Added: 3 years ago
From: Onegin65
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  • quest'orco lo fanno ancora cantare..?!

  • flat flat flat flat flat.......

  • she sings beautifully. My favorite Turandot will always be Birgit Nilsson but this soprano is great too.

  • Yeah... I just saw this in Portland, Oregon and the soprano in the role of Turandot was much better than this.

  • @acxeros really? who sang there?

  • saw the HD broadcast of this last year, she was appallingly bad, far more out of tune than this even, never DID get a pitch right practically the whole afternoon? 

  • I saw Guleghina once in a recital. As I sat quite close to the stage I saw that she has virtually no physical support to her singing. Watch her, it's quite amazing how she makes that huge (uneven) sound while seemingly not engaging her body at all. Baffling really but I guess it explains her vocal instability at times.

  • She is all over the place; sharp and flat, Mostly flat. Am I alone in this?

  • @GloriaJanvier

    n o your are not alone. She is painful

  • So flat. She is great to watch but her singing is so under pitch.

  • F O R M I D A B I L E!

    Sentita il 13 agosto all'arena, dopo un inizio un po' in "sordina" ha slegato la sua voce splendida.

    Voto, 10 -

  • Basta guardare la partitura per accorgersi che in realtà è un pezzo la cui tessitura è per tenore drammatico. In realtà Turandot è un uomo e Liù è lo stesso Puccini che ama kalaf, un amore impossibile. Ammirevole lo sforzo e impegno della Guleghina ma questo pezzo è solo per la Nilsson e seconda la Dimitrova

  • @80Mrmirko « in realtà è un pezzo la cui tessitura è per tenore drammatico » ?!?!? Ma stai scherzando? Spero di si... Liù non è Puccini, ma è un personaggio che lo stesso Puccini ha voluto inserire nell'opera e rappresenta (non se stesso!!!) una domestica del musicista che si era segretamente innamorata di Lui. per quanto riguarda la tua esclamazione sul pezzo per Tenore Drammatico, preferisco non commentare...

  • Bravissima!

  • I normally don't like Guleghina, but she's really quite good here.

  • Обожаю драматические арии и Марию Гулегину! Браво!

  • i think this was a miss for her.. alot of the high notes sound a tad bit under......

  • @TerrancePogue *lol* A tad?

  • even though she can be sloppy sometimes...u cant deny how big her voice is..and she always gives her everything in acting, phrasing, and singing in general. Guleghina will always deliver! Very passionate singer...its not always about notes to me.

  • even though she can be sloppy sometimes...u cant deny how big her voice is..and she always gives her everything in acting, phrasing, and singing in general. Guleghina will always deliver! Very passionate singer...its not always about notes to me.

  • Wonderful!

  • GRANDE!

  • Turandot is a powerful and shrill role. I think Guleghina is well suited to her.

  • she is an absolutely thrilling soprano - with a ton of passion and drama, and artistry.  she has technical problems yes, but she's wonderful

  • Did anyone actually enjoy this performance? I sure didn't.

  • Not at all, her voice is totally unpleasant.

  • ma questa anzi che urlare xkè non impara a cantare?! e che insieme a lei ci andasse pure il tenore!!! povero PUCCINI!!!

  • Партия Турандот требует необычайную силу голоса, направленность звука, спинто, свободное владения нотами конца 2-й октавы и до3. Низкий и глухой,совсем не полётный голос Гулегиной  абсолютно не подходит для этой партии. Лучшая Турандот - Е.Тернер.

  • Eva Turner - The Definitive Turandot...просто поразительно....при таких физических данных иметь ТАКОЙ МОЩНЫЙ ГОЛОС....А уж какое верхнее до...я когда ЭТО слушаю всегда пребываю в состоянии легкого шока....

  • Слух как известно качество врожденное и не зависит от национальности.Есть и итальянцы,которые ниче не смыслят в пении.Сравнения с Евой Тернер не выдерживает ни одна певица...достаточно послушать...хотя впрочем слух...ну я уже писала:)

  • @muzetta100 Nu teper ponjatno u tebja vrogdennie problemi so sluchom

  • И у хамства нет национальности.......

  • Slushaite, kakuyu erundu vy nesete, chto tol'ko ital'yantsy ponimayut v penii! Ya absolyutna soglasna s muzetta100, chto eto ot natsional'nosti ne zavisit, a takzhe, chto u khamstva natsional'nosti net! Vam chto-nibud' izvestno ob Anne Netrebko? Chto, ona pet' ne umeet, a te, kto ee tsenit, nichego ne ponimayut v penii?! Vy takoi patriot! Ili uzhe zabyli,chto eto takoe! Kstati, ital'yantsy khvalyat do nebes Bartoli, tak vy schitaete, chto ONA pet' umeet , i tol'ko ital'yantsy chto-to ponimayut?

  • GLORIOSA!

  • I am sorry for hearing the below comments...Maria was terrific in that particularly mentioned broadcast from Met. I just wish to hear her singing live somewhere where I could see her. And she was really secure in her role as well, both vocal- and acting-wise. Her partner, Giordani was not so convincing for me.

  • Giordani really shouldn't be singing the role as Calaf is made for a dramatic tenor, while Giordani is a full lyric tenor.

  • I am a fan of Maria in some roles, but wow, 3:16 to 3:25 sounds really off pitch.

  • Well , saw the broadcast of her doing this from the Met last week, and she was appallingly out of tune all the time and her vibrato was all over the place. Hateful.

  • I heard her live in Washington and she was equally as awful. Definitely not the best choice of roles for her. The sound is big, but leaves no room for nuance.

  • I don't like her at all. The high notes are out of pitch. And it doesn't matter that I can't sing Turandot, that doesn't make her good.

  • There was a time when opera was well supported enough that certain singers could make their careers on just singing Turandot because the role really requires a special type of voice. But really there's NO excuse for someone who sings Aida, Lady Macbeth, Abigaile AND Turandot. Those roles (should) require different things and just yelling loudly as she does isn't enough. That said, Turandot is probably the best suited for her voice. Just leave Lady Macbeth alone Gullies.

  • Woww! Great voice! Magnificent singing!! One of best Turandot! As Nilson and Dimitrova!

  • Ammillcare, you must be really a great fan of her's. It's ok with me, but please, dont' make comparisons.

  • Guleghina is like the proverbial phoenix -- she has undertaken so many roles that one could never imagine her surviving, and yet she has nearly always managed to produce something memorable. She may not in perfect control in this video, but all the dramatic instincts are there -- I agree with "pianovox" -- we should just wait and see what comes next.

  • What was Puccini thinking when he wrote this role?! "I think I'll write a role that's impossible for any soprano to sing without ruining her voice (minus Nilsson). Oh...I'll just make her sing crazy high over a full orchestra..."

  • Search out the great Eva Turner BROADCAST of this in 1937 on here....one of the first Turnadots - incredible, icy, hurls tho high nots off like child's ply - and the real thing!!!

  • @happyactor6 ~ I disaggree. Certainly Turandot is a very heavy role but it's brief compared to Norma by Bellini, which many great sopranos call the most challenging role for any soprano due to it's difficulties plus the length and number of participacions on stage. The problem with Turandot is that sopranos try to live up to Birgit Nilsson who was a strong Wagnerian soprano. The role is short and intense and it is up to the sing to learn to pace herself.

  • Turandot is pretty much too much for everyone.

  • not Ghena DImitrova!! Sutherland did a great recording. Callas' is pretty phenomenal...can think of a few more as well...

  • a l'aide , my god !! wat this ténor beuark ?! il faut qu'il laisse tomber il aide ni l'art ni Puccini ce gars ! c dur mais c'est la vérité, et si c le meilleur du moment quelle regression heureusement pour nous ya l'orchestre!

    visiblement on ne forme pas les bons chanteurs , c au repétitions qu'on cherche a la représentation on expose !! a + forte raison turandot ! MISERERE !!

  • Pleasantly surprised. Just hope she sings this good at the met next season.

  • yes, she will sing it at the Met in the next season.

  • Wow. Anyone prepared to be that generous with their voice deserves a wow!

  • She's sharp in the middle and flat on top. How funny!

  • Best Turandot today. She sings like a man, but she's amazing for the huge sound.

  • Huge sound, doesn't make a great singer, but I can understand that huge passes for great nowadays, alas.

  • she will ruin her voice forever, the high notes are flat and out of pitch, a disgrace

  • Im so over all you know it alls,, who say they are going to ruin their voices forever,. Thats how big voices are developed.. No this wasnt perfect, but the passion and the musicality, was extremely exciting.. Im sick of those pip sqweek little voices who have no color.. This was an extremely moving performance.... Brava diva... None of this tenetive school of singing for me....Con Abbandonatta....is what I live for

  • I think she's perfect for this role. I agree about the phrasing issues and vocal inconsistancies, however, she is overwhelming in intensisty and stage presence.  Also, it's nice to see a Turandot with a shape. I hate seeing a 400lb soprano trying to be a divine apparition of beauty.

  • a full-blooded Turandot. She is amazing. Her artistic presence is so overwhelming that one has to forgive any vocal (in this case small) misgivings!!!

  • Guleghina tiene una voz grande y su voz en vivo es muy impactante, pero su interpretación es muy pobre corta muchas frases a falta de aire y eso hace perder la linea, muy lejos de otras grandes interpretes como Marton, Dimitrova y Nilsson.

  • Ms. Guleghina will be playing Turandot in the Fall and Winter at the Metropolitan Opera 09/10 season.

  • Completely agree with -borgru2197-. Too many times out of pich /flat/; sometimes out of support /this is why she has to drab an extra breathing in a middle of the phrase 'quel grido, e quel(?)la (has to be = quella) morte'. For such level of singer it's a shame.

  • It's seems that this role it's too much for her. See her facial expressions.

  • I sang with her, was in the choir. Believe me, she is a real Turandot. Her presence and her voice...when you are there there's nothing but her and her voice

  • She must stay with Nabucco (I think that's what she does the best). Turandot is too heavy and too difficult for her voice execution level. Turandot requires much more than what we see here. Out of pitch (too flat), no climax and forced sustain.

  • You people who are complaining that she was out of pitch, im sure have never sung out of tune yourselves....lololololJust watch listen and learn.. She will only get better and better in the role..And you all who complain will still have those nothing voices you started with. Only out of fear, because someone who also doesnt know told you that....

  • @borgru2197 I'd agree with that!! Abigaille is her best, but she was also great as lady Macbeth and Leonora/Trovatore (speaking in 2001, when have heard her life in those roles....). A very good Turandot is Giovanna Cassola, often singing in Arena di Verona.

  • I think she is great. considering this was her first Turandot - excellent!

  • I am afraid she is not suitable for the part. Pitch and phrasing not there, words ad lib.

  • She's awesome. Don't complain.

  • Much more better than the vast majority of the Turandots nowadays all arround the world.

  • l think that Maria is not Turandot. She is a true Verdi and magnificent soprano. l also have all Turandot from Valencia, and l prefer Liu, Calaf is Ok, but nothing more, Zubin and the orchestra , excellent.

  • It's quite good and--a bit of a shock considering it's Guleghina--very subtle. That said, I'm a fan and usually enjoy her work.

  • hmmm...much better than the tripe one usually hears from The Gulag...

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