still the voice is either pushed and strident or light and colorless... who is her teacher? why are we so impressed with (unappealing) high notes, and nothing else? Why does she modify her vowels so much, when much larger and more dramatic voices don't? why does she open her jaw above G5 so much, as if she is singing a high C, so when she gets very high she has to basically dislocate her jaw and dilute her sound's beauty completely, until there is nothing left? she is a very beautiful and sensitive artist, and she needs a new technique that better serves this.
@@williammayville5602 and you have demonstrated that you don’t know what singing is at all, to believe that this is great singing that can be compared of what the operatic tradition was built on since the 18th century. Listen to Edita Gruberova sing this repertoire, and tell me where Sabine stands in comparison. Or listen to Lenneke Ruiten as a modern example of what the Fach is capable of sounding like.
@@agnieszkakruszyna4625 Listen to Lenneke Ruiten, a brilliant modern Mozart singer who doesn’t sacrifice any of her womanly sound for this flaccid, colorless style of singing that Sabine uses.
