Dragan Vidic Go to Chicago or San Francisco first my dear Lady. Milano Verona etc. The MET can wait they HAVE NETREBKO?$?$ & they deserve THAT GREAT INTERNATIONAL PRIMA DONNA???$$$ Arnold Bourbon Amaral ✋😎😘
Brava, bravíiiiisima!!!! Desde la gran Aprille Millo que no escuchaba una Amelia de esta calidad.. Qué maravilla, Saioa....esta nueva voz conmueve y llega al alma... Brava! VIVA V.E.R.D.I.
I think it's because few know how to teach the proper way to used chest voice. Many avoid it saying it's dangerous. Not using it and singing in a woofy production is what's dangerous.
Dragan Vidic You have. To have the capability to use your chest voice. Many sopranos will never use because they can't sustain it though our thier career. Basically you're born with it. Once you have a good voice teacher that understands how to use it correctly the rest is gravy. But we have to realize that not every soprano can produce a good chest voice. Obviously this lady has it and has been shown how to use it properly. If she continues this way I can see her doing singing Nabucco, Macbeth, Turandot just to name a few. I enjoy your comments my friend sincerely Arnold Bourbon Amaral 🌿👱🌍🌎🌏
@@gayoperadude63 I don't know why is so hard, I figured out for myself just by listening to Callas, I tried for months to get the sound out until it had projection. I knew I got it when it was naturally loud, didn't hurt in the throat, relaxed in the muscles, also got easier with high and low register. In the beginning I was hoarse for the next 2-3 days, I probably forced a little, but in time that went away. All of a sudden I could sing arias I couldn't do before without unnatural effort and when I sing in piena voce in a small room, the sound that comes back feels a little too strong for my ears even though I never believed I had a naturally strong voice. So, I believe is not so much about the voice type, but the right technique.
@@arnoldamaral7406 Every soprano, including soprano leggiero can produce a good chest voice. It is a matter of developping it, something that is rarely done at all today in opera.
This is the right voice for this Aria, Nice and big and warm, Thank you, one of my favorites to sing, although I would not have done the turn on che the last phrase, does not suit the drama, excellent thank you
Stephen Beale The Met is run by a bunch of Administrative IDIOTS. Arnold Bourbon Amaral. This lady will be & La Scala singing TOSCA Her second appearance. BRAVA Arnold Bourbon Amaral
Elle ose cette voix de poitrine que seules les grandes sopranos du passe utilisaient Comme c'est beau.! BRAVO BRAVISSIMO POUR CETTE MAGNIFIQUE INTERPRETATION
Sitting Duck, that is such an interesting observation about the unmatchable Birgit Nilsson, and not a comparison I had previously considered. Thank you. I can see what you mean, with Hernandez’s spear-point precision (a Nilsson trademark) and the generous richness in the lower register. Birgit was better known for her Wagner and Richard Strauss, of course, due to what may be called her sometimes metallic lack of warmth: her Donna Anna on vinyl is magnificent but arguably wrong for an ‘Italian’ Mozart opera, her Aida too cold, and her Tosca simply too strident, whereas her Turandot - which I saw at La Scala - demands those very characteristics. As Isolde, Brunnhilde, Elektra (and Turandot), all of which I had the joy of seeing, Nilsson was unparalleled. We are blessed, are we not, to have Hernandez, who combines some of Nilsson’s qualities with the generous warmth and ‘soul’ needed for Verdi and Puccini. Thank you for such an interesting thought.
I see that a commentator noted that she is headed to the Met. I sincerely hope she listens to NO ONE there, but rather to her own outstanding vocal pedagogy, and does her own thing vocally. All the Met cares about is filling that hall with vocal noise making and is the destroyer of great young voices. Some singers can manage it if they are extremely smart and disciplined in technique (Isabel Leonard and Lisette Oropesa are exceptional examples), others get eaten alive vocally (Netrebko sounding like she’s 70 at age 40). As long as it’s LOUD, anything seems to go at the Met.
But there’s no fear of her NOT being heard, without them having to push her. By contrast, Aleksandrs Antonenko as Don José and Radames sounds so forced, strident and colourless.
¿Por qué no? Alfredo Kraus era tenor y tuvo una maestra de canto que era soprano, y bien que se formó como cantante, nadie lo duda. A fin de cuentas, la técnica de canto no cambia tanto seas hombre o mujer, los registros de la voz son los que son, aunque la tesitura cambie, todos tenemos (potencialmente al menos) una voz de pecho, una voz de cabeza y una voz mixta que, según la tesitura y el rango vocal, nos permitirán emitir unas u otras notas musicales. Para ser un buen cantante se necesita un buen maestro, que no necesariamente tiene que compartir tesitura, sino saber enseñar la técnica para sacarle el máximo partido a la voz y tener una carrera muy longeva.
