La Barbieri posséda dans ses rôles, bien au delà de Callas , une PUISSANCE D'INCARNATION rarement égalée, jamais surpassée. Une mezzosoprano dramatique légendaire au timbre somptueux , aux accents si bouleversants , à la diction toujours impeccable . Une merveille et une référence absolue qui défiera les siècles par sa beauté lyrique.
Adore this "hair under the armpits" mezzo - gutsy & full-bodied voice. Always my fav Azucena. NOT to diminish the great accomplishments of Simionato & Cossotto!
@@WotanKlingsor Hmm, I don’t think she did. Barbieri’s voice is naturally darker than both Cossotto’s and Simionato’s, and Cossotto’s low notes are certainly much weaker than Barbieri’s.
I always loved Fedora Barbieri. A great Azucena, Amneris, Ulrica, etc. She sang with Callas a lot and they recorded around five operas together. Barbieri's voice lost it's top early on in the late 1950's, and she kind of became a contralto. She had a booming chest voice which made her ideal in roles like Dame Quickly in "Falstaff", which she continued to sing well into the late 1970's. She made her Met debut in 1950 and sang there off and on until around 1978.
No - you don't understand. That expression refers to the so-called "provincial" Italian sopranos of the 40s & 50s; those who had la voce & power. They were not necessarily "beautiful" singers, but had the intensity to make your hair stand on end. The expression is a complimemt!!!!
@@ferdermat i think it's more of a non conventional beauty. not silvery or light, but heavy and unashamed, with different beautiful aspects. the technique is there but it's so completely different from the tone and color of a lyric soprano or soubrette.
She didn;t do a good job with intensity either, there is a difference between conveying and overacting what you are singing and sadly Fedora did a lot of bad conveying. You want to hear a good Italianate rendition - look up Ebe Stignani, Bruna Castagna, and Irene Minghini-Cattaneo.
Gravi da contralto e con un'estensione vocale da raggiungere facile il registro acuto. Voce di timbro brunito e voluminosa. con Buona gestione dei fiati e conseguente buona gestione del legato.
Her low G sounds like a low G of a mezzosoprano. If you listen to the low G of Elena Obraztsova it already sounds more like a contralto. But the low G of Ewa Podles is the best one - I think she is the world's best contralto ever and also the best singer in this role.
@@xxsaruman82xx87 I don't find Barbieri's chest voice as strong as Obraztsova's and Podleś's, but I personally like her very much, just that she didn' t have good low and high notes...
@@WotanKlingsor Podles doesn't even have a proper chest voice. Artificial darkening doesn't make the voice bigger or more powerful, quite opposite. Barbieri and Obraztsova had a well developed chest voice, Podles doesn't. Judging from recordings without having a proper knowledge of voice production can be very misleading.
El arte no tiene idiomas y la ópera se escucha con el corazón no con los oídos así que no te preocupes por no entender los comentarios que aveces no son acertados
Im sticking my neck out. I would never ever give a dislike to Barbieri whom I consider one of the great Italian contraltos of her era. But what's this 'mezzo soprano' bit? Surely this piece is one of the most thoroughly contralto Verdi ever wrote. Arwedson, or whatever she is called in the Italian version, is a black-voiced witch. Pia Tassinari's version gets, for me, much closer to the nitty gritty. I'll go back to listening to Barbieri (above almost all other, except of course Dominguez!!!) in more suitable roles.
I have just noted that the photograph of Fedora Barbieri is tagged with the title Contralto. Certainly she had a rich and resonant lower register but I am sure that sure that she herself would never have called herself a contralto. If indeed that title exists in Italy. Mezzo certainly and in later in her career lacking the confidence/ability of delivering the high notes required by that vocal catergory. But we must look to others for a true contralto voice.
В этой сцене Вотто настолько же выше Гавадзени (порою просто нелепого), насколько Митропулос выше Вотто. Симионато, исполняя Ульрику, думает только о собственном комфорте и убыстряет темп, таща за собой вяло сопротивляющийся оркестр. Барбьери хороша, хотя её Ульрика проигрывает её же Азучене. (Правда, признаюсь, что давно не переслушивал запись "Бала-маскарада"с Серафином, где Барбьери моложе на 13 лет). Митропулос и великая Марион Андерсон недосягаемы, даже для Тосканини и его не самой удачной Ульрики.
Se lei sente un timbro morbido e rotondo sugli acuti... Mi contraddica pure. Io ho fatto un rilievo preciso. La caratura del personaggio è questione diversa
hello dadacomero, what is the use to comment a mater you don't like and don't understand . as you see she is one of the most fantastic opera singer, singing beautifully the very dramatic aria of ulrica.
Honestly, this is not nearly as technically or emotively impressive as Bruna Castagna, Ebe Stignani, Shirley Verrett, Marian Anderson, Jeanne Gordon, Irene Minghini-Cattaneo, etc.
