I love Christine Schäfer's voice. She is so talented and her voice is so captivating. She is exciting and excels whenever she is given an offbeat role. She is also the soprano that is best known at the moment in the German speaking world.
А мені завжди подобається "Voi Che Sapete", коли співають молоді, білі оперні співачки. Очевидно, що виконавиця вже досить заморена співом, проте, все одно гарно, я задоволений. Дякую!
why, oh why wasnt I there? the Festspiele are so elitist, silly politicians and so-called high society that just want to show off their wives and their dresses... and people who really love music, can't afford the tickets (or don't get any). anyway, this is an amazing performance and a brilliant production altogether!
I had always thought that "Voi" was a reference to Susanna & the Countess. Here Cherubino is singing - to the audience - to himself - to heaven but absolutely not to the ladies! An old-looking virgin boy! I would have enjoyed it just as much without the images.
Voi che sapete che cosa è amor, Вы, кто знает, что такое любовь, Donne, vedete, s'io l'ho nel cor, Женщины, посмотрите, есть ли она в моём сердце? Donne, vedete, s'io l'ho nel cor. Женщины, посмотрите, есть ли она в моём сердце? Quello ch'io provo, vi ridirò, То, что я чувствую, повторю вам, 'E per me nuovo capir nol so. Ново для меня, и я ничего не могу понять. Sento un affetto pien di desir, Я испытываю чувство, исполненное желания, Ch'ora è diletto, ch'ora è martir. Я то влюблённый, то мученик. Gelo e poi sento l'alma avvampar, Мёрзну, потом чувствую, как душа воспламеняется, 'E in un momento torno a gelar. А через миг снова замерзаю. Ricerco un bene fuori di me, Я ищу любовь вокруг себя, Non so chi il tiene, non so cos'è. Не знаю, кто ею обладает, не знаю, что это такое. Sospiro e gemo senza voler, Вздыхаю и стенаю помимо своего желания, Palpito e tremo senza saper, Трепещу и дрожу, сам этого не осознавая. Non trovo pace notte ne di, Не нахожу покоя ни ночью, ни днём, Ma pur mi piace languir così. Но мне нравится это томление. Voi, che sapete che cosa è amor Вы, кто знает, что такое любовь, Donne, vedete, s'io l'ho nel cor, Женщины, посмотрите, есть ли она в моём сердце? Donne, vedete, s'io l'ho nel cor, Женщины, посмотрите, есть ли она в моём сердце? Donne, vedete, s'io l'ho nel cor. Женщины, посмотрите, есть ли она в моём сердце?
Even if the "category" did not exist, the voice did. The voice that sung this role later sung Despina. This is a Soubrette role but is often done by mezzo-sopranos. So it is a Mezzo role, but a high lyric one.
Eine ausgezeichnete Christine Schäfer, mir eine Winzigkeit zu manieristisch gesungen, der goldene Mittelweg zwischen ihr und Fricka von Stade wäre für mich stimmig.
mozart didn't like castratos very much, he met in Bologna Farinelli in his last years, but even he decided to give a proper female voice to Cherubino because an adult woman give to the role not only the voice but the grace and turbolence of a real young paggio!
But soubrette can also refer to the voice type as well. Although it can be sung by two types (mezzo and sorpano), it has a certain colour, weight, range, tessitura, etc. It is both the Character AND the voice that make a soubrette.
//Christine is also a really nice person, to give this free singing lesson to Netrebko...// Well watch a bit longer...lucky Cherubino...to be ganged up by Susanna & the Contessa like that.
Another wonderful example is Sena Jurinac (Kleiber recording) who went on later to sing Leonore in Fidelio, Tosca and Marschillin. Her Cherubino is heavenly. I dont think one should try to put singers and roles in boxes - it makes opera so utterly pedantic!
@Shmoofles It's an invention from the director. We talked about that in our opera course. He wants to show the power of destiny and that everything is already decided.
Soubrette is a term referring to a type of female role-specifically, a stock character- in commedia dell'arte scenarios, often in the role of Columbina, coming from Provençal French, meaning "conceited or coy".The term soubrette describes a comedy character who is vain and girlish, mischievous, lighthearted, coquettish and gossipy (a chambermaid or confidante of the ingenue) often displaying a flirtatious or even sexually aggressive nature eg.Suzanne in Beaumarchais' Le Mariage de Figaro (1784)
I'm with you on the no buffo whatsoever. Before I actually saw it I couldn't believe it was possible to make Le Nozze unfunny but there we have it. I hate the direction with a fiery passion. However, although I'm no Netrebko fan by any means, I thought she was fine in this.
Just once I'd like to see Cherubino performed by a real boy soprano. I think it would make an interesting more life-like performance, although Mozart did intend a female to play the role.
I believe it's Christine Schäfer. I think she is perfect for Cherubino, but I have a little trouble making sense of the production. I enjoy oddball productions (like you see with Tales of Hoffman), but this undermines the whole idea of Cheribino being a scared little boy.
Ihre Art, die Arie zu gestalten, passt schon sehr gut,gefällt mir sehr. Aber sie schleppt so sehr!Der arme Dirirgent...Als ob sie es nie mit ihm geprobt hätte... Außerdem hat sie hier irgendwie Ähnlickeit mit Tilda Swinton!:)
Well, in Mozart's day, there really was no such category as a mezzo soprano, so it's interesting to hear something closer to what he might have written for. Likewise with Netrebko, a dramatic soprano, as Suanna, and Röschmann, a lyric soprano, as the countess--so that the voices are actually the ones most comfortable in the ranges in question.
As far as I know this aria could be sang by an mezzosoprano OR an soprano. Nevertheless Christine Schäfer shows everbody else in this performance how it should be sang.
Regarding the slow tempi Harnoncourt sets here, I find their impact much more telling when this M22 production is taken as a whole. When broken up by aria, it does seem rather slow esp. when we all know what "voi che sapete" is *supposed to sound like*. I don't always like Harnoncourt's timing by the way. His *Ariana a Naxos* (Haydn) w/ Cecilia Bartoli is way too ponderous (not her fault and certainly not the orchestra). In this production however, I really like it.
In modern times, the term is often used in Opera and esp. Operetta for a very . Reri Grist was a wonderful example of a soubtrette voice. I doubt wether Miss Schäfer would like to be called a soubrette. She sings Konstanze (not Blondchen) and Violetta. But let's not quibble about terminology. Either you like it or not. If any singer can vocally negotiate a role and sound good, why should they not sing it? In addition to this all Schäfer just looks sensational as Cherubino!
Its a bit slower than usual but I think it's really neat because she has a amazing voice. But isn't this aria supposed to be a mezzo aria ??? Al the versions I own are mezzo and I think it's better.
I don't think he wrote it so that he (Cherubino) could make out with Susanna & Rosina during "Venite, inginocchiatevi". Have you seen it from this production? It is terrible! Even the audience thought so, with the slight applause at the end.
This is just before the weird three girl orgy scene. Very interesting production. Not sure about the angel/cherub thing. Tends to be a distraction rather than helping the plot be less confusing.
Is the winged creature one of the Boys from Magic Flute? Or Amor jumping out of the window? Oh no! Not Floria Tosca who mistook which opera she was supposed to be singing in.... And Cherubino-busker at the end: a down and out singer who wants us to put money in her sailor's cap. the more I look at this, the more there is to find! Extreme-ly interesting. :)
A beautiful rendition of this aria, brava la soprana. But the mise en scene is completely awful - unless one closes one's eyes to focus strictly on the music, the entire scene feels almost like patients in a derelict mental institution: the disheveled, boyish-looking Cherubino, the ladies dressed in clothes of mourning doing ritualistic movements, the dead leaves all over the place? PLEASE give me an economic boom so art will dump the gloom and the bizarre and become what it's supposed to.
what were they thinking? schöne stimme aber so schlampig und lasch im rythmus und tempo und die rubati sind ganz seltsam. hätte ich von harnoncourt (oder doch?) nicht erwartet.
is doch schwachsinnig, warum singt sie es so langsam übertrieben legato? in der arie ist er total nervös, schließlich singt er es seiner angebeteten vor (oder einer von ihnen XD). ich sehe es als liebesgeständnis, wenn mir das jemand erklären kann, wär ich dankbar... aber kommt mir nicht mit, ich zitiere, "eine besondere Note", sie soll schließlich die Rolle verkörpern und nicht irgendeine vom text und inhalt unsinnige eigeninszenierung. man könnte ja auch langsam nervös oder von mir aus genießend singen, aber nicht so, ich weiß nich, der zuschauer sollte es doch wenigstens verstehen können...
non mi convince. bella voce ma sembra poco disinvolta, come se arrancasse un po' forse dovuto al tempo. preferisco le versioni più"frizzanti" di quest'aria. Brava comunque
I hate that way of singing Mozart. Bad taste, awful portamenti & rubato. Most of all, no simplicity : everything seems sophisticated. It looks like a romance of french opera-comique. Tremendous.
