
You should know ... you CANNOT BECOME a dramatic voice. Either you are Born with a dramatic voice or with a lyric voice. If you are a dramatic voice you should never lighten up your voice. If you are a lirico, then you are a lirico. Through the perfection of your technique you CAN SING dramatic roles too... but it doesnt make you dramatic singer. Peace my friend!
@@xxsaruman82xx87 I think he means you get to sing whatever you want. When you're a Garanca, or Netrebko, or Kaufman you get to call the shots because there will always be plenty of fans eager to buy tickets no matter how inappropriate the repertoire is for those singers.
@@xxsaruman82xx87 yes, I'm a bit familiar with her. It's a good sound. To me she had the right color and weight for a spinto but I hear potential problems. Just like with Lise Davidson has the right color and weight for a jugendlich but to me these heavier voices aren't being developed properly. I hope I'm wrong.
The top is there all right, and pretty easily too - it is the middle that is worrying - she is quite often badly flat 1:44 and the sound gets hooty. The slow middle section is a killer to sing - low tessitura and long phrases. This is where you can tell if a singer should be singing this aria or not. She has always had a chest voice that doesnt have as much color as one would like - sort of woofy. Who knows maybe she will sing herself into this aria - she did say the role was on the horizon.....
It seems she did, her approach 2 year later seems to have evolved in the right direction? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-UOGqDPmJmNo.html What do you think?
I like this best of her; how nice and what sweet low voice. The way approaches to singing go today makes it hard to tell if a voce is too lyric or not; real power can be tricky, but it all gets beautiful enough; once upon a time when even the lightest lyric voices piped from their breastbones and ribs (Sayao, I think about) and head/mask/throat, thats when you get the categories more clear. Sayao might have done Butterfly today, as she dreamed. It's all good. I think. Kisses Elina!
Si la belle Elina continue dans cette direction , ce ne sera plus qu'un lointain souvenir dans quelques années . Ce n'est pas un mezzo dramatique . Les grandes Eboli ont pour nom Bumbry , Cortez et Zajick ... Avoir un aigu facile pour une mezzo qui chantait il y a quelques années ROSSINI et MOZART est normal
Мадам, как и Нетребко сейчас, поёт не свой репертуар. Зачем ? Ну совсем не её эти драматические страсти, не идёт ей это. Голос и техника не позволяют. У неё прекрасное лирическое меццо с красивым тембром, но здесь мы слышим натужный грубый звук и он совсем неубедителен. И рядом видео с Образцовой. Вот это Эболи ! Элина, прекрати, без голоса останешься ! Тебе и так есть что петь
I dont like listening to Garancas middle voice. I dont like her timbre. But her high notes are top! For a mezzo she has very clear high notes. Generally i like her voice, but i was never Sure whether she was a high mezzo or a soprano. And yes she cant even have the Level of obraztsova or other great singers from the past. But she gave her best ... and that has to be mentioned!!! Her husband is conducting great!!!
@@arnoldamaral7406 i read an article about an opera singer in a magazine. I dont know who was interviewed, but the reporter asked the artist, what is opera singing like to be ... she answered "opera singing is actually a cultivated way of screaming" LOL 🤣
Así es, eso se llama técnica y buen gusto. Así tu voz no tenga el peso para el papel, lo cantas y lo haces correctamente. No quedas en ridículo. No es la mejor interpretación pero queda bien.
She surly possesses a beautiful LYRIC instrument, however Eboli needs a dramatic mezzo. Her low register sounds extremely forced here and a bit colorless. She was very powerful in the lyric repertoire, why pushing her gorgeous instrument on an unsuitable repertoire? Way too light for the part.
She does a nice job with it, but it's not her fach. I hope she doesn't sing the role. It's not good to put your feet into shoes that are too big. I think she has a very beautiful lyric voice, but it seems to me the dramatic voices do not have the contracts these days, they are not pushed by their agents and advertised, nor do they have the "look" that unfortunately seems to be the most important thing these days before having the right voice.
She's been an intelligent singer, old and experienced enough to know what's going on in her voice and if it is time to add heavier roles. I completely defer of you. Her low notes where rich and creamy and her high notes very well placed.
Sorry, but I think you´re wrong. During the entire aria the voice is never relaxed, she puts so much pressure on her chords and still does not come to the point at which she finds the right approach for her emotions. Everything she sings is ice cold. And don´t mix pressure and a loud voice with emotional singing ;-)
Charles Castronovo and Elïna Garanča sing the Zarzuela duet "El duo de la Africana" by M.F. Caballero at a concert in Gottweig, Austria 2009. Pour le concert de plein air près du monastère de Gottweig en Bas Autriche en 2009, le chef d’orchestre Karl Mark Chichon a adapté avec son génie ibérique de Gibraltar, magnifiquement dirigée et exécutée par l'orchestre, un extrait de l’opérette espagnol burlesque « Le Duo de l’Africaine » à l’ambiance autrichienne en exploitant l’extraordinaire virtuosité vocale de mezzo-soprano de sa sublime Dulcinée enchanteresse blonde du bel canto, son épouse Elïna Garanča aux grands yeux d’un bleu fascinants, dans un extrait à la musicalité bien choisie pour la représentation dans ce cadre rustique. (En 2005 ce duo fut chanté avec une autre séduisante mise en scène d’Elïna Garanča avec le ténor Marcelo Álvarez dans les splendeurs sélectes du Gala concert de l’Opéra de Wien). Le ‘Zarzuela duet El duo de la Africana’ de M.F Caballero, publié le 13 mai 1893, à l'Apollo Theater à Madrid, est une opérette théâtrale de grand succès populaire d’une durée d’une heure. D’un milieu affairiste, l’amusant mélodrame met en scène les intrigues amoureuses, passionnelles et conflictuelles d’un jeune homme (ténor) de bonne famille, follement amoureux d’une innocente jeune femme riche et gracieuse de l’Andalousie (mezzo-soprano). Dans le merveilleux arrangement en Autriche, l’héroïne folklorisée est scénarisée en modeste, l’innocente villageoise autrichienne nommée pour l’ambiance « Elïna », cette cantatrice mezzo-soprano d’une poignante grâce incantatoire. Costumée, en vertueuse villageoise autrichienne, elle chantante en espagnol son candide dédain des avances audacieux de l’élégant soupirant, mimant l’émotion des gestes avec son exquise perfection, en harmonie avec l’expressivité des couleurs modulées de sa voix exercée à la perfection. La participation du fringuant soupirant est chantée par le ténor Charles Castronovo, déployant tout le talent de séduction virile avec son art vocal, des impressionnantes tonalités expressives de sa voix virile d’un typique macho espagnol : - « Je vais dire à mon charme, Je vais vous dire mon amour, Je vais dire à ma gloire, Je vais dire à mon ciel…, » pour lui ordonner en allemand d’un enthousiasme exubérant : « Elïna viens avec moi ! ». Elïna, si ardemment convoitée dans ce duo d’amours et querelles aux sonorités de belles harmonies, après avoir chanté sa participation en espagnol, se détourne outrée de cette audace, lance au ténor en allemand haute et claire à la tête : « Jamais ! » La flamme de mon cœur est venue avec moi dans l’Histoire, avec son « Cavalier de Prose » inspiré et enchanté » Peter.
Elïna Garanča, Ave Maria (Mascagni). Christmas in Vienna 2008. Dirigent Karel Mark Chichon. Sous la direction de haute volée de son génie d’épouse Karel Mark Chichon, leurs cœurs d’amoureux battant à l’unisson , les arias et chants spirituels sont les participations scénarisées par Elïna Garanča avec un charme exquis et d’une facilité vraiment délicieuse. Élevé toujours plus haut au degré de la perfection par l’arrangement orchestral de son talentueux maestro, l’Ave Maria de Mascagni, après le prélude des ravissantes notes pincées de la harpe accompagnés des lignes harmonieuses du cor anglais et des flutes, sur le fond du raffinement orchestral, les sonorités douces, caressantes de l’enchanteresse Elïna fait vibrer les âmes des effets harmonieux célestes les plus éthérés, des émouvantes couleurs expressives modulées sur son large registre tonal. La sublime Elïna souffle du fond de sa délicate gorge de virtuose enchanteresse, sa voix parfaitement flexible : souligné de sa gracieuse mimique gestuelle, pleine d’aménité évocatrice du sacrée, cette riche mélodie, merveilleusement douce semble couler sans effort de ses lèvres de Fée fascinante, déchaîne à l’écho tout un jeu d’harmonie d’une religiosité lumineuse. Ses strophes d’une chaude intonation se diffusent, remuent à leur rythme les sentiments de son auditoire recueille, l’enivre des plus douces voluptés spirituelles avec un ensemble polyphonique de merveille. Peter, son Cavalier de Prose enchanté.
+Lino Anzoletti e non voglio parlare delle voci dei contralti veri che avevo sentito dal vivo! /Boika,,Penka,La Nicolai,Zorina etc.etc.etc.../ già i soprani degli anni 1958-78 avevano delle voci più grandi e scure... per rinfrescare la memoria del pubblico moderno basta citare un nome solo - La Dimitrova . anche La Petrova /il soprano preferito di Toscanini.../ alla fine della sua carriera cantava la Cieca,Leonora,Eboli... con una vocalità molto più scura di quella della Garanča, e aveva una voce molto più bella e grande.
I hear a lot of lyric color here; I do hope she speaks with Christa Ludwig to gain some direction. Some of her colors remind me of Christa Ludwig, however Ludwig sat her voice up right and had more power. I believe she should have a conversation with Ludwig about her voice to gain a sense of direction. After all Ludwig is in vocal instruction these days so that should help. I prefer a slightly darker sound, however with time some spintos in the voice could develop some. Maybe she could work on her top to sing some lyric to spinto soprano repertoires.
She has a gorgeous and easy top range. I think she's actually a soprano who has pushed herself into mezzo rep. She may be between fachs, since she sings Octavian and Carmen very well. I think she should try some of the lyric soprano rep. Dramatic mezzo rep is totally wrong. She worked so hard singing Dalila this Fall, and even though she's wonderful, she didn't carry enough. For some reason she's put on weight -- I wonder if she's doing the Anna Netrebko thing -- put on weight and start to sing bigger (an equally inappropriate) rep. It's really too bad for singers to wear out their voices like this. Garanca is so gorgeous, with a gorgeous tone and feminine color. Why waste it!!
Echo Classic 2013. Elïna Garanča au Konzerthaus de Berlin : le récital du cantique « Plus grand dans son obscurité » de l’opéra (Paris 1862) « La Reine du Sabbat » de Charles Gounod. (La légende de Balkis d'après Gérard de Nerval). L’entrée solennelle de l’aménité la plus exquise de la divinité du bel canto Elïna Garanča, précédée de l’éclat de l’aura de son renom, est ovationné chaleureusement des deux côtés du couloir central par un auditoire des gens de grand talent de la musique classique. Dans cette salle d’une architecture stylisée des somptuosités modernes de la Maison de Concert de Berlin, la pléiade internationale des étoiles de l’opéra s’est donnée-là rendez-vous en auditoire avertie des récitals accompagnés de l’orchestre pour l’attribution du prestigieux trophée très prisé de « La Cantatrice de l’année ». Digne de la Reine de Sabbat mise en scène musicale, la couleur assortie de la robe d’apparat longue et ample, le tendre bleu clair métallisé, accentue de cette amour d’Elïna la féerique fascination de l’expression des grands yeux aux éclats des saphirs bleus du bel visage au teint d’une blancheur satinée, auréolé de sa couronne des splendides cheveux blonds. Majestueusement enjambé les cinq marges pour monter au plateau, à Elïna, la sublime Déesse du Bel Canto, un accueil chaleureux est réservé par le Roi d’Israël de la symphonie et de la polyphonie instrumentale et vocale, par le maestro Omer Meir Weber. Le talent de l’éminente figure de la musique classique Omer Meir Weber s’est illustré avec l’aussi brillante cantatrice Elïna Garanča dans la présentation du cantique dramatique du troisième acte de l’opéra tombé dans l’oubli : la tragédie lyrique de la légende de La Reine de Sabbat. Pris d’amour du bâtisseur venant de l’étranger pour la construction du temple du roi des Juifs Salamon, l’opéra est la scénarisation dramatique des intrigues de la passionnelle amour adultère, de la séduction, jalousies, lutte d’influence des ouvriers, vengeance, délation, avec en final la désolation de la destruction et mort tragique de l’amant dans des confuses scènes de la mythologie et magie orientale de la haute antiquité. Pour les initiés, une sorte d’allégorie scénarisée des rites maçonniques. En donnant toute la mesure de son divin talent, la sublime Elïna entonne de la Reine adultère la cantique d’une musicalité raffinée, jouant en virtuose accomplie sa gamme infinie des nuances et variations vocales de la finesse de sa perfection transcendente : « Me voilà, seul enfin ! De quelle ardent flamme, brillait les yeux de ce fier étranger, Son orgueil, son courage en face du danger, Ont su toucher mon âme !... Pour être reine, hélas ! Cesse-t-on d'être femme ? Plus grand dans son obscurité, Qu'un roi paré du diadème, Il semblait porter en lui-même, Sa grandeur et sa royauté ! Funeste serment qui me lie ! Résigne-toi, mon cœur, oublie ! L’oublier, lui que j'ai pu voir, De son bras dominant l'espace, Du Roi braver le vain pouvoir, Et l'effrayer par son audace ! L'oublier, quand hier encore, Au caprice de son génie, Ses mains, dans le porphyre et l'or, Créaient la forme et l’harmonie !... Aux lueurs d'un ciel embrasé, Je l'admirais domptant la flamme ! A mes pieds je l'ai vu brisé, Et l'amour envahit mon âme ! » De l’infidélité de la Reine de Sabbat aspirant à la liberté, la mise en musique de la succession des bouleversants états d’âmes, les stades émotionnels de l’admiration de l’amant à la révolte contre le destin, l’abattement, la consternation à la désolation, protestations, des lamentos au dédain et résignation, sont exprimées d’une haute perfection de la magnifique synchronisation des paroles chantés avec l’éloquence des gracieux gestes, de la poignante expressivité de la mimique faciale. Préludée des lentos des bassons et flutes, c’est l’accomplissement merveilleux de la vocalisation dramatique du pathétique et du tragique. Vocalisées de toutes les variations de son registre mezzo-soprano étendu aux hautes de sa voix frisant le perlée du soprano, pour descendre au bas caressants du contralto, l’effet émotionnel la révolte chantée contre la Morale est accru de l’orchestration raffinée des attaques fortes du motif des cordes, passages saisissants ponctués du tact des timbales. Cet émerveillement des exclamations d’une sonorité vibrante des protestations des contraintes du sort, enveloppe d’émotions l’auditoire. Une représentation de polyphonie orchestrale et vocale de très grande classe dans cet univers de la musique vocale classique de Berlin. (La cantique de la Reine de Sabbat, du répertoire classique du couple bien assortie, Elïna Garanča et son époux, le chef d’orchestre Karel Mark Chichon, a déjà fait des succès dans des concerts en Allemagne, Autriche, France, Suisse…). Peter, ‘Le Cavalier de Prose’ enchanté d’Elïna.
People who say this aria needs a dramatic mezzo-soprano (yes, of course it does, I agree on that part) CLEARLY don t know what they are talking about, as if Elina didn t fit the bill! Here s for their education: A DRAMATIC MEZZO-SOPRANO has a strong medium register, a warm high register and a voice that is broader and more powerful than the lyric and coloratura mezzo-sopranos. This voice has less vocal facility than the coloratura mezzo-soprano. The range of the dramatic mezzo-soprano is from approximately the F below middle C (F3) to the G two octaves above middle C (G5).[1] The dramatic mezzo-soprano can sing over an orchestra and chorus with ease and was often used in the 19th century opera, to portray older women, mothers, witches and evil characters. Verdi wrote many roles for this voice in the Italian repertoire and there are also a few good roles in the French Literature. The majority of these roles, however, are within the German Romantic repertoire of composers like Wagner and Richard Strauss. Like coloratura mezzos, dramatic mezzos are also often cast in lyric mezzo-soprano roles.
Exactly... your "educational" information proves exactly what many of us here are saying .... Garanca is a wonderful singer but dramatic mezzo she is not. Her voice is absolutely not "broader and more powerful" nor does she "sing over an orchestra and chorus with ease ".... there's a lot of pushing and struggling here! Make no mistake, this is a tough aria for anyone to sing and she makes a commendable effort but it really pales in comparison to the rich meaty sound and effortless fullness of a *real* dramatic mezzo...
I love Elina--especially in her recent (and perhaps last) performance of Octavio at the Met. But this is NOT her aria or role. Listen to Giulietta Simionato at Salzburg in 1958 if you want to see how incredible Verdi's music can really be. No one I've heard has ever come close.
People here are talking SHIT!... you need a dramatic voice, she sounds this and that, etc... what I hear here is more than enough to realized she's ready for it. If you sound more dramatic and darker than this, then you should be singing contralto.Fabulous... Brava!
Su interpretación es muy acertada. Su musicalidad estupenda. El color de su voz bello. Pero todo este conjunta excepcional, no cuenta ya que el personaje de Eboli exige otro tipo de voz más opulenta . I)gualmente gracias a Elina por su interpretación.
j'ai comparé une dizaine de versions (Somionato, Verrett, Tebaldi, Ebe stignani, Horne, Cassoto, crespin, Bundry, Marton etc... et bien sûr Callas , ce n'est pas la pire LOIN DE Là (juste ce Don fatale) je mets à part SCHWARZKOPF ... dont ce n'est pas le répertoire.
I agree with comments below that she is needlessly pushing her voice into "dramatic" singing when if she would sing with her pure vocal majsesty she would have more impact. Many lyric mezzos have sung Eboli quite successfully and some dramatic and spinto mezzos have ruined themselves trying to achieve what Verdi demanded in this aria and this role. There should be regal elegance [something that Garanca has show in spades in some of her Donizetti roles] and a human desperation that is not being expressed to other but is an internalized review of her foolishness and her guilt.
A servicable eboli certainly, but this role had really ought to be sung by a dramatic voice, either a dramatic mezzo, or a high dramatic sopranno with a solid low register. When it is not, it suffers, as it has here. Her technique is good and she sings with conviction but she struggles to create volume and drama because her voice isnt up to it and you can hear that
*QUESTA ARIA E NO PER LEI , E PER A LIRICO MEZZO O DRAMATIC PER IL COLORE E IL REGISTRO VOCALE, QUELLA VOCE E PER LIGERO COME MOZART O ROSSINI MA NO PER VERDI*
Way to dramatic for her. Forced, open high notes and not enough meat on the lower register. Beautiful voice for Mozart and lieder but not a Verdi mezzo at all
I don't like such husky muffled mezzos (rachvelishvili, garanca, krasteva). She looks and sounds like when she's carrying heavy bags, not singing. Listen to Obraztsova or Semenchuk.
A Stylist desperately needed,: a Swiss milkmaidens dress with fake diamonds, plastic flowers in her hair... 🤭No, no, no. Also propably wrong repertoire for her, she’s pressing.
