Rossini goes OFF | Marilyn Horne "Una Voce Poco Fa" *Reaction* | Aria Explained 

Ms. Horne is easily my favorite singer of all time. After seeing her final classical recital I knew that somehow I had to be a singer. I was able to meet her a few times after that....and I'll never forget the kindness and encouragement that she showed and gave to me.

I love Marilyn Horne, saw her sing Rinaldo with Joan Sutherland. My favorite Rosinda is Beverly Sills though!

Marilyn Horne! Thank You! Brava!

Marilyn Horne is so gorgeous the aria is so playful and rich in ever word and lyric

At 17:59, that “taking a second” omits some passages that arguably should be sung. I wonder why that practice is so common

I like the interpretation with the lower register emphasis. Thanks for sharing!

STOP I DIED AT THE LITTLE PAVAROTTI BLEEPING THE F WORD I LOVE THIS SO MUCH

I know absolutely nothing about opera but this was a great watch

My favorite Rosinas are Callas and Podles. Both simply splendid (although I rank Callas higher because I can see hear and see in her Rosina's cunningness.)

That was Marilyn Horne at her best. She gets into and out of that lower register so easily and her coloratura is as good as any messo's with the possible exception of Bartoli. If you want to hear a great soprano version listen to Anna Moffo. If you want to see a great soprano version watch and listen to Beverly Sills.

Amazing

Ik heb genoten!

She always sounded a light contralto to me. Alto is a choir part where mezzos and contraltos song together. The voice type is contralto which is lower than a regular mezzo, although the repertoire is almost the same. (Almost)

Thank You!

Thank you for including Ewa Podles, for I deadass thought contralto was a forgotten voice type in today’s opera.

Enjoying it in the Barcelona Airport 😀

So nicely done. In the beginning i thought of Ewa as well - and look at 10:49. :-) - here i foud a new Abo. Best from Germany

I'm learning !

If all goes as planned for my later this year trip, I will finally have a chance to hear a performance of Barber of Seville in Dresden. I'm hoping to "Opera Up" my life with a performance of La Traviata in Leipzig, as well.There is also a performance of Die Zauberfloete available in this time interval, and I may get to hear a performance!

I saw the clip of Marilyn singing Une Voce Poca Fa last week, for the first time. Where and when was this filmed? Ms. Horne is my favorite! Beverly Sills sings a great version of this aria, too. I began to love Opera 40 yrs ago when a friend of mine would play an aria from 3-5 different singers (he had a LARGE album and ultimately, CD collection).

My favorite Una voce poco fa is Anna Moffo. She goes to an F sharp above High C. And makes it look easy.

Could you pls explain ' IN QUESTA REGGIA ' from turandot . Love your content since I discovered you .

Please, do some of Montserrat Caballé!!

Love Sumi Jo's interpretation.

One of my hopes with AI is that it will be able to clear up old recordings so we can hear the performance like it was live.

I've read the play of Beaumarchais, but never seen the opera of Rossini. It's the opposite with Figaro: I've seen the opera, but never read the play.

My prefered one is that interpretaded by Maria Remolá.

I think you have a little misunderstanding of the word "contralto". In italian, "contralto" translates as "alto" in in english, because I have read about "contra-contralti" in italian books. And the second thing is, during Rossinis times the word "mezzo-soprano" was not known, and so it is likely for his "contralto"-signed roles to be sung by a singer, who would be a mezzo after todays benchmarks. Also, if you read coeval descriptions of the voices of, for example, Geltrude Righetti-Giorgi or Marietta Marcolini, you find out that these voices did not have the typical characteristics of todays altos or contraltos. If you knew all these things already, I am sorry, but I think it is a little misunderstandable what you said in the video and I wanted to explain my perspective :)

Per me la migliore interpretazione è quella effettuata da Luisa Tetrazzini in una registrazione del 1907........peccato per la qualità della registrazione, ottima per quei tempi ma arrivata a oggi attraverso un fuscioso 78 giri!

Dear, I`ll link your video in Marilyns FB group - but to be honest it's more due to how heavenly you react ... Maybe you`re a member of the FB group as well

Beverly Sills?

Just looking to find Ms Horne. But I see you talk all the way through this one.

Teresa Berganza is referencial is this rol, take a chance to hear her

Kathleen Battle, Cecelia Bartoli, and Joyce Didonato are my favorite Rosinas. Maybe it's strange to cast a soprano for that role. Here's Battle. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-3rHTou1Atas.html

Il barbiere .... should be understood in context. It is perhaps the best critique ever written. La Nozze has plotholes so big you can drive a dump truck through them. The other thing is that it is scored for both mezzoes and high sopranos. Diana Damrau is NOT a mezzo! Her Rosina in Nozze is wonderfull. But in Nozze Rosina is the mysterious, she is scheming to bring her marriage back on track - because Almaviva IS AN IDIOT - a common notion among women about their better halfs. In this case she is right. Almaviva is a product of the inbreeding of the spanish nobility. Ritch and a moron, not nessarily a bad person; but he needs all the help he can get. Rossina was scored for both voices. Note: Rosina is allways getting everything down on paper. The other thing is: You overestimate the age of Rosina. She is a teenager. But she is well schooled, intelligent and goddamned stubborn (correction: Persistent - mea constanza). Mozart scored differently, as the role of Susanna is scored both for high and low sopranos - and Rosina only for the high voices. Diana Damrau has sung all three roles - not to perfection, because nothing is perfect, as she very wisely admits. But as Rosina she gives a vulnerability that a sturdier character as Cecilia Bartoli. Her Susanna is the pretty village girl and a very practical and loyal one at that - which Rosina tests with the ribbon Cherobino nicked. Susanna and Figaro are the practical people that can run the village and estate while Rosina keeps Almaviva inside his competence as an official of the crown in Londres - narrow limits indeed. Rosina is not allowing Almaviva to make a complete fool of himself. Just hear how lovely Damraus voice is: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-XFvpBjlVu7o.html Marilyn Horne is one of the very few non-german speaking singers that could sing Leonore: Particularly because she can slide from deep to high and between forte and piano (and back again) seemlessly. She called the Aria: Abscheulicher for MURDER. Beethoven was a great opera composer - he only wrote one; but when you are Beethoven: That is enough! Not all that frivolous mucking about. Instead he used the singers in his 9th symphony. The problem with Leonore is that the spoken text is in the subjunctive case and the singing is in the indicative. The vowels you sing in German are placed very much differently - especially the Umläute - what precisely is the secret is - I don't know. It took Wagner to get the third note in the triad in simultaneously. Here Fidelio as illustration with Ingeborg Hallstein as Marzelline and Christa Ludwig as Leonore: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0aL5_qMJK88.html Christa Ludwig sang Leonore lots of times, but NEVER sober - warming up took a couple of large cognacs.

Mura felici

On a side note, what makes you think Mozart died of syphilis?

Where is my girl Isabel Leonard? The most beautiful Rosina ever.