LEYLA GENCER Regina della Lirica❤👍❤👍che per mia grande fortuna ho potuto ammirare all Arena di Verona ,sia nel Trovatore(1968) e prima ancora in Aida (1963 e 1966) ,Norma nel 1965 e Forza del destino 1967. GRANDISSIMA E INDIMENTICABILE.
Ascoltando Leyla Gencer....in questa celebre aria del Trovatore...la sua voce e spratutto la sua espressività ti porta ...anzi ti fa spaziare e capire il dramma...del momento che l'eroina vive...e tutto questo è supportato magnificamente dalla sua strordinaria voce dall'estensione che nei filati è oltre ogni capacità umana...grandissima Leyla Gencer. 🙏👏👏👏
Voce sublime, mi commuovo ogni volta che la ascolto, una vera artista che canta con il cuore, per me rimane una delle più grandi interpreti del bel canto. Grande Leyla!
Tutto ciò che cantava Leyla Gencer diventava oro, magia, meraviglia. Questa pregevole edizione de Il Trovatore, in cui ci sono anche Del Monaco, Barbieri, Bastianini, Previtali, é indimenticabile ed è passata alla Storia. Leyla Gencer è immortale e rimarrà, per sempre, la regina dei nostri cuori.
Conmovedora interpretación. Una creación de Leyla muy íntima, excepcional. Me encanta Leyla en este rol. Por favor suban la ópera completa ..este arte no se ve hoy. Muchas gracias.
I agree with Robert Donkers and Dragan Vidic. How wonderful she was as a singer and beautiful as well. Why? Why have I never heard of her? But I have now, to my great fortune.
It will forever remain a mystery why Gencer wasn't signed by one of the major recording companies in the 50's and 60's - such a fine singer towering above almost anyone of today.
I have this whole recording on DVD . Out of curiosity I have been listening to others singing this role of Leonora , Callas included . I think Leyla Gencer here is far the best in interpretation and very controlled singing .
@@fan2jnrc To you and many Callas is the name , nobody better than Callas . Callas had a remarkable voice and was a very dramatic singer , but that does not mean she was always perfect beyond any other singer . This is an aria that requires thought and skillful interpretation which I think Gencer gives the best .
She virtually equals Callas in so many ways. She would have been more famous had the 2 greats come to us at different times. I think she's the queen of high soft singing, which I believe was her signature feature.
Well, the piece is beautifully sung, but she sings all those passages without the trills, when the trills are the biggest challenge in this aria. Remove the trills and it becomes easy peasy. Callas didnt only sing the trills but she added colors to them. In this aria the trills are so hard because they are binded into the melody and in middle voice. They way it is written in the music score is 100x harder to sing and Callas sings it like its nothing. There is virtually a huge mountain between this singing and what Callas sang. But Leyla's pianissimos here are legendary.
All trills are there, exceptionally well integrated with the rest parts sang. Trill should not always stand out or remind sound of the male turkey. Never have heard other soprano which has sung this so ''easy peasy'' even without trills.
The golden days when such singers could fill the auditorium with the clearest and lightest of pianos instead of screaming and often miked as they are today, great artist of an art totally extinct.
There are good singers out there today but the sound they produce is not wanted by directors anymore. True story: auditions were held by a German house for Tatiana in Onegin and a singer I know was told her sound was “too heavy and loud” so she didn’t get the part; meanwhile, the house has a wonderful singer who didn’t get the part either because the director wanted “girlish” sound and looks. The fest singer was disappointed and sad, of course. In Germany Tatiana is being sung by light lyrics as I write this. A true disservice to ART
@@claudia_957 Perhaps I wasn’t clear being ‘heavy o loud’ has nothing to do with the “Art of Singing” where, intonation, musicality and more importantly ‘interpretation’ has completely disappeared. The use of house filling ‘piano’s’ are a thing of the past! The great singer’s and I was luck enough to have seen live nearly everyone of them even when physically ugly and advanced in year could easily paint a vocal picture of youth and beauty and that is good no great singing!
Yes. I agree with you. I only meant to state that there are some really good sopranos out there today that are not being offered roles because they are perceived as being to heavy or loud for roles that are given to much lighter sopranos (who might have lovely voices and decent musicianship), but are not “right” for the role. I do not wish to name names because that would be unfair to the singers. A classic example of a singer who was not appreciated for her work is Vogt. A good example of a singer who is doing well right now is Saioa Hernandez, who probably wouldn’t have gotten as far as she has without Monserrat Caballe’s support. I know there are others singing today who should be given more opportunity.
This is SO simply magnificent!! Those high pianissimi in the aria are without equal. You just melt at what she achieves! I LOVE Leontyne - but Gencer is without equal in this role! And the expansiveness in the Miserere is phenomenal!
J'ai ecoute deux foix Cette Diva Turque a l'eglise Aya İrene d'istanbul. A 1984. C'etait magnifique pour moi. En plus toutes les hirondelles d'Aya İrene ecoutaient Leyla Gencer.
Да, забыть такую Ленору невозможно. Как и многие другие, исполненные Генчер партии. Только после того как услышала её Норму, я смогла до конца понять героиню этой оперы. Настолько глубоко и проникновенно было пение госпожи Генчер, что не могла слушать эту партию в исполнении самых именитых певиц. Лейла Генчер великая певица, интерпретатор и музыкант. Дива, настоящая Дива.
Brilliant singing. Unusually evenly registers, diminuendo and crescendo are beyond praise. Compared to this, the singing of Mario del Monaco turn pale.
ASAS ROSADAS "D'amor sull'ali rosee" - Il Trovatore, do compositor Giuseppe Verdi, há suspiros e indagação do medo. A noite escura envolve a mulher que chora com dor, Sem ele saber. Será que sabia que tudo é arremedo? Aurora raiando na madrugada, isto respira ao redor, Trazendo lembrança de asas rosadas, memória grava Sem que sinta o que está acontecendo de mal a pior. D'amor sull'ali rosee, ária de Leonora, que amava. No 4º ato, da ópera Il Trovatore, de Verdi, é um luar Escondido nas sombras das nuvens indo ao redor, Visão dos poetas cantando o amor deve continuar Nas asas rosadas em que lirismo encontra o melhor Abrigo. Após a pandemia na Terra o que é sofredor Será transformado em dádiva agradecida ao Senhor. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ASAS ROSADAS (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
@D L Are you serious? Price had one of the worst Italian dictions as she could not help herself with her thick southern accent which is audible in everything she sings. It is quite obvious that she slows down the tempo where an aria requires agility because speed worsens her Italian. Listen to her D'amor sull'ali rosee and right when she begins singing (where she says "La") you can hear her thick southern accent kicks in. You can hear whenever there are two letter "L" are in a word she can't pronounce them, which they have like truck load of them in Italian. For example, instead of saying "beLLa" she says "beELa". This accent and diction issue is troubling for many native English speaker opera singers as the phonetics are quite different, but her issues are one of the most obvious ones.
In quegli anni i trilli venivano ritenuti degli abbellimenti eccessivi dai direttori di orchestra che li eliminavano a loro piacere. Non era una scelta della cantante
@@Verist4 Price owned this aria in numerous live performances. No other soprano ever came close to her in terms of musicality, nuance, head voice, power or any other vocal quality, EVEN IN THIS LYRIC ARIA CALLAS WOBBLED AND LOST RESONANCE ON LOW NOTES SOUNDING IN THE MOUTH. she rushed through the coloratura, she screamed on the loud. Callas was horrible. ANYONE who knows opera and singing knows better.
Mario Jimenez. De acuerdo contigo, no es mejor que Callas, tampoco creo que la copie... pero es una gran, gran interpretación, mil veces mejor de lo que se escucha hoy. Saludos cordiales.
