Fauteuils d'orchestre / France 5 invites Lea Desandre and Thomas Dunford to perform "Ombra mai fu" by Georg Friedrich Handel presented by Anne Sinclair
Очень душевно, нежно. Многие люди , не имеющие отношения к музыке, даже представить себе не могут , как сложно петь и играть пиано, сохранив всю красоту и палитру красок музыки , голоса! Какой контроль должен быть! Браво дуэту!!! ❤❤❤
Thomas et Léa sont beaux et ils sont habités par la musique tout en étant d'une grande simplicité ,loin de cette prétention intellectuelle que l'on voit trop souvent dans les cercles Parisiens.C'est rafraîchissant et ils représentent l'avenir de la musique en France .
Boundless beauty and a gorgeous blend of instruments - voice and lute. How wonderful that we have so much of Handel's music and that there are some who dedicate their lives to giving it to us. Many thanks Thomas and Lea and warm regards from Sydney - David
Lea and Thomas absolutely nailed this performance -- Lea in particular starting with her first note. I really enjoyed Thomas' comments for a minute after 5:00. Thank you to my two favorite musicians!
Thus we with mercies blessed With but a glimpse of heaven's fest Of sacred beauty and blissful rest Gazing on the Face Most Holy Of Jesus Christ of Our Hearts Solely Master, Lord, and Ruling King Helping His Law for us to keep Until God doth our robes of dust Strip from our souls that free but must Fly with Thine Aid and Mercy Great To Our Reward through Heaven's Gate!
Muito bom. Os dois são muito bons. A moça tem uma voz linda e o rapaz preenche lindamente todos os espaços com esse instrumento caótico. Gostei. Parabéns.
La partitura original está repleta de indicaciones (cosa poco habitual) sobre cómo interpretar esta obra maestra; no parece que nadie se dé por enterado (si bien aquí se acercan más que otros)
Frondi tenere e belle del mio platano amato per voi risplenda il fato Tuoni, lampi, e procelle non v'oltraggino mai la cara pace nè giunga a profanarvi austro rapace Ombra mai fu di vegetabile cara ed amabile soave più
As good as she is and she is good, I am a traditionalist and believe that arias composed to be sung by male castrato or tenor should not be sung by a soprano, it looses its meaning, after all I have never heard a tenor or a countertenor sing; UN BEL DI VEDREMO, or SI MI CHIAMANO MIMI, or even SONG TO THE MOON, in RUSALKA, it would not make sense.
There are many things fake with her. First her fake technique, or whatever she is doing. Second is her literacy, because she can't read sheet music, otherwise she would not perform it like that. That one goes also for the lute player. Handel and lute, yeah sure. Just like blockflöte and Wagner. Sure, fits like a glove. Third thing is musical expression. Nothing comes from both of them. Fourth is this so-called bright bleached white colour, that people think this is how barok is supposed to be. No vibrato in the voice. That is anatomically destructive. Fifth is this at 2:54?!?!?! Dissonance?!?! Someone needs to learn musical theory and quickly! But there is one thing that is true here. She is a mezzo soprano. A really bad one, but still a mezzo.
Comment ça ? La musique n'est pas faite pour nous plaire ? De toutes manières, tous les goûts sont dans la Nature ; mais n'allez quand même pas justifier l'existence d'œuvres aussi horribles et crispantes 😬 que celles du dodécaphonisme ou du récent《 opéra 》SOUTH POLE ! 😱
