Verdi: "Il Trovatore", Leonora's cavaletta, "Tu vedrai che amore in terra", Asmik Grigorian, Soprano, Vilnius City Opera, Gintaras Rinkevicius, Conductor, Vilnius 2015. The complete opera here: www.lrt.lt/med...
Why do perfectly beautiful voices feel the need to break their instruments with dramatic parts... She's doing Macbeth and Turandot and I'm like whyyyyy??
I rarely comment on other singers, but I’m confused as to why European casting agents put smaller voices in such huge roles just because they have slim figures and fit into their vision? She’s a gorgeous singer and there are a myriad of other roles more suitable for her voice type and body type. This is big Verdi which requires a bigger voice and in some cases the larger voice is housed in a bigger body. The audience is missing out in these instances and the singers are lead to abuse their instruments. Very sad indeed.
Have you heard her live? Having heard her sing Chrysothemis in Salzbug I can assure you that voice was big and full enough to be heard over that huge Strauss orchestra. I just dont think that bel canto is her thing. She is also not scheduled to sing this repertory in the future. Besides Leonora is a rather palid character - way too boring for a singing actrss like Grigorian Please bear in mind that this was taken from a performance in Vilnius where she was an ensemble member (7 years ago). That meant she basically didnt have much say in what roles she sang there. More than likely Vilnius didnt have anyone else in the ensemble to sing this role. In smaller provincial opera houses like that the audience very often misses out on style and quality.. These opera houses just have to make do with what they have
@@Yves_Ka they amplified her in salzburg. everyone knows salzburg secretly amplify singers. it is a not a professional theatre, that is old historical building used for horse racing or military training or sort of things like that. Salzburg is more like festival to attract the tourists, to boost the hotels and restaurants. so they don’t give a F..k about artistic integrity. once there are critics who questioned about their amplification. they just don’t answer or say: we are sorry the amplification is for the backstage staff and maybe some of the sound came to the auditorium😂😂😂 disgusting
@@wuaaron808 My wife sang a major roles in Salzburg (both the small theatre and Felsenreitschule) a couple of decades back. I can assure you here voice didnt sound any bigger than it did at Glyndebourne! You sound triggered and that is getting in the way of your rational judgement,
Too lyric for the role. Her constant movements tell you that she has some breath problems. This aria takes you up and down, and she simply doesn't have the proper chest register. This production was made in 2015, and I don't want to imagine how damaged her voice can be until the present year.
You have no idea of what you are talking about. BTW, her voice is in great shape, she is singing in top theaters around the world and is one of the highest paid singers.
@@antoniomartinazzo5847 True, that is correct. However in Grigorian's case I find a true artist whose success is due to her performances and not thru marketing. Don't you agree?
Yes - I agree and I was so impressed with her Salome. I think we could agree that bel canto isnt her thing. She was at this stage an ensemble member in Vilnius which most probably meant she would have had to sing the roles she was told to sing. Her current performances schedules dont display any Verdi.
What language is she singing in? Simply terrible… singers today sing everything everywhere and burn too soon. A voice for Strauss singing a Verdi role, with no clue of the meaning of the Italian language, style… why? And how is this good for most people?
