Inmenso desafío vocal. Una verdadera prueba de canto. Saludos.

Ty for uploading Ann does a great job in the da capo Comparison to vivica is inescapable The basso continuo was interesring

Fireworks ... I love you Ann!!!!

Incredibile!!!❤❤❤❤❤

very good

❤💐

¡ AH...ah...AH!

Sul barocco preferisco Cecilia Bartoli. Le altre sono troppo affettate, qui poi ci sono carenze di registro, certe note basse sono troppo per lei.

@mickebon

Жыл бұрын

Por qué comparas ? Cada quien tiene lo suyo !, expande tu mente !

@nel_dubbio_mena

Жыл бұрын

@@mickebon Dijiste algo estupido: no existe critica artistica? Asi un pollo es igual que pavarotti

@iTrensharo

Ай бұрын

The first high note was too much, she should have done what Vivica does and transpose those notes down. Not everyone is superhuman. She does lack low notes, which is problematic. She also changes too much of the aria, and I think if you have to edit the A section that much on the first run... why even bother singing it? It's baroque, but some singers really abuse the fact that it's baroque to sing arias they can't tackle simply because they can say it's Baroque. I do think Genaux and Hallenberg have much better technique in the coloratura than Bartoli, though, and much cleaner trills. Bartoli also sounds weird when it comes to the low notes... and the faster arias tend to accentuate her glottal manner of articulating coloratura - a fault neither Genaux nor Hallenberg share or display. I think Hallenberg's voice is great - as an instrument - in terms of timbre and clarity, but it is a bit limited in range relative to what this aria demands. This aria was written to display almost the entirety of Farinelli's range and his ability to sing florid passages over very extended vocal lines on one breath, as well as make insane leaps with perfect intonation while executing articulations and ornaments like staccato and trills to great effect, sing repetitions of the same notes, arpeggios, etc. When you start editing and chopping it up to this extent, the aria begins to lose its intended effect. There is the story and the emotion, but there is also the borderline impossible structure of the music and the singer's ability to deliver that structure through their voice and mastery of the skill/art. This aria aims to marry all of that. It is a vocal show piece. A bit part of what makes this aria so great and also so insanely difficult is not just the notes on the page, but how the aria was structured and intended to be sung. The entire first run from "ba - ta" all the way through to "glia" is intended to be sung on one breath, for example. Most people expect singers to take a breath before the downward run towards the end of the melisma, but the level of editing she did there was... weird... for a singer of her skill and status/repute in the industry. Who knows, she could have been ill or it could have been the second performance that day. Still, weird to listen to, and not really a great rendition of this aria - in my OPINION.