Who Sang The "O Zittre Nicht" Coloratura Best? 

5:11 Elsa in a different universe

@@caseygreyson4178I was laughing hard while editing

Please make the hole coloratura part. From here until including the part showed in your video before. That would be a good thing then!

@@emanuelschweikert I agree, I feel it's unnecessary cruelty to not include the high F! (Bit still really nice to watch)

If you can't act while singing in Opera, then you are not being true to the role. Diana Damrau is the best.

I've seen and heard her "Queen" at the Met, will never forget

Abosolutely! She is The Queen herself!

That particular production shows the Queen at her most awful.evil, and devious better than any I've seen. Too often the role is softened and toned down into just pretty singing and the storyline suffers.

She seriously sounds like she is saying GAGAGGAGAG, sounds a bit awful to me

@@annapimentel4412 I personally love it

you should check her performance of Merce dillete amiche in the later part.

And she barely parts her lips! Unbelieveble!

exactly

It’s her technique. She sounds like a Xylophone and a bird

That's a weird style of glottal coloratura. It is not idealistic at all, compared to the traditional legato approach of coloratura. Just listen to Luciana Serra here and you will hear the difference. Regardless of the peculiar fioratura approach of Deutekom, her technique is on par with many great opera singers, particularly her chest coordination!

@@PhoenixStormCrow2000, a turkey fits better.

@@robert111k oh nooo xd

What she's doing is really really weird...I think I get it but that's...whoa. I can't say I love the sound, but I can't deny it's accuracy.

She definitely has one of the clearer and nicer voices, but I don't like how she puts so many 'h'es in her coloratura. It feels like she is constantly leaking air and she ends up not being 100% on point in the roulade because of it.

Didn't she also record Pamina?

I think I've enjoyed every performance I've ever heard of hers!

She was born Lucia Poppová: I have no idea when or why she changed it. (It's not as if she needed a less foreign-sounding name for the American market.) But for my money she's the best of this batch - perfectly clear and precise, in tune and on the beat, a really beautiful tone.

@@cephalogenic Diana Damrau (best for acting especially), Lucia Popp, Edita Gruberova, and Deutekom

Try listening to her in other (heavier) roles, she is much more than a coloratura

Deutekom amazes, but the sound produced isn’t exactly beautiful singing or pleasing to hear.

@@mugenjie subjective, to me it is.

That “throatines” (for want of a better word) is really just due to the style in which she is singing. The opera techniques that result in that type of sound were really used more so in the 1800’s, which is why it sounds old and strange. Very few people sound like that anymore.

Cecilia Bartoli does a lot of that vocal style!

Agreed about Luciana. So clean!!

Agreed. Many sopranos sound like they’re bouncing across each note, but Luciana had a very clean, even sound.

Luciana sounds very clear and has an even amount on each note. Obsessed!

🤣😂🤣

I love her performance as well. It's one of my top 3 for sure. And I agree with you in that the choice of costume... well... could be improved upon.

... and far more as Eurydice.

Joan Sutherland transposed the key a half step lower.

@@RaymondHng Still, all that matters is how it sounds

@@techwiz7947 It sounds a half step lower. Mozart did not intend the aria to be transposed a half step lower.

@@RaymondHng it's the other way round buddy, Viennese pitch in Mozart's time was around A=420Hz. This is almost a semitone lower than the modern standard A=440Hz. Everyone else is singing it up a semitone from the pitch Mozart conceived.

Totally agree with that. She owns the role

"Peter J. Coulchinsky" ~may 2022 « _Diana Danrau is the most Queen of the Night of them all... her "mad" singing... her absolute control of the stage..._ » +1 Yes _Diana Danrau_ is probably NOT the very 1st one in singing, nor the very 1st one in acting, but nearly the 1st in both makes her deserve the 1st rank in the combined performance. I also attended a Flute where the Queen was perched on top of a balcony at the full back of the stage, thus facing at the same time at long distance her daughter who was at the very front of the stage, and all of us the public, giving her the opportunity to fully develop the incredible energy and speed and emotion yet surgical precision required by that piece full of terrible wrath and grudge, giving full life to the ultra-powerful music and lyrics _"The hellish revenge burns in my heart! Death and destitution to the traitor I hate! Strike him with this deadly weapon! Or you are not my daughter! never more and forever! Go away, ungrateful! Ungrateful! Everything is broken between us until he gives back his villain soul!",_ details in www.amazon.com/gp/customer-reviews/R2FJ4V99E1H8D5?ASIN=B000060OHV Fully and accurately rendering such a masterpiece is difficult, Danrau sure can claim 1st rank. Sat 08 Apr 2023 15h35 GMT

Clearly! 😊

Enunciation suffers though

@@DarryanDhanpat Sutherland transposed the key a half step lower.

@@RaymondHng Yes she did!!!

Величайшая певица. Поет, как птица.

@@RaymondHngwhich is the original baroque tuning.

Park and bark!! I love that! 😆😆🤣. Also, you said it all, completely!! 🙌🏻👏🏻👏🏻👏🏻

You don't know much about Callas then. Intensity has nothing to do with movement. People were riveted to Callas' every note whilst she stood stock still. This, of course, takes confidence and major talent, which, IMO, Diana Damrau does not have.

@@maryvallettakeith6146 I'm moderately familiar with Callas's work but Callas is irrelevant here because she' not in this video. My comments were specifically about the people in this video performing this aria.

@@maryvallettakeith6146 You're utterly belittling Diana Damrau's ability on that time, she was at her peak when she sang that version and for professional view, Diana really did great and nailed the role, though it kinda damaged her voice throughout her career.

Hers also stood out to me!

She just seems like the punk rock version and it’s wonderful.

I adore Moser! She has this power and force behind her voice, when she sings I feel the anger and passion

To call an opera singer a "chicken" sounds like the most ignorant thing

Sutherland and Serra are not to light but the former is to low.

Didn't she record both the Queen later Pamina?

Sutherland actually recorded O zittre nicht in the original key, but ironically she overshot the high F, so the transposed live version is still better. LOL

My thoughts exactly. She is in a league of her own (obviously still is) for the reasons you mention. There are some beautiful singers here but Joan Sutherland takes it to a higher level where no others seem to have matched it.

She slayed that section even for a slightly lower key!!

And, brilliantly acted… ANY time she sings this role.

You’re right but few here care

O Zittre Nicht definitely has more complexity and variable dynamics in range and style than Der Holle Rache. In Der Holle Rache, the Queen is no longer holding back her anger and pretending to be a kindly woman and loving mother anymore. She’s playing the role of the villain of the story in a completely honest manner in Der Holle Rache by screaming at Pamina to kill Sarastro for her to get vengeance at the top of her lungs for five minutes straight. Yes, it’s lovely screaming because it’s still a beautifully composed aria by Mozart, but there’s not much depth, humanity, or mystery going on with the Queen anymore. She’s being portrayed as a deranged, power-hungry, and vengeful monster who we’re no longer supposed to sympathize with anymore. In O Zittre Nicht, the Queen is trying to convince Tamino that she’s just a completely helpless, grieving, and kindhearted mother, so he’ll rescue Pamina. To be fair, the libretto for The Magic Flute is ridiculous propaganda to convince people to join the screwed up cult of free masons that Mozart’s friend Emmanuel Schikaneder wrote for him after he Wolfgang joined in his late twenties to early thirties because he was probably having a quarter/mid life crisis after getting married and having kids. Objectively speaking, Sarastro is an asshole who does deserve to be hated by the Queen for kidnapping her daughter, though asking Pamina to murder him for her was fucked up, especially since she could have just done it herself. Anyway, back to O Zittre Nicht, it’s particularly difficult because you’re going through three distinct soprano styles. You start out as lyric, then dramatic, and finally coloratura. When singing this aria, melodically and lyrically, it’s not particularly difficult to memorize because it’s still music composed by Mozart. He knew how to make most of his arias pretty melodically catchy, which is why he’s the most popular composer for opera singers to learn, even today. However, in terms of range, technical skill and breath support, it requires very advanced skills for a soprano. Because it’s so distinctly clear and precise in its melodic structure, any note going even the slightest bit off the center of the pitch or messy diction will stick out.

It’s hahahahahahahahaha

That is kinda what opera is

Mozart wrote the Queen of the Night part to showcase the vocal range of his sister-in-law, who was the first one to play the role. Only two arias, but very very difficult and feasible only for really skilled sopranos.

There's low ones too!

I've seen her 2020 before the closing of the theatres in Munich. She was brilliant and better than this recording.

Yes! Vocally, acting… Perfection!

Haha 💜

Not nowadays. Always been constricted. Now horrendous.

What a safe, uneducated opinion.