What an amazing interpretation of this difficult aria! Russian diction, musicality with her beautiful pianissimi, emotional desperation...Mirella Freni didn't act as Lisa, she was Lisa!
One of the most human , normal sopranos , without crazy dreams for being Turnadot or Lady Macbeth ! She did her best in all operatic roles she had to sing . Brava Mirella !!!
Phaidra69 She sang many roles too heavy for her lyric soprano but thanks to technique and that she didn’t get carried away she survived pretty well. Most sopranos don’t.
the evolution of this great artist showed her patience for the voice to catch up to the ambition,the way it should be! She would have had to say no many times AND she survived Karajan for crying out loud! well done
@petrina1022 I love anna but heard freni live in chicago all the stuff about her having a small voice is ridiculous.. she was just always carefull... i'm with von karjan, I would love to hear her voice sing tourandot... such grace in her upper register and never a wabble..
ÁRIA DE LISA Ária de Lisa, cantada no 3°Ato, da ópera Rainha De Espadas "Queen of Spades" ("Pique Dame"), De Tchaikovsky: "estou esgotada pela murrinha." Vemos no mundo muitas dores, com o reclame. Na mesma ópera, a ária de Yeletsky bem revela A preocupação pela tristeza da mulher Lisa, Que se afasta do marido querendo ajudar a ela. A tristeza, lágrimas dela, tudo isto ele analisa. A Covid - 19 veio trazer esta chance em pensar Em solidariedade humana, de estar próximo A quem está sofrendo, sem poder imaginar O efeito benéfico que o compartilhar traz. Sem pensar em algum benefício ou dízimo. Apenas doando-se de coração, isto o satisfaz. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - ÁRIA DE LISA (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Ozawa ist just horrible here. It is not a music to march, it is a tragedy, a scream of a soul and the heavy steps f the inexorable time. If somebody wants to hear a REAL Lisa and a REAL "Pique Dame" - there are only Melik-Pashaev and Vishnevskaya. The rest is just a parody.
Excuse me, but if you want to hear a REAL Lisa, you might want to listen to the very first LISA, Medea Mei-Figner. Her 1901 recording, the very first record of this aria, is still one of the best (as is her Vissi d’arte, the very first recording of THAT aria!). I adore Vishnevskaya, but from 1960 on, she sounded more like Lisa’s mother.
@@jeffreymiller4814 I was talking about Ozawa, not about Freni as Lisa. And I know very well this role because I am a professional singer. Yes, I like Mei-Figner, but I still prefer Vishnevskaya because her Lisa has that spirit and that character that a singer cannot learn, either one has it or not. But where have you heard "Lisa's mother" from Vishnevskaya in the 60-s?! She was in her 30-s, her silvery voice sounded perfect without a hint of wobble, and even later in the 70-s, when her voice started to age, she did not sound old. She was never "girly", but also Lisa is not a baby, she is a serious noble young lady, and exactly this character I see and hear by Vishnevskaya. The nobility is a rarity today on stage, unfortunately.
Desideria7 Indeed, and she’s unsurpassed as Shostakovich’s Lady Macbeth. Even her 1974 Tosca recording with Bonisolli is thrilling. The Tchaikovsky song recital (available on RU-vid) is positively hypnotizing. She just never had a youthful sounding voice, to my ears, post RCA solo disc. Her Rachmaninov Ne poi krasavitsa pri mne on that disc has a youthful shimmer AND high placement, alternates between thundering forte and ravishingly pianissimo, and remains one of her single most gorgeous performances on disc. Her early Tatiana with Lemeshev is lovely, but her voice lost its youthful (not “girly”) quality early. I heard her sing the War Requiem in NYC in 1987 and was riveted to my seat. Some stupid critic asked her why she would risk (she was 61 at the time) performing that great piece and risk comparison with her supreme recording 25 years earlier. Her reply was, “because Rostropovich asked me to, and he’s a genius”. Maestro R did the right thing, and she delivered. Big time.
@@jeffreymiller4814 You are so lucky! I was born too late to see so many great singers on stage :( I have met Vishnevskaya when she was a member of the jury at the competition where I've won the 1st prize, she was already almost 80, but still had this "tsarina-posture" and the same beautiful face. I could not speak to her until the end of the competition because I was a finalist, but I have heard her giving a lesson to one soprano. I stayed for one hour under the door and listened to this fantastic lesson on "Pace, pace mio Dio". She repeated permanently: "don't scream, don't scream", wanted a soft and highly placed sound and clear vowels, and finally showed to the student how to sing the famouse difficult high B flat. Her speaking voice was quite low, and anyway I did not expect this clear and fine pianissimo that she attacked directly in the middle of talking. She started it pianissimo and did such a crescendo that I thought, the door would break! She repeated it 2 or 3 times, then asked the student again with this juicy low voice: "Now you understand? Don't scream!!!" At least I understood it for the rest of my life :)))
