Let's keep in mind that Ms. Sierra was 27 when she performed this. I personally believe she does excellently, but to those who may disagree, note she is comparatively very young and still has a far to go in her career. I hope we see more of her soon, once it is safe to perform again.
Their actual ages may be close, but relative to voices, this is excellently cast. Sierra's voice has the warmth of maturity, and Oropesa's the clarity of youth.
Actually. are both excellent. This is six years ago after all. Nadine is beautiful and graceful - a young Countess who still has so.e of Rosina's playfulness but tempered by the realities of the life she embraced so suddenly in IL BARBIERE. Lisette acts as a young woman of lesser rank but quick wit. Both are keenly aware of the disadvantages inherent in their situations - the spoiled young Almaviva has become a petty Tyrant - his privileges enshrined in Custom and Law. Beautiful singing from both ladies.
Never imagined this combination in this duet, but it works-nicely sung by both (love Oropesa’s surprising but perfect little vocal flourish at the end). It’s an example of one of the things that make her one of today’s most exciting artists.
“I have no idea to this day what those two Italian ladies were singing about. Truth is, I don’t want to know. I like to think they were singing about something so beautiful it can’t be expressed in words, and makes your heart ache because of it.”
Actually they are making reference to a song that was popular in the time of Beaumarchais, who wrote the play on which this opera is based. Dual purpose within the story and as a story-telling device!
@@junemayoff8110 no tanto, lo que pasa es que el concepto soprano era más amplio en otros tiempos y una mezzosoprano era incluida en el conjunto de los cantantes soprano sin discriminar por subtipos
Hopefully someone (rich enough) would think (seriously enough) about producing Cosi fan tutte with Oropesa and Sierra. Can you imagine Soavia sia il vento? I can and it's getting me shivers. Many thanks for posting.
Dorabella's role asks for a mezzo. These two are sopranos. It's true, nevertheless, that Oropesa could be a splendid Fiordiligi, although, maybe, a little too light for the low notes in _Per pietà ben mio perdona_
@@robert111k mezzosoprani didn't exist formally when Mozart wrote his operas. Dorabella is written with lower notes than Fiordaligi, but both are mostly within the standard soprano range (C4-C6). In the end, it depends on how comfortable a soprano feels singing more in her lower register than her upper register.
@@robert111k Actually there was no classification 'Mezzo Soprano' in Mozart's time. One was either Soprano or Contralto. Dorabella is the second Soprano part - usually sings in harmony with Fiordiligi in ensembles. This is like DON GIOVANNI - Anna and Elvira are both Soprano roles - so is Zerlina, and of course Despina. Dorabella's solo music is not lower overall than Fiordiligi's. It's just that Fiordiligi has those crazy wide Intervals which are intended to show how unstable she is. A bit nuts actually.
@@suzannederringer1607, tradition, wich is important in opera too, asks for a mezzo in Dorabella's role. If you remember, all the great Dorabellaas of the XXth century have been mezzi. Btw, Mozart used to write for (sometimes against, like Ferrarese's Fiordiligi) actual singers, not for any fachs.
ok,if it wasn't for Shawshank Redemption, l probably would never have heard this. l have searched and listened to a lot of ladies sing this. But l can't find a better version. These two ladies are my absolute favorite! 🤗🥰💯
Sull'aria ... che soave zeffiretto / Lyrics Main Results Sull'aria Che soave zeffiretto Zeffiretto Questa sera spirerà Questa sera spirerà Sotto i pini del boschetto Sotto i pini Sotto i pini del boschetto Sotto i pini del boschetto Ei già il resto capirà Certo, certo ei capirà Certo il resto ei capirà Canzonetta sull'aria Soave zeffiretto Sotto i pini del boschetto Ei già il resto capirà Certo, certo ei capirà Ei capirà Certo, certo ei capirà Ei capirà Ei capirà Ei capirà Ei capirà Ei capirà Ei capirà
È sempre sorprendente scoprire come il genio di Mozart ha tratto un gioiello simile da un testo certamente grazioso ma di per sé non eccezionale... la freschezza delle interpreti fa il resto. Impagabile!
I WAS there!! Sadly, my (not inexpensive) seat on the main floor was just a dead spot for acoustics, I had trouble hearing most everyone throughout the opera.
Sierra is a full lyric coloratura. It’s a completely lovely performance but she just lacks the vocal tone and dynamics, scale to be a convincing older noblewoman passed by. It’s better with a lyric soprano at least towards a spinto voice that has great control. She sounds more like Susanna. Oropesa is also a lyric coloratura with a faster vibrato and she is absolutely fine as Susanna.
@@orion8835 I don't think the Countess is actually that much older. If I'm not mistaken this is meant to be shortly after Il Barbiere di Siviglia. Like. 3 years later. Shes not a matron.
@@mestewart82 that's what I was thinking. I mean let's be real, do we REALLY always cast the role for the exact right voice type and age?? Netrebko is singing anything and everything under the sun at the MET so I kind of feel like we can let this one slide. Lol
There is no such thing as "come scritto" in Mozart. You are encouraged, and expected to add variations. Some singers even change the variations every night.
@@PIPEBITE These days, no singer gets to choose their own variations. Conductors have nearly all of the power and they consider what is in style or not. Patrick Summers (The conductor) is likely to be the one who added the variations.
