Just incredible. Beautiful, Albina!!

The two women of the chorus right top in the last line did the perfect reaction to this fantastic performance at minute 7:35 .

Brava! What a lovely young artist! Well done! What joy! ❤️❤️❤️

@user-om9ik4ud7z

Жыл бұрын

БРАВИССИМО!!! БЕЗУПРЕЧНОЕ ЗВУЧАНИЕ!

Beautiful singing! Amazing coloratura

Одухотворенность невозможная! Душа радуется! Спасибо огромное!

Transcendental, there's no other word!

Good good in heaven...WOW

Bravisima!!!!

MARAVILLOSA

Прекрасный голос!!! Браво!!!!

Великолепна 💫💫💫😍😍😍😍

@bvdswqawe11

16 күн бұрын

Great.

Eccezionale

OMG!

👏👏👏💐❤

I think that her performance here is simply sensational, spectacular. In the role of Semiramide she is not on Joan Sutherland's level, but so what? By the way, this recording won the International Opera Awards and the International Classical Music Awards (ICMA).

Необыкновенная! Прекрасная!

For a supposedly "original" version, this aria is reminiscent of Sutherland's approach. Colbran was a dark-voiced mezzo by all accounts and no singer in Rossini's day was likely to have interpolated top Es like this. Pesaro revived the opera absolutely complete in 2003 with a rather fine dark-voiced dramatic soprano, Darina Takova. I imagine her voice was nearer to Colbran's in as much as we'll ever know. The Arsace was...........Daniella Barcellona. It's preserved on cd also. All praise though to Opera Rara for bringing a newish perspective to this great masterpiece of Rossini.

@petercallahan7321

5 жыл бұрын

Yes I've always wondered about recordings that advertise themselves that way. Like all the Norma recording that are ostensibly "complete" and "accurate" yet cast mezzos as Adalgisia and use the transpositions etc... It's all marketing gimmicks I guess lol. Still we aren't really flush with Semiramide recordings and a new one is welcome, especially as most live performances of this particular piece are still routinely cut. And this particular recording is pretty impressive, even if it obviously can't match the vocal gymnastic of Sutherland/Horne. It feels like a real theater piece, hard to do with Rossini.

@dragicaklomp9810

5 жыл бұрын

I personally think Shagimuratova is a very fine singer for Semiramide, though the voice probably does not resemble Colbran's.

Brava la slava !

Mover over Angela Meade. This is the real thing! MAGNIFICENT!!!!!!

Way better than Mead.. that’s for certain

@dragicaklomp9810

5 жыл бұрын

Agree. The Met should have casted her as Semiramide instead of Meade.

@edwardamosbrandwein3583

Жыл бұрын

Absolutely true!

That's funny to see the chorists reaction to Albina's immaculate and thunderous high note here: 7:15 - 7:45

@vicky-yx4dy

3 ай бұрын

It's not just the high note... Its that she does a diminuendo on it... I was like wait what??? 😮

Comme l'écrit A Hogbin, on est probablement éloigné de l'original supposé (tessiture et ambitus) mais Rossini n'associait pas systématiquement une typologie vocale à un rôle; loin s'en faut ! Il n'est en rien choquant d'entendre un soprano bien doté en aigus dans une aria dont l'inspiration ne les récuse pas. La vocalisation en plein timbre est assumée, sinon transcendée, et les nuances tombent à propos. Je ne sais ce que vaut l'ensemble de l'enregistrement mais nous avons ici, je crois, un bon compromis entre la lettre et l'esprit de la partition.

Every now and then I get the impression she's whispering. Is it clear why that is catastrophicly bad?

r di speme e di piacer al fin per me brillò: Arsace ritornò, si, a me verrà. Quest'alma che sinor gemè, tremò, languì, Oh! come respirò! Ogni mio duol sparì. Dal cor, dal mio pensier, si dileguò il terror!

@user-gl9sq9dw8y

3 жыл бұрын

Si, bel raggio lusinghier di speme e di piacer Al fin per me brillò: La calma a questo cor Arsace renderà; Arsace ritornò. Qui a me verrà.

@user-gl9sq9dw8y

3 жыл бұрын

[Semiramide e Coro] La calma a questo cor - Arsace renderà; Arsace ritornò. Qui a me/te verrà. Qui tutto spirerà - La calma dell’amor la pura voluttà.

@user-gl9sq9dw8y

3 жыл бұрын

[Semiramide] Dolce pensiero, di quell'istante, a te sorride l'amante cor, si. Come più caro, dopo il tormento, è il bel momento di pace e amor! è il bel momento di gioia e amor!

The part is too low for her.

No one can touch Sutherland in this music.

@Feisenbach

5 жыл бұрын

Not when it comes to transposing.

@misanthropelife

2 жыл бұрын

@@Feisenbach kzread.info/dash/bejne/ga6Yr6uaeaa6hLw.html

She'd be a better Violetta.

@fabriziogarzi9892

Жыл бұрын

Non credo proprio.

It would be a very interesting attempt, but why did they choose her as the title role...? She can't control her own voice.

@dragicaklomp9810

5 жыл бұрын

She is magnificent as Semiramide. Great virtuosity. IT does not surprise me why they choose her.

@stephpwall

3 жыл бұрын

did we watch the same video

@yk5148

3 жыл бұрын

@@stephpwall We both hear her uncontrolled voice : wobbly lower notes and constricted higher notes ;)

@Feisenbach

4 ай бұрын

@@yk5148 And we all read your stupid comments.

Piuttosto banale. Le scale molto zoppicante. Non e' adatta a questo repertorio. Manca di "italianita" e un Mi stridente non salva molto. Cantasse l'opera russa.

Every SEMIRAMIDE recording, will automatically be compared to the Sutherland, Horne / Bonynge one. Well, it might not be "complete", but it gave us a very clear picture of Rossini"s masterpiece. Sutherland had a huge voice and breath control, but her diction was very poor and most of the words are limited to vowels - syllables . BUT, her coloratura, was a wonder in itself. The compensation for the poor diction. Here, miss Albina S., has a good diction, feeling for the words but her coloratura is not on the same par with Sutherland. Towards the end of the aria, the soprano is very close to the end of her breath - control. Rossini and Semiramide seem to be too much for her. At a certain point she loses breath-control and improvises , out of pitch. This is not very professional. By today's singing standards, that's what we have and can get. Callas, by the end of her career, is much better than the present singers that TRY, only TRY, to sing Rossini .

@operabilia

4 жыл бұрын

Please leave Sutherland where she is and do NOT compare.

@mickyalexandru6894

4 жыл бұрын

I leave her, I leave her . Be sure I do. By the way, she was a very polite lady ! Not like others. Or, shouldn't I compare ????

@operabilia

4 жыл бұрын

@@mickyalexandru6894 Vocally it's always difficult and tricky to compare. Sutherland was a true drammatico d'agilità with a HUGE voice. Not the case here! And I don't know the Russian soprano, so can't say anything about her (except on her voice and style!)

@mickyalexandru6894

4 жыл бұрын

That's exactly the point: how or if to compare voices. We have studio recordings and live ones. We can have an opinion about the voice. Big, small, medium, agile, heavy, light, etc. Then, we have the interpretation. And here we can compare all the above in this or that singer. I will never compare Sutherland with Callas. It is impossible. BUT, both of them were very good in each one's field: Callas for the dramatic impact and values of the words, Sutherland for ease of production, but very bad diction. Both were very devoted to the authenticity and style. What we hear today, maybe a nice voice or nice voice timber. But NOT a major voice. And that's bothering. We have records to compare. And when we hear something lesser than what we liked before, it rises unflattering comparisons. So, if a singer does not recognize his/hers possibilities and limitations, we are allowed to express our complaints. Rossini, Bellini and Donizetti, are among the most difficult to be sung and interpreted. When a singer tackles a role like Semiramide, Norma or Anna Bolena, must be able to fulfill the composer's demands - vocally and dramatically. Just a nice voice, is not enough ! The different recordings are exactly for this: to compare. Obligatory !

@enie52

3 жыл бұрын

Why we will always compare the young Singers with Sutherland, Callas etc. The all are singular artists. Sutherland is Sutherland and Albina Albina. She has a graet talent and can start agreat carriere. I wish her the best.

Shagimuratova has a fine voice but not for Rossini. The worst infelicities begin at 8.41 with indistinct articulation of runs in the upper register, the passage unfortunately becoming a vocal mush - and it's also too slow. Apart from this, the tone under pressure has a rather unpleasant squillo, especially in altissimo. No Sutherland-like diamond accuracy here. Also, the vibrato from the alto section is out of control at times.

@enie52

3 жыл бұрын

Why we will always compare the young Singers with Sutherland, Callas etc. The all are singular artists. Sutherland is Sutherland and Albina Albina. She has a graet talent and can start agreat carriere. I wish her the best.

@stephpwall

3 жыл бұрын

It is hard for those of us who toil in Niebelheim trying to satisfy geniuses like you. We apologize for our human fraility

Disappointing Semiramide :(

@Feisenbach

5 жыл бұрын

Clearly not to the singers and musicians present.

soprano without agility? It is not a well worked coloratura. she is good in a high voice, but the middle bass center is mediocre (poorly worked) she requires more work on her chest voice. Rossini loved mezzo-sopranos precisely because of their low register, Luisa Tetrazzini was a coloratura diva soprano but she also worked her contralto voice in her early days. that helped her to have a good register of deep voice.

Really this is not very good technically or musically. Just ok

@stephpwall

3 жыл бұрын

Please supply with your superior recording

@KajiVocals

10 ай бұрын

That's a nonsensical argument@@stephpwall This is Rossini, she has no low notes. Rossini is a music largely written for contraltos and mezzo-sopranos. You need LOW NOTES. She has high notes and floridity, not much else.

@mugrad25

2 ай бұрын

​@@KajiVocals because shes a coloratura soprano. Not a mezzo. Listen to a lyric soprano or a mezzo if u want low notes.

@KajiVocals

2 ай бұрын

@@mugrad25 Not a counter argument. This music requires low notes. The dynamic markings clearly state forte and mezzo forte many times on the lower lines. This is a Colbran role. Low notes are a must. Rossini’s favourite sound was that of an alto (mezzo or contralto). He hated the overly lightened or hollow sound of some sopranos (you can read his comments on French soprano technique). Low notes are not something you should have. They are something you must have. Your argument is just an excuse for her technical shortcomings. Opera Rara hired spectacular mezzos and sopranos with low notes before. They should’ve gotten a bel canto soprano specialist rather than this singer.

@mugrad25

2 ай бұрын

@@KajiVocals you are right about the origins of this role and Rossini's preferences. Many opera houses perform this piece come scritto. Ive been to one and it was amazing. It really comes down to preferences. Some like it top heavy other like it lower. Personally it makes things interesting to me I dont think Rossini would have been dissatisfied with this performance as she projects well in middle voice. In the concert version, the voice is quite robust and weighty for a lyric coloratura.