I am very much impressed with the pianist accompanying Florez. He plays with a sensitivity that this aria when sung with piano enhances the beauty of the music and the voice. Wonderful. Alagna has a heavier voice, but sings this little aria with a delicacy and of course in French, his tongue, and on stage in character transmits a meaning more profound that if it were in concert form. The orchestral score and direction also is perfect.
this is wonderful! I'm singing this piece for a scholarship comepetition and I've been hardpressed finding a rendition sung on youtube I can use for inspiration. His voice is perfect for this piece
This is such a beautiful aria for Florez's voice, but I think my favorite rendition so far is Alfredo Kraus, it suits his voice too perfectly. Juan Diego Florez is one of my favorite singers out there though. Thanks for this video!
Nice to hear a recording of this. I’m accompanying a local tenor singing it in a few weeks. I had never heard of it before. I’m also a fan of Florez, and this is such a different style to what I’m used to. Beautiful.
A truly superb, lovely performance. I found this while searching for the song, for the purpose of learning the correct French pronunciation. This is perhaps the finest example of this song I've found yet. Thanks!
I love this song which was sung at my wedding reception in 1949 . That top note needs to be soft & he does the 2nd tie, so I can now say I like ! Great voice.
Thank you for this video! I had planned to sing this Aria for my audition at Vienna Music University, unfortunately that means I should not listen to it too often (not to copy the style)... I love JDF!
Después de escuchar a Di Stefano interpretarla, la versión de flórez parece un pálido reflejo de la magestuosidad y estilo del gran Pippo. De todas formas se valora el intento de generar la misma atmósfera y sentimiento, pero la verdad es que nones, ¡Nooones!
Justamente la primera versión que escuché fue con Di Stefano, en el concierto de los años 70, y claro, la maestría que tiene no solo vocalmente sino interpretativa es superlativa. La versión de Carreras es bonita también, pero hasta ahora solo Pippo ha llegado a lo sublime en ella.
A very interesting version in that it shows that Florez is capable of more subtle singing than his usual. But also that the accompaniment of piano of the refrain is probably based on Louis Moreau Gottschalk's famous piano piece "The Banjo". But, yes, no one is better in this repertory than Henri Legay as Peter Phillips remarked a year ago.
Vainement ma bien-aimée Puisqu'on ne peut fléchir ces jalouses gardiennes Ah ! Laissez-moi conter mes peines Et mon émoi Vainement, ma bien aimée On croit me désespérer Près de ta porte fermée Je veux encore demeurer Les soleils pourront s'éteindre Les nuits remplacer les jours Sans t'accuser et sans me plaindre Là-haut, je resterai toujours Toujours ! Je le sais, ton âme est douce Et l'heure bientôt viendra Où la main qui me repousse Vers la mienne se tendra Ne sois pas trop tardive À te laisser attendrir Si Rozenn bientôt n'arrive Je vais, hélas, mourir Hélas, mourir
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Belle voix et bonne prononciation du français (qui est une langue difficile à chanter), mais je regrette cependant le roulement des R. Je préfère la version de Roberto Alagna qui, en plus de la voix, a une diction PARFAITE.
NoirOrchestre Je pense que rouler les R est aujourd'hui démodé, et que c'est très évitable pour l'opéra français. De toutes façons, cela n'aide certainement pas à comprendre les textes, surtout en ce qui concerne les chanteurs étrangers. Il est vrai que pour eux, prononcer les R d'une façon naturelle est souvent très difficile, voire impossible à cause de leur accent.
so he often does borrow from classical themes, but can you point out where exactly in the score, which bar, movement...etc. is this related to? I know the theme well, but cannot draw any logical correlations that you have stated.
Puisqu’on ne peut flechir ces jalouses gardiennes, Ah! laissez-moi conter mes peines Et mon emoi ! ARIA: Vainement, ma bien-aimee, On croit me desesperer : Pres de ta porte fermee. Je veux encor demeurer ! Les soleils pourront s’eteindre, Les nuits remplacer les jours, Sans t’accuser at sans me plaindre, La je resterai toujours ! Je le sais, ton ame est douce, Et l’heure bientot viendra, Ou la main qui me repousse. Vers la mienne se tendra! Ne sois pas trop tardive A te laisser attendrir ! Si Rozenn bientot n’arrive, Je vais, helas ! mourir !
Excellent voice, thought I think the high A would be more effective in the falcetto or head voice whichever you prefer to call it. It fits the sweet emotion of the B section more appropriately. Again excellent voice, about as good as I have ever heard it. (This from a composer rather than a vocalist)
He doesn't sing the wrong words - the "je" is quite subtle, but he has modified the vowel of "vais" to make it sound more like "va." Singers do this all the time and usually people don't notice, though this time perhaps it's done a little much... but I'm nobody to criticise Florez! The sound he makes singing that top note so quietly would be far more difficult to produce if sung with a proper "vais."
