Rosina] Una voce poco fa qui nel cor mi risuonò; il mio cor ferito è già, e Lindor fu che il piagò. Sì, Lindoro mio sarà, lo giurai, la vincerò. [Розина] Недавно один голос мне в сердце отозвался, и в тот же миг сразил, а повинен в том Линдор. Да, Линдор будет моим, клянусь, я его покорю! Il tutor ricuserà, io l’ingegno aguzzerò. Alla fin s’accheterà e contenta io resterò. Sì, Lindoro mio sarà, lo giurai, la vincerò. Опекун же будет против, но я ум свой изощрю. Он в конце-концов смирится, будет так как я хочу. Да, Линдор будет моим, клянусь, я его покорю! Io sono docile, son rispettosa, sono ubbidiente, dolce, amorosa; mi lascio reggere, mi fo guidar. Я и покорна, и почтительна, и послушна, ласкова и нежна; даю собой помыкать, даю себя наставлять. Ma se mi toccano dov’è il mio debole, sarò una vipera, e cento trappole prima di cedere farò giocar. Но если тронут меня за живое, гадюкой обернусь, и прежде, чем сдаться, интриг я сотню наплету
@@edwardamosbrandwein3583 How about not muffled or ingolata? Im sorry that you can't hear a muffled voice that is being swallowed. She had a good voice, but it could have been better.
@@inceejigini9284 makes no difference. Low does not equal automatic muffle. Go listen to Clara Butts who is even deeper, and her contralto is resplendent. Eula Beal is another great contralto who does not sing ingolata. The technique makes the singer, not the fach. Ewa sang muffled and ingolata most of her career. Could have been a much much better voice if she didnt.
Rossini wrote the role of Rosina in "The Barber of Seville" for contralto. I was wondering why, most often the main young female figures in operas are sopranos. In all adaptations of "Barber", which I found on youtube, Rosina's part was performed by mezzo-soprano or soprano. Finally, after a long search, I found Rosina's arias sung by Ewa Podleś. And then I understood why Rossini wrote this role for contralto. If Geltrude Righetti - the first performer of this role was as good as Ewa Podleś, it is not surprising that Rossini wrote an opera for her. Later, he repeated it in "Cinderella". There, the main role is also contralto. It is a pity that it is such a rare voice that in modern adaptations it is replaced by mezzo-soprano or soprano. GREAT EWA PODLEŚ!!!
At Rossini's time the word mezzosoprano didn't exist, mezzos and superhigh mezzos were called contralto, barber and Cinderella are written in a mezzo tessitura, podles has a very wide range, so she can sing contralto and mezzo roles equally well
Na początku kariery Ewa Podleś też była mezzosopranem, a przynajmniej tak ją sklasyfikowano. Ja pamiętam jeszcze afisze na mieście Ewa Podleś- mezzosopran. Dopiero później fachowcy zrozumieli, że jest to jednak kontralt, głos znacznie szerszy.
4:12!!! That HIGH soprano B so effortlessly, with no tension, so clear!! It's IMPOSSIBLE, especially for CONTRALTO!! Ewa is just not a human, she's INSANE!!!
@@raphaelaelin6299 i know. It's amazing. And there she is older than here. But it's mostly easier to hit a high note in a fast passage. And here she sings long note with amazing support!
Ufff que clase de canto.!!! Todo, tiene todo, y una sobriedad impactante, que la hace elegante. En lo demás qué destacar que no sea evidente: colorarura excelsa, voz que no se descompone y es pareja en toda la escala, timbre y color de su voz agradables, dominio absoluto de la respiracion, fiato solvente.....todo! Qepd!!+
Because I have heard the same aria sung with similar perfection by other dedicated professionals. Check out Cecilia Bartoli in the definitive staging of this opera with Gino Quilico as the quintessential Figaro. Yes, this is a sublime performance. But it is not the only sublime performance, and thank God for that!
I had no idea a contralto could hit a high B. So effortlessly at that!! Her timbre is definitely contralto, but if she can pull high B's, shes more of a soprano I'd think. Yes, know one's voice is where the timbre is the strongest (for her the midrange) but she really pulled that B so clearly and precisely.
She's not a soprano! She's a text book contralto, she has a huge vocal range tho. She can hit notes from 2nd octave as well, but it doesn't make her a baritone :)
@TheLecounter Barbieri had lyric voice, which sounded "off" and tensed in the lower notes and Butt was NOT an opera singer (she was only one or two times in her life on opera stage and it wasn't too successful), but a recital
все же по-моему эта ария не совсем ее. Тут сопрано нужно (лучше колоратурное), более легкий голос, тонкий, пронзительный и подвижный, а она контральто, полная противоположность, ее голос слишком темный, грудной, он увесист местами и низок для данной арии, а она игривая, воздушная, задорная и низкий вокал весьма тут не вяжется
@@annette175Эта ария как раз её! В оригинале Россини написал партию Розины для колоратурного меццо. Вот это и есть образец подлинной Розины. А то что молодая/зрелая - это не спектакль. Что, разве не видели корпулентных, певших молоденьких героинь...
Polisch... dopiszę tu... nie z sentymentu dla RODACZKI ale z PRAWDY! Maria Callas o takiej SKALI GŁOSU jaką miała Dame EVVA PODLEŚ mogła pomarzyć...™ Sygnuję Andrzej Celmer Zajączkowski 23 01 🎉 ❤
Merci à Jacques Martin, qui est le présentateur que l’on voit à la fin de cette prestation musicale. Il participait chaque dimanche à la culture musicale des français. 💙🤍❤️
Uważam, że Rada Języka Polskiego powinna wprowadzić możliwość zapisu imienia Ewa w języku polskim również w wersji łacińskiej "Eva". Dużo artystek polskich miało później kłopoty w świecie z imieniem Ewa, które kaleczono. Np. Ewa Małas-Godlewska, Ewa Podleś czy też Ewa Demarczyk takie kłopoty miały. A gdyby zaraz była to Eva Podleś lub Eva Demarczyk, to kłopotów tych by nie było.
