Had the pleasure of witnessing this amazing performance live last Saturday. I can attest to the singers sounding even better than they do here. Mr. Kunde is the best tenor I have ever heard perform live in my 15 years of attending various operas, and Mrs. Rachvelishvili is definitely the most wonderful mezzo voice I’ve heard live as well. Truly phenomenal and I highly recommend that you should all attend this performance, for you will never forget it!
Sumptuous, voluptuous voice and generous phrasing from a ravishing Rachvelishvili. Perfection. And wonderful to see Anita with Gregory Kunde, a tenor I first saw at least 20 years ago.
I had went to see this particular performance (was there on the 13th of march 2019) and I'd never seen any live opera before. I was absolutely blown away by the whole performance, but Anita was stunning!
The Met orchestra needs to take it down several notches so you can hear this woman’s gorgeous lyrical singing. This is not a Beethoven symphony for god’s sake. No wonder so many young and talented Met singers are blowing out their voices. This woman wisely does not take the bait and sings it beautifully in spite of the bombastic orchestra.
Saint-Saëns puts “dolcissimo e cantabile assai” at the beginning of this aria. Which is how Rachvelishvili sings it. Having heard her on various occasions in different theaters, I know her voice is anything but small.
Beautifully sung and beautifully acted! How lucky Anita Rachvelishvili is to have a quiet, subdued setting for her aria. That was not the case for poor old Elīna Garanča. On October 9, 2018, when I heard her sing Dalila at the Met, Darko Tresnjak's set not only detracted from her performance, it rivaled it. I wasn't sure she had sung "Mon cœur s'ouvre à ta voix," it was such a jumble up there. You felt you'd dropped into a cross between an old Horn & Hardart and Spaceship Galactica. But I love the Met Opera, and whatever it does, I applaud. As Peter Gelb said during an interview about the Lepage "machine," you have to change to grow; you can't stage the same, tired old productions time after time. You have to take chances.
Really looking forward to this after her stunning Amneris in Aida. Who is the tenor? It doesn't look or sound like Antonenko, who was having a rough patch as Radames in the fall. The Met's website says that Kristian Benedikt is singing one performance on March 28th. Is this him? O.K. Answered my own question, it's Gregory Kunde, who is in the next video in the Met's queue.
Thanks. I saw that he was in the next clip of Samson's aria in the Third Act. I love your avatar. That was such a fun production of Ballo, with some staging that bordered on Gilbert & Sullivan but some amazing singing.
Any recommendations on where to "begin" with opera (s).... as I really enjoy them and I'm a fan but have little to no knowledge on the art.... (sorry if my wording is off)... any help would be greatly appreciated.... thanx in advance!
hi! it really comes down to finding your preferences. there's a lot of opera available on youtube that you can watch, and companies like the met opera also have subscription services if you're willing to pay. i'd check out Carmen, La Traviata, the Barber of Seville (don't know the full name in italian), The Magic Flute (also don't know the full name in german), and maybe Tosca or Turandot. those are some of the very popular ones :) some of my personal favorites include Carmen, Samson et Dalila, and also Der Rosenkavalier and La Fanciulla del West. i'd love to hear what you think!
Hello from Australia with our beautiful opera house! Txt-Book: Harry Enfields Beginners Guide to Opera Audiobook recording: Richard Fawkes - The History of Opera Lecture Series: Audible dot com: Robert Greenberg - How to Listen to and Understand Opera
I have a Mac and I can't hear this on full volume. I know its largely the fault of my computer as my last one wasn't this bad. But because Mac are doing this, can you please make your youtube postings louder please.
Have to say I have a problem with the staging, with both principals pawing each other throughout the entire piece. There has been and should be a tension of repressed emotion that trembles, pulsates, moves, and finally erupts. There needs distance, then understanding, then a touch, a touch, a touch ... then embrace. Carnality is not what this piece is about. It is a subtle seduction. This is not that, and it detracts.
Letra en español: menúbuscar Mon cœur s'ouvre à ta voix Maria Callas  Opciones Original Traducción Traducción automática vía Google Translate Mon cœur s'ouvre à ta voix comme s'ouvrent les fleurs Aux baisers de l'aurore! Mais, ô mon bien-aimé, pour mieux sécher mes pleurs, Que ta voix parle encore! Dis-moi qu'à Dalila tu reviens pour jamais! Redis à ma tendresse Les serments d'autrefois, ces serments que j'aimais! Ah! réponds à ma tendresse! Verse-moi, verse-moi l'ivresse! Ainsi qu'on voit des blés les épis onduler Sous la brise légère, Ainsi frémit mon cœur, prêt à se consoler À ta voix qui m'est chère! La flèche est moins rapide à porter le trépas, Que ne l'est ton amante à voler dans tes bras! Ah! réponds à ma tendresse! Verse-moi, verse-moi l'ivresse! Mon cœur s'ouvre à ta voix (Traducción) Mi corazón se abre a tu voz, las flores se abren Los besos de la mañana! Pero, ¡oh mi amado, para ayudar a secar mis lágrimas, Deja que tu voz hablar de nuevo! Me dicen que regrese a Dalila nunca! Repita el proceso para mi amor Los juramentos de edad, estos juramentos que me encantó! ¡Ah! responder a mi ternura! Vierta mí, sírveme borracho! Así, uno ve las orejas de trigo agitando Bajo la suave brisa, Y mi corazón tiembla, listo para la consola En la voz de mi corazón! La flecha es menos rápida de llevar a la muerte, Que es robar a su amante en los brazos! ¡Ah! responder a mi ternura! Vierta mí, sírveme borracho!
@@doGreatartistsgrowontrees First of all when they mic it's a head mic they use, so the dropping of the cape wouldn't matter, and also you can hear the acoustics of the hall and how it changes dependent on the direction she's facing as well as where she is on the stage. My last point is that she's still got an incredibly tiny and underpowered voice even though you can hear her pushing. I've been to the Met on so many occasions, this is the acoustics of the hall and she's barely travelling over the orchestra. The only person i've heard travel well at the Met was Gheorghiu. NB. I also understand, coming from Manchester, that Mark Elder isn't the best opera conductor and often overwhelms his singers. But I still conclude that this sadly isn't Mic'd
@@peteradaniel well so you are a very particular person. Because by all accounts Anita sounds huge in any theater, even at the big Met stage and Gheorghiu could barely be heard and not only at the Met.
@@CarlosGomes-wi2ti I've heard both many times at the Met and Gheorghiu does have a smaller voice but a much better projection. She's not as great at Covent Garden but the Met does have acoustics that favour projection and Squillo (I hate that term).
@@peteradaniel I never heard none of them and I'm not doubting you. It is just a totally different perception than what I heard. About Gheorghiu I know a lot of people that heard her live and they told me that they can hear her but is a really small voice in the theater. I heard from all of them that the Met is really big but with good accustics. So, you can hear small voices well but big voices don't sound as big as in other theaters with a few exceptions. These exceptions are Anita, Zajick and Stephanie Blythe. They told me that they sound enormous even at the Met. The review of the performace of last night said that Anita hold her voice in first act and then let it out on the second and third act and these were impressive.
CORAÇÃO ABERTO Na ópera Sansão e Dalila, de Saint-Saëns, a ária Diz: "meu coração se abre à tua voz, como se Abrem as flores ao beijar da aurora!" Um pária, Assim era aspecto físico de Sansão, em catarse. A ária Mon cœur s'ouvre à ta voix conta a dor Sentida pela ausência dos amores que voltam A se encontrar, a fim de viver o antigo amor. Não há mais separatividade (que dificultam), Nem no tempo e nem no espaço, são ideias Terrenas que nos afastaram de nós mesmos, Estamos na egrégora de luz, sem as cadeias. A Covid - 19 veio justamente para nos avisar Da trilha certa, sem mais andar por aí, a esmo Em que reencontramos o passado para amar. (*) (*) FERNANDO PINHEIRO, presidente da Academia de Letras dos Funcionários do Banco do Brasil. - CORAÇÃO ABERTO (poesia), de Fernando Pinheiro. - in O mundo de Morfeu, de Fernando Pinheiro.
Gosh all those comments about the amplification and stuff. You know that she is singing piano right? This is ofc not amplified(met rarely uses amplification depending on the size of the voice.). She is singing PIANO here. P-I-A-N-O. All those voice teachers(!) in those comments who uses their fingers on the keyboard due to the fact that they can’t sing. Ms Rachvelishvili is a treasure. Her voice is tremendous and she is still young! Shame on all those “MisterPooperas” and “Silversingingmethods” who know nothing about the voice but are very confident and rude while criticizing those amazing voices!
Casey Dakus I do not get what you’re trying to say, in another comment you said that her sound was enormous while you were watching from the orchestra seats? And now you’re saying sth like screaming? Pardon me if i got it wrong...
Casey Dakus Oh i am sorry😅 my bad :)) Ikr! I can’t believe that people with no background just jump into the comments section and become the voice gurus! Like she is not even using 10% of her power here, and yeah she is very loud when it’s necessary like her princess de Bouillon!!!
Está área impresionista es la malaria más bella en el sentido de que el área más sensual de la historia de la ópera ya que tiene que tener unas dotes de canto para convencer desde que le diga el secreto ya la fuerza que tiene Sansón y este cae en las redes de la mujer punto y final creo creo que está esta área se la podría calificar de un texto que simboliza una unidad de sentimientos y emociones y filtros de seducción
Roberto Alangna carresded poor Delilah in a other production that still makes me blush...i would not be able so sing if a stranger has his hands all over my delicate breasts..
Joel Caspari Those people need help. You wanna see sth funny? Those vocal gurus think that ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-te9rA04178I.html this is how modern singing should sound like and is better than singers like Tamara Wilson, Ailyn Perez, Dolora Zajick, Anita Rachvelishvili, Angela Meade, Jamie Barton 🤣
What u guys don't understand is they don't actually flip into chest except for the B flats on bottom. It isn't the chest that is the strength, it's the cultivation of sound while staying in head but on the bottom 5th from F down to B flat in this aria while maintaining a strong sound that's what makes it impressive. Anita has way more sound
¿Es esto una canción de cuna? En la voz no se siente la seducción. Que me disculpen. Y la escena tan primaria, esencial y caprichosa hace que todo sea aún más aparatoso. Si cierras los ojos.....¿qué queda? Esto no es una aria, ni un dúo de amor...... atención! Es una aria de seducción...... Yo creo que deberíamos escuchar versiones de referencia, para entender que no es suficiente una voz promocionada con ciertas (!!!!) cualidades.....se necesita MUCHO más..... también, dicho sea se paso un inteligente e inspirado director de orquesta. Me suena a muy lavado y livianito todo. 😅 Mí humilde opinión. Hay voces, hay orquesta, pero esto parece una primera lectura de la obra, no una función estelar. Al menos así lo veo.❤
The exceptional truly exceptional Deliahs have been true contractors. This singing lacks the requisite voluptuous color and weight. There are moments when her sound disappears. I just do not understand anymore how singers arrive at their choice of repetoire. I do not.
This is amplified...I hope only for the video... it would be such a disgrace to opera if they amplified their performances like they do in Barcelona, etc..
Lei canta bene ma la voce, il colore e' troppo massiccio per delineare una Dalila piu' femminile..il costumista poi non l'ha aiutata...e' un po' un Colosso di Rodi ramarro. Pero' e' un vero mezzosoprano preferibile in altri ruoli. Kunde inadatto, era meglio come Elvino che come Sansone. La Voce poi oscilla parecchio ed e' sgradevole.
Anita I REALLY like you onstage and your voice is great, BUT, I want MORE in this role. I don't know, I'm not a singer, maybe playing with the tempos more, maybe it's the ridiculous costume that needs to be voted out. Get a GEORGIAN gay couture expert. Gay men know how to dress Divas.
This is a good example for how academic opera is nowadays. The conductor does not use the colours which are in the music and the soprano is a lyric singer trying to avoid all the passion that must be expressed here. Not to mention the terrible tenor.
Voice has indeed a beautiful timbre. But: Sound is muffled, woofy and therefore lacks clarity and chiaroscuro. There is also a wobble already this early in her career.
Mister Opera Ofc insult me when you cannot back up. Continue living your pathetic life with your dearest “teacher” silver. Continue insulting singers like Price, Horne, Barton, Meade and praising your dearest silver’s student. You’ll never become sth more than a Mister Poopera. You do not have a singing voice and will never be a singer. Enjoy your delusional satisfaction with all those insults, and your wiki learned technical terms. Poor you.
Deniz Nejat izar We hear different qualities in voices and people who attack others immediately instead of discussing the topic are hard to deal with. And we are free to have opinions and write on youtube. Why do you take it as a personal insult if people have different opinions than yours by attacking them?
What does your singing voice sound like? Let’s hear all about your illustrious career, before you tear down a 65 year old man who did a fine job of filling in at the last minute.
Philip Condenzio I use my ears. I don’t sing. Don’t be immature. Happy he saved the show! Nobody else in the whole world know that role? Opera is so much about names that shouldn’t be names.
Bravo Luca they constantly break the first rule of Belcanto: No action in the throat. Their breath is shallow, they modify the tone, they have no appoggio, their tongues are drawn back into their throats, they darken their tone because of a lack of power of respiration, the middle and chest parts are hardly audible...and much much more. Read Carusos book and train your ears...this is not what opera singing is supposed to sound like.
If things were as you described, there is no way they would have completed this run. In an opera where singers often drop out. Ergo, it’s not the case, they were phenomenal.
She is amplified yet covered by the music. The stage sounds are louder than her voice which is all in the throat. He, on the other hand, is horrible altogether. Casting people at Met should be fired.
I was falling asleep with her singing. I was horrified by the sound coming out of his mouth at the end. Dreadful. This is one of the top opera houses int he world. When she dropped her cape at 1:50 i was stunned how loud it was compared to her small singing. I have been told that some houses use enhancement technology. They do not call it miked. I wouldn't be surprised if it is true.
hobo1975 Met notoriously mikes singers. How do you think the likes of Netrebko and Bartoli would make it through the first 3 rows with their (lack of) technique and voice. Whatever they call their technology the fact is always the same: rubbish singing.
