It’s as if Amy Winehouse walked onto the wrong stage. This is generally how A.G. sounds to me: Like a Pop singer in opera. And the voice lacks any distinction or signature. So does the expression. It’s all so very generalized, singing by-numbers.
If she would actually be able to sing Mozart, sort of to be able to sing, than Lady Macbeth would be as easy to sing as is drinking coffe in the morning. Instead we get zillions of mics, colossal wobble(s), ingolata position and lots of screams. A broken mezzosoprano.
@@marieantoinette3857 Your mezzo idea is ridiculous. Almost every soprano has all the notes of Fiordiligi and Lady Macbeth. What makes the difference is the colours, the punch of getting through a much louder orchestra to do justice to all the emphasis, drama and viciousness of a dramatic role. Lyrical voices like A.G. cannot do that. - So also a dramatic soprano as Fiordiligi is out of place.
@@tristanberger8500 Asmik herself gave you the answer that she is a mezzo. If she sang the right repertoire and had at least some technique, she wouldn't have such a huge wobble as if she were a 60-year-old singer. Her voice is destroyed and can only be heard if there are million microphones on stage. Wait a year, and then you won't hear anything from her ever again. Pure mezzo. Any soprano can sing Macbeth, but not Fiordiligi. I see that you do not distinguish between what is a lyrical voice and what is a dramatic voice. The lyrical voice is just as potent and strong, it must be, as the dramatic voice. The only difference is that it's beautiful and tender. A lyrical voice is not a small voice or a voice incapable of drama! I don't know why today the lyrical voice is associated with a small voice. The lyrical voice, like the dramatic voice, must come over 80 people in the orchestra, and more. The criteria are the same for all fachs. The dramatic voice is more shrill and therefore not so soft. Oh, and drama is recreated on stage through the consonants and not shouting. People think that drama means very loud shouting. Far from it.
@@marieantoinette3857 A Mozart opera has about half the orchestral musicians as operas by Strauss and Wagner and Verdi. Half! A lyric voice is indeed smaller than a dramatic one, which can get through any orchestra, which the lyric voice cannot./ A.G. was never a mezzo, no matter if she sold it as such - There are clear criteria as to which repertoire belongs to which voice.
Always interesting to read these comments where people with no power in opera decide what someone can sing or cannot. You don’t enjoy? You have the right to have your opinion. But nothing more. Hopefully one day life will bring happiness to you guys.
The genre OPERA is in danger because of people like you which don't have no clue about voices and cast. And indeed it's not enjoyable when dramatic repertoire is sung by a lyrical voice.
Asmik Grigirian is successful enough to arouse the envy of numerous losers. But as long as audience and reviewers consider her as one of the most exciting sopranos, she need not mind those comments.
@@tristanberger8500 I am desperately tired of the abundant criticism in the internet! I saw the complete video stream of the production and enjoyed A.G.'s artistry. I agree that she has not a highly dramatic voice. But the conductor successfully reduced the orchestral noise and permited lyrical expression. I was very happy with the result.
I watched the whole opera. She sings the role well enough, no problems anywhere. She is intelligent and musical and seemed to navigate herself out of the pitfalls of this role. And I guess it is up to her to decide what roles she sings. Having said all that: I personally found her seriously underwhelming. It wasn't in any way exciting or thrilling or even moving.
I watched the whole opera. She sings the role well enough, no problems anywhere. She is intelligent and musical and seemed to navigate herself out of the pitfalls of this role. And I guess it is up to her to decide what roles she sings. HAving said all that: I personally found her seriously underwhelming. It wasn't in any way exciting or thrilling or even moving.
Well another lirico-leggero singing roles that are five sizes bigger. She may be intelligent and a good actress, but this is definitely not the Lady Macbeth sound, but rather Adina in a miscast.
Today she's making good money by singing the wrong repertoire the wrong people have given to her, tomorrow she pays the bill for it...alone...this is one of the black sides of opera business
@@siegfriedwalsung1125 I watched the whole opera. She sings the role well enough, no problems anywhere. She is intelligent and musical and seemed to navigate herself out of the pitfalls of this role. And I guess it is up to her to decide what roles she sings. HAving said all that: I personally found her seriously underwhelming. It wasn't in any way exciting or thrilling or even moving.
I've seen Ms. Grigorian live several times. She always surprises me. The intelligence she demonstrates on stage is impressive. And her voice is the closest thing to perfection in beauty, volume and timbre.I agree with you that her lady is not dramatic as it is usually and conventionally portrayed. But this director is not a conventional one and wanted it that way: in this staging she is not the incarnation of evil, she is just a woman frustrated by not being able to have children and be mother of kings.@@Yves_Ka
