I was actually at that performance (12/85). Ruggero Raimondi was Figaro, Carol Vaness the Countess, Von Stade, and Thomas Allen as the Count. A perfect cast! The next time I saw Figaro was at the War Memorial in '91. It was Von Stade's final Cherubino. An unknown (to me) was singing the Countess. The minute she sang first note of Porgi Amor I was blown away. It was Renee Fleming.
My gosh, that "vieni, vieni..." at 4:01 is almost unbearable. So delicate, tender, and blissfully beautiful. It's hard to imagine that such sounds can come from a human, but here it is.
Oh, my goodness! Her voice is absolutely silky! I began learning this piece in high school, but I never had the opportunity to perform it because my teacher left quite suddenly. I am certain that I could never hold a candle to her talent. She has wonderful technique and control, and her tone is so smooth and sweet. I am in awe.
Kathy first sang this role at CCM when she was a grad student ( and I was a sophomore). It was already just as beautiful-possibly even more so, as Corbett Auditorium is smaller than the Met. And her recitals were to weep from.
I love the way she is clearly singing to her real beloved -- not the count whom she is pretending to woo -- as it adds an extra dimension to the performance. And lucky man who in real life gets looked at with such affection by Miss Battle.
I had the great good fortune of seeing this production at the Met the following year with mostly the same cast. The reviewer in the Times said that her singing of this aria at the performance I saw was the best he had ever heard. The whole production was one of those historic nights that it was hard to keep from crying through the whole thing. Everything and everybody was perfect. So much beauty. From this point on and for the next 5-7 years she was an unparalleled singer. Her Handel was probably the greatest in history.
The exquisite execution of this aria by the great Kathleen Battle leaves you speechless after hearing it! The sweet, clear heavenly singing, the interpretation and her diction are par excellence!!
Brava! Beautifully done, and the aria fits her voice beautifully. (I also like the acting that she is really singing it to her husband to be, although in all the plotting it's supposed to be for the benefit of the count.)
A crying shame Kathleen was fired from the Metropolitan and out of the limelight for 22 years. She should have come to the L.A. Opera. We badly need performers like her in every opera stage. ❤😢
I am opera-illiterate, but I love Kathleen Battle's amazing talents, and I love reading the comments beneath her videos. I have never found anyone else who receives almost unanimous approval under every video! It's gratifying to read such respect and awe coming from those who are knowledgeable. Even as a regular person, I can tell "Pristine Kathleen" is GREAT.
Recitativo Giunse alfin il momento Che godrò senz' affanno In braccio all'idol mio: timide cure, Uscite dal mio petto, A turbar non venite il mio diletto. Oh come par che all'amoroso foco L'amenità del loco, La terra e il ciel risponda!' Come la notte i furti imieci seconda! Aria Deh vieni, non tardar, o gioia bella, Vieni ove amore per goder t'appella, Finché noti splende in ciel notturna face Finché l'aria è ancor bruna e il mondo tace. Qui moririora il ruscel, qui scherza l'aura, Che coli dolce susurro il cor ristaura. Qui ridono i fioretti e l'erba è fresca; Ai piaceri d'amor qui tutto adesca. Vieni, ben mio. tra queste piante ascose Ti vo’la fronte incoronar di rose.
Giunse alfin il momento Che godro senz'affanno In braccio all'idol mio Timide cure uscite dal mio petto! A turbar non venite il mio diletto. O come par che all'amoroso foco L'amenita del loco, La terra e il ciel risponda. Come la notte i furti miei seconda! Deh vieni, non tardar, o gioja bella Vieni ove amore per goder t'appella Finche non splende in ciel notturna face Finche l'aria e ancor bruna, E il mondo tace. Qui mormora il ruscel, qui scherza l'aura Che col dolce susurro il cor ristaura Qui ridono i fioretti e l'erba e fresca Ai piaceri d'amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose. Vieni, vieni! Ti vo' la fronte incoronar di rose.
To those who diss about her allegedly nasty behavior behind the scenes I would like to point out Beethoven, Mozart, Wagner and Liszt. All very unpleasant human beings but undeniably geniuses. This is a once in a lifetime voice.
Giunse alfin il momento che godrò senz'affanno in braccio all'idol mio. Timide cure, uscite dal mio petto, a turbar non venite il mio diletto! Oh, come par che all'amoroso foco l'amenità del loco, la terra e il ciel risponda, come la notte i furti miei seconda! Deh, vieni, non tardar, oh gioia bella, vieni ove amore per goder t'appella, finché non splende in ciel notturna face, finché l'aria è ancor bruna e il mondo tace. Qui mormora il ruscel, qui scherza l'aura, che col dolce sussurro il cor ristaura, qui ridono i fioretti e l'erba è fresca, ai piaceri d'amor qui tutto adesca. Vieni, ben mio, tra queste piante ascose, ti vo' la fronte incoronar di rose.
Lovely. One of my favorite performances of this aria. Dawn Upshaw and Lucia Popp are also excellent in this role for anyone interested in comparing great performances of this aria.
@@ruisenor8993, that "thing" seems to be an 80's style "interpretation" of a traditional Spanish _mantilla_ that Susanna is supposed to wear at her wedding day since it used to take part in a Sevillean bride's outfit.
This aria is deliciously pornographic. The fornicatious beat after recitative, melody and of course, climax. Mozart's genius. Gentlemen, if you're doing it right, this is how this lady will sing...
Una voz magnífica, la mantilla española muy acertada. Pero el vestido desmerece a la ópera a la cantante. Se supone que estamos en Sevilla (España) en el siglo XVIII y no en una fiesta de fin de año en la actualidad.
