I desagree. It is extremely clean and bright. And the performance is outstanding: Sabine achieve with her performance (singing and acting) the true "unheimlich" of the Tale of Hoffmann ("The Sandman").
Exactly what I thought coming across the thumbnail. Her automaton actions are heightened (as well as her hair) by the Bertonesque effect. She’s dazzling!🏳️🌈🤨🏳️🌈
I saw part of this on Instagram and came to RU-vid to see if I could find the entire song and luckily I did. Sabine is amazing. I had never heard this piece before, I love it. Jeff❤❤❤❤
3:33 is where slayage begins. I love Natalie Dessay, Diana Damrau, and Luciana Serra, but none of these three had anything like 3:33. This is the best version overall. There are instances where I prefer what one of the other three did, however, this IS the cleanest version.
It is admirable that you wish to voice support for your friend/countrywoman/???, but it is not necessary to compare the singing of one soprano to another. In this instance, it is even unkind. Sabine Devieilhe has a very well schooled voice with a superior technique. She is very polished performer with a high coloratura soprano voice (in one cadenza she went up to Ab in the altissimo). Patricia Janeckova is a charming lyric soprano with a moderate range of only up to an Eb. She is young, but I suspect, based on the New Year's Eve Concert I just watched, that she is done with training and this will be the extent of her ambition. She will sing in operetta where the demands on her slim technique are few but she will be applauded and paid and for many that is enough (Sarah Brightman, Charlotte Church, etc.). Madame Devielhe will have a successful career as one of the greatest coloratura sopranos in the world and she will always be the First Soprano on any program.
i know you did not reply to me. but yet your comment shows me, how little i actually know about opera, singers, techniques and the common 'opera-language' this is exciting! so much stuff to discover :)
I love how she plays this character! She's creepy and refined like a Stepford wife, not an animated and silly child's dolly as most performances are done. Her voice is stunning perfection, so with all that, you can't take your eyes off her. LOVE!
Agreed, I find myself skipping around the videos of many other performances of this aria, because the "doll acting" is usually a little cringeworthy. Sabine is masterfully reeling us in
Unreal. She is a treasure.The control she has over her instrument is a master class in technique. She drives the aria, the aria isn't driving her. She interpolates the A, but it doesn't become all about it.
The short story this aria is based off is nightmare fuel. It's interesting how even tho it has obvious comedic potential, it always conserve at least one element of eeriness in its execution
This is no woman- This is a Goddess!! Her technique is stunning and her pitch is perfect!! I love the interpretation as well. Ms Devielhe is truly a master of the art of Opera! If I ever have the privilege to see her, I'm bringing flowers!
I LOVE the dynamics in her performance! Also, the hair and movements are clearly inspired by Mars Attacks, which is brilliant because that character was a disguise, moving with a very inhuman quality. It's a nice departure from the clearly clockwork-y movements of some other performances.
Jeff, the God of Biscuits this is pretentious opinion of academia. It is narrow-minded to decide a sound that doesn’t exist in French language is superior to the more natural rétroflexe. There are many unusual sounds in German, so why are those allowed when rétroflexe and nasal are discouraged in favor of things that “sound better” but undeniably make the singer harder to understand for native speakers?
Absolute Spitzenklasse! Ich habe schon einige Darbietungen dieser Arie gesehen oder gehört. Das was Sabine Devieilhe hier vollbringt ist absolut höchste Schule. Diese Klarheit und Virtuosität sucht derzeit wohl seinesgleichen. Bravo, bravo, bravo,....ich bin zu Tränen gerührt!
robert111k Désolée, mais nous sommes bien nombreux, des initiés, à ne pas être d accord avec vous ! Sorry, but, so many , myself included, and we are not some random listeners, and , we absolutely don’t agree with you !
I don't know how many times I watched this. It's close to hundreds probably. The satisfaction I get out of her high notes is uncomparible. It's the moment when Anton Ego eats the ratatouille. It i so good, it brings tears to my eyes. Everytime. Just amazing.
C'est extraordinaire, c'est magnifique, et oui... un la bémol... comme Dessay... elles ne sont pas beaucoup... quelle merveille!!! Même après la dixième audition aujourd'hui j'en ai encore les frissons... Quelle beauté.
Literally screaming, with perfect pitch, timing and diction, at top of her lungs. Simply unreal. It must be an amazing feeling to be able to do that with your voice.
A-FRIGGIN-MAZING!! I agree. I've never heard this done so impressively! And with such easy. I actually don't mind the slight nod to Mars Attacks. I thought the whole thing was just brilliant
@@TheLalangue Both are references to 1960s fashion. I'm concerned you were able to trace it to Juno Birch but not to the actual decade Juno takes all her inspiration from. She didn't invent that style.
@@solarprogeny6736 did I say that Juno invented that style? I don't think you can find an actual woman with this kind of over the top updo even in the 60s, while Juno often wears exactly the same exaggerated hair. So both references are ok, no need to be concerned ))
This is one of the best performance of les oiseaux dans la charmille. my favourite one so far.❤ This aria is sung so well and with that little overtones of sabine makes it more bird like and smooth than other versions. 3:42 ❤ is just magical.
