I can manage a top B easily, a top C normally and maybe a top D if you're lucky. However, I've ALWAYS wanted to be able to hit notes lower than a G3, like an E, but I know that it's impossible to lower your voice even a LITTLE bit after your voice has broken (meaning my range went down a little, and I could hit higher notes before) :(
I'm 13 with high hopes to be an opera singer.Not like jackie Evancho who sings "popera" but real opera like maria callas,renee fleming,and joan sutherland. I have a range of bflat3-g6 also and i'm a lyric soprano if I had to compare my voice to any opera singer,I'd be most like Renee although I LOVE all the others too! :)
Good for you! Work a lot on your voice, study and learn as much as you can from the greats, I recommend you the master class I uploaded of Joan Sutherland and Marilyn Horne to get you started on breathe support and placement :)
This is such a music geek video, and I love that you made it & put it out there. "Hatrz stay pressed" hahaha. I really love her dark creamy sound, and y'know her contemporary albums are actually really good.
@primohomme I'm saying that considering her technical ability and vast range, she has the versatility and potential to be an assoluta on the same level as Callas. How would you rate Renee's musicality, BTW?
I adore Renee, and consider her so intelligent, great musician, great technician, beautiful artist
But her voice is different than Callas, it's much more on the lyric side while Callas' was much heavier with a dramatic weight.
The voices that had Assoluta potential like Callas (not just the range, but the weight of the voice and the coloratura) were Leyla Gencer, Adelaide Negri, Marisa Galvany...but flaws on their technique kept them from truly becoming Assolutas.
@primohomme Is it a requirement that a voice be dark/heavy in order to be an assoluta? I know most were Mezzos/Contraltos, but is it impossible for a true Soprano to be an Assoluta?
And Assoluta voice needs to have a heavy/dense chest low register, like a mezzo/contralto
Renee has that, but the main Assoluta roles in opera require a more dramatic voice, a louder voice than Renee's which is more lyric, more gentle. She is on the more lyric side of the Assoluta voice.
Truthfully, it's easier for a mezzo/contralto to develop good high notes than for a high soprano to develop strong heavy low chest tones.
That list is complete bullshit. They leave Ella Fitzgerald and Sinatra out, but they include shits like Christina Aguilera and even put her ahead of a technically perfect vocalist like Mariah (in her prime).
It's surprising (pleasantly so) that Fleming has such an extensive upper range. If you listen to her speaking voice, you would never guess that she was capable of singing much higher than an F5 or so!
I have noticed even when she is singing in her higher range, she has a dynamo of sub-harmonics idling in the basement. Compare her voice, for instance, to that of Dawn Upshaw.
Wow at all these comments. There is a LOT that goes into determining which roles a singer sings, not just high notes. Vocal health decisions the singer makes, what roles opera companies ask them to sing, which roles they choose based on their knowledge of what would best suit their voices. You do not know Renee's voice even 10% how well she knows her own voice. Just listen to what she performs and enjoy. She's a true master who is in the middle of living a LONG career. We are blessed in that.
My apologies if I've upset any of you (including you Primo sweetie). It's a free country & I wanted to express my opinions. Renee's very talented but like Bartoli overrated. They overdo it! Look at both Fleming & Bartoli's opera performances from the 90's. Fleming was a great Rusalka, Thais & Manon. But the way she sings now is overdoing it & it sounds bad to me even if you all think it's "great". I'm sorry but I'm upfront & honest.
I must say that she sounds like a totally different woman with a diferent singing voice singing that pop song or jazz song 1:25-1:42, Renee has openly admitted she wanted to be a jazz singer, not an opera singer. She could have done well not singing opera too
I'm not a Fleming hater, but I'm not crazy about her. She's talented as proven here has great range from low to high registers. But even she openly admits to being purely a technician of voice; not acting at all. I prefer for my sopranos with good lower notes (the few of them there are) to send me! Callas & Caballe excite me more, Sills, Price, Norman, Freni,Bumbry, Verrett, Vaness, Gheorghiu. Fleming is a big fat show off, sorry. She sings this way as if to prove she's the best.lol
@primohomme I've read your comments and you adore Fleming & Callas, that's great. I just don't play favorites and love many different sopranos; I liked Fleming from 16 years ago, not so much now. Also I'm yet to hear your thoughts on Jessye Norman who was as amazing as an assoluta to my ears, as was Bumbry and Verrett, Freni and Vaness. You can't say that these great ladies aren't amazing opera singers.
@OperaMystery80 She is not a show off!!!! She just likes to sing things that are challenging. Assuming that you are a musician, is it fun to work on boring things? No, you want to work on things that are more challenging because it is exciting and new to you. That's what the thing is with Ms. Fleming here. She is constantly challenging herself. In her case, that means doing really hard songs. She doesn't just want to do the same thngs over and over again. She's a pro.
@pinkbeachloverable Indeed she sings basically the same stuff; like Bartoli all she does is dig up old obscure coloratura music. If she's so into challenging herself she would be singing roles that were not in her fach as other sopranos have done. She sings only "un bel di" from Butterfly but can't sing the whole role; or the whole Tosca, she's pretty weak if you think about it. Do you like her Isolde LOL She won't even sing Norma or Lucia in their entirety.
She has sung some roles that are much more difficult than Lucia (coloratura wise) earlier in her career, for example Mozart's Konstanze. She has also sung roles in the Assoluta tradition such as Lucrezia Borgia, Armida, Imogene, etc. She has also sung a great deal of Strauss, Bellini (early in her career), Donizetti (also early in her career). I think a lot of those roles are not typical of the lyric soprano fach, so take several seats.
@primohomme But she either can't sing Norma or is too chicken, my guess is she can't really do it. Other sopranos who as you point out repeatedly shouldn't sing Norma with their "wrong" fach, still have the guts to do it, irregardless of the critics. If as you say she's sung "harder roles than Lucia" then Lucia would be easy for her & she still didn't do Lucia. Just seems to me you're worshipping her as those nutty Callas fans. No one soprano deserves that much praise not even Callas
Why would she HAVE TO sing Lucia anyways? Perhaps she felt her top is not correct for something like Lucia, after all she didn't develop into a lyric coloratura soprano, she sang roles like "La Sonnambula" and Konstanze early in her career, and even Elvira in "I Puritani" but her career didn't go in that direction.
And I think the main reason she hasn't sung Norma is because of the constant boycotts by the nasty coloratura queers who worship voiceless nobodies like Gruberova and Devia. They seem to dispise Renee because their faves never became big stars at the MET while Renee did, and in every ocassion they can they stage some kind of boycott to her performances in Italy.
Also, I believe her coach Gerald Moore has (wrongly) adviced her not to sing the role
actually it was the Queen of the Dead Singing Marilyn Horne who advised her not to... you know horne? the singer who kept dropping to chest voice every two seconds for absolutely no reason? :))
you call Sills' effort to sing Norma guts? I call it Mental Retard :)) and if it werent for the Gay Queens that haunt the Opera Houses Sills' Norma would have been thrown tomatoes at as she deserved it, her Bolena and Elisabeta as well
We have a local singer here, Jehny Drivala she was called, she had the GUTS to sing Costanze Lucia Norma and Bolena -
Lucia would be easy for Fleming to sing? why because Fleming is a coloratura soprano? :)))
@OperaMystery80 maybe she just doesn't want or have the time to perform norma or lucia in whole? Maybe she just likes some of the songs from those operas and only wanted to sing those songs ( not that they are too hard for her). Maybe she just didn't want to sing them because they weren't for her taste in music?
it is one t hing to reply to a serius conversation and another to reply to 15 year old kids who keep repeating what they read in the net ;) Just block the idiot - one idiot less in this world :p
@OperaMystery80 she says so herself that she can't sing them in their entirety because they are too heavy for her voice. she chooses not to try and do them and throw away her voice. she's just not that kind of soprano. and it's not like she has to sing everything she sings only once. she worked hard for the pieces she likes to get to perfection, and now she's enjoying the fruit of her hard work. but it's not like she doesn't sing other songs too.
@TheCaseyonline Personally I just see her as being a lyric soprano. Dramatic ? Nah. Has she ever sang Brunnhilde, Salome, Isolde, Turandot, Tosca, Kundry, etc. That's dramatic soprano. Coloratura ? She has coloratura but why has she never sung signature coloratura roles like Lucia and Queen of the Night ? Her Traviata was sung late in her career as a mature older woman and it sounds awful to me. She's just a lyric soprano who can sing low notes, that's it.
I think she's the best...but It' inpossible be alto and soprano! [the lowest and highest]
I have got veird voice...cuz I have range of small "a" [ mezzo] and coloratura.
But all range in one voice...that's impossible..even if womens voice go low about 3 notes an cuz of some problems more low...she can be firstly, even veird like me, coloratura with low notes - mezzo...and she can be next dramatic mezzo...or firstly mezzo secondly alto...but soprano and alto ? o.O
What aria is that at :41? I know it, I do... I just heard Bartoli sing it, I believe, but I can't put my finger on it. Can someone please shed some light? Thx
I agree with you. I was just anxious that she would not make the same errors as Cheryl STUDER, singing such a vast repertory that she destroyed her voice in 10 years ( she said: "Callas did it, why not me ? " ). The question is: to have a prodigious compass does not mean that you have a universal voice. But I noticed that R. Fleming is much more prudent, reserving the "heavy" music for the recording, and not on the scene. Please excuse my english, which is not my native language...
I love very much Renée Fleming for all her qualities but I must admit that she not a great coloratura ( in Rossini's Armida, for example, her virtuosity was not good ).
Well, in the latest productions of Armida her coloratura was just so so, but in 1993 and 1996 her agility was fine. She was never a coloratura soprano though, she could sing coloratura but it wasn't her specialty.
not a fan or her upper range (I'm spoiled from all the coloratura sopranos I listen to on a regular basis, so I forget that not every soprano can have effortless high Ds and Es that spin like a top)
I don't really listen to coloratura sopranos except for Joan Sutherland, I prefer voices with a solid middle, and most coloratura sopranos have a hollow middle and non existant low register.
I find coloratura soprano voices relaxing and soothing, but for serious listening I like more dramatic voices in all facher. my favorite types of voices are dramatic but bright voices like Joan Sutherland, Sherrill Milnes or Kirsten Flagstad. the exception is tenors in which case, the darker the better (I view most tenors the same way you view coloratura sopranos). my ideal tenor would basicially be a dramatic baritone in a higher key =D
This is phenomenal singing. For a lyric soprano to even be touching high high G's is a marvel. Especially in public. Most lyric sopranos wouldn't dare singing Eb's in public. That's for the shower.
@primohomme never ment to troll; just wanted to express my opinion. sorry, I should have realized that different opinions are not welcome, and will not mistake again to think that it is the difference that inreaches the discussion. have a good day!
@primohomme Ideed. Dear @liatma1, this video is dedicated to show to us, opera fans, one of the greatest sopranos of our time, singing a really beautiful aria, perfect suited for her voice. So, if you don't like her as person, or her voice, or if you're simply a hater, well, don't see it! There's a little bar above the video, it's called "SEARCH BAR", everything that you have to do is: type on it the name of a singer that you like, and bampt! Tons of videos that you might enjoy. #DontFeedTrolls
Perhaps, her voice is not quite dramatic size like Callas who is the true soprano sfogato, buuuuuuuuuut Renee is on the lyric side of the soprano sfogato perhaps :) and also, for the bel canto roles which belonged to the soprano sfogato...indeed she is very well suited in my opinion.
@primohomme You gave a wrong information. Callas wasn't a Sfogato Soprano as many people thinks. Sure she had a huge range, but only with low notes, her highest note was an E6, and one of the requirements to be a Sfogato is "a soprano that can easily go higher than the F6, with no color changes", wich means, even if she had a Wisthle Register(wich is awful) she wouldn't be able to be classified as a Sfogato. A real Sfogato should be able to sing both Contralto and Coloratura Soprano roles.
One thing is the soprano sfogato which some also call Assoluta
and another thing completely is the soprano acuto sfogato.
A soprano acuto sfogato sings higher than F6, for example Mado Robin, and they usually don't go very low at all.
A soprano sfogato on the other hand can encompass both contralto and high soprano, which Callas did...she had a range from F3 to F6 and sang both mezzo/contralto and high coloratura roles.
@primohomme Sorry, but there's no such thing called "Soprano Acuto Sfogato". The word "Sfogato" or "Assoluta" means ilimited, wich leads to a great voice in all tessituras, but as every "regular" singer, they would each one have their own "stronger" tessitura. Mado Robin had a huge range B3 up to D7, and she actually sang Contralto(a few), Mezzo(some) and High Coloratura roles, wich makes her an Assoluta. Just like Erna Sack G#3 to C7. Callas reached F6? (Don't get me wrong, HUGE fan of hers).
Are you a native Italian speaker? If not, don't you dare come and tell me if a concept exists or not in my language.
When the term "Soprano Sfogato" appeared in the early 19th century it refered to the divas who were dark dramatic voices with a mezzo or contralto timbre but an extension up to high soprano allowing them to sing both mezzo/contralto and high soprano roles, such as Isabella Colbran, Giuditta Pasta, Maria Malibran, Pauline Viardot, etc. (continued)
@primohomme Calm down sir. I never intend to offend you, and no, I'm not Italian, I'm brazilian. Actually, to be fair, I was not aware that the timbre and the voice color both matters on the "Assoluta" classification. As far as I knew the singer should have a huge range, capable of sing and sustain notes in all tessituras. What Erna Sack, aparently could do in german, austrian and french roles, but not italians. And Callas could do in italian, some french and a few germans. (Continue)
The concept was NEVER used to refer to high flying light bright voices like Jenny Lind or Adelina Patti or a fuller soprano voice like Grisi or Sontag.
How can anyone sing a contralto role with a B3 as lowest note? the 9 main Assoluta roles require heavy low Bb's and even low G's, how could a high soprano whose lowest is B3 be considered an Assoluta? Ridiculous.
@primohomme (continued) As long as we're talking about an Italian concept, taking as the "Assoluta" range G3-D6, a dark color of voice and a contralto/mezzo timbre we can arrive with some answers. Aparently "Sfogato" is only, at least mainly, used as a reference to classify singers of Italian repertoire. So Callas was an Assoluta, Erna Sack wasn't, and Mado Robin for sure wasn't. Renee is 'our time' Sfogato, capable of sing in all tessituras with a dark(not much, but ok) timbre.
Also, the Italian composers didn't write very high, usually Db6 at the most, they wrote for heroic voices, not for canaries like the French and Austrians did. So the requirements for an Assoluta (a real one like Callas) is a range from G3-D6 (AT LEAST), capable of singing a heavy contralto sound with equal ease as a high flying delicate soprano sound, all that was Callas, not Mado Robin or Erna Sack.
@primohomme Callas sure was one of the greatest sopranos ever, with what was probably one of the finest techniques of all times. But you said that her range was up to F6, and I never heard that note from Callas. Do you possess some records of her reaching it? I'd love to hear it, Callas upper register, against what many people says, it's really pretty and she had such a coloratura technique. To be fair, she was one of the few sopranos with a perfect legatto, trill, and staccatto.
Well, the term "sopranos sfogato" as used in the 19th century was used to refer to that voice type as I said, nowadays in Italians some call "soprano sfogato" simply to big dramatic voices, which I don't agree with.
Mado Robin and Erna Sack had big upper extensions which allowed them to climb way high but to be a true Assoluta the singer needs also a heavy low chest voice, and the ability to comfortably sing mezzo/contralto without tiring as well as high soprano without tiring
I didn't mean to be aggressive against you, I was just a bit annoyed that the term has lost its meaning in a way and people now use it to mean whatever they want.
Anyways, Callas did sing an F6 (though SLIGHTLY flat) in her "Armida", I think she had the note but was her very top, her high E was better. Same with Joan Sutherland, her high F was slightly under pitch.
@primohomme I heard it and well, powerfull as every note that Callas ever produced, but really out of pitch. For sure it was her last upper note. I knew Sutherland "tales" about the High F, I just never heard anything like that about Callas. Sutherland make the crime of singing the Queen of Night's arias without the F's or with horroble ones... There's a record of a High F of her in "O Zittre Nicht" that souds like a cat being run over. She was one of the greatest, but never really had the F6.
I really don't care for Joan or Maria's high F's, the truth is that they were great up to E6
And Maria's voice truly was sort of an extended mezzo/contralto instrument, and one can really hear that in operas like "La Gioconda", "Norma" and "I vespri Siciliani" and her early Leonora in "il Trovatore" where her low chest notes are sung HUGE and so dark, and also she had effortless gorgeous high notes like in her 1953 "Lucia".
@primohomme The F6 is my "favorite" note, but Callas never needed it to be great, and neither did Joan. Callas' voice remains a mistery, but as you said, it was probably a mezzo instrument with some sort of anomaly that gave her a huge range with an unmatched power in all tessituras. Now about Joan, I never really liked her upper voice, but she was great in middle register. Althought, she did the ultimate rendition of Mozart's "Martern Aller Arten", it's simply perfect. /watch?v=6NKL6hE3Szs
I actually love Joan Sutherland's upper register, it's full and resonant and free up to her E6
I only really like her middle in baroque and Handel, for some reason her middle was much more solid then, but once she went into bel canto she dropped the support in the middle, and of course she never had a solid chest voice.
No, your quesiton at the end was "can your fav do E6 and G6?" That's why i said that dessay can. Well I do not know of F#3 but she can reach G#3, at "Nube che lieve". Well I suppose it is balance...Flemming has strong low notes but can hold coloratura high notes for very little time while Dessay has light low notes but can hold high ones for entire seconds. And yes it is true that to this day very little of her voice is left...I predict her soon starting to sing only Arias that students sing...
No, at the end says "Eb3 to G6, can your fave do it?"
I think Natalie needs to take some time off and retrain her voice
I listened to her "Cleopatra" album and her middle sounds really hollow and the one high note she sings (I forgot which aria) sounds like a lot of effort.
@primohomme I guess you mean the high note in "piangero la sorte mia"...Well live it sounds like a squeak and in studio it sounds just as strained as her notes have always sounded after 2006..."some time off"? The woman is 45 and her voice is already consumed...all she is gunna do is sing lighter and easier....a loooooot easier stuff (like I said stuff that teachers make their students sing) and then retire. We have loved Dessay very much but we want her to retire before she destroys her image.
she untunes like hell singing Lucrezia Borgia, plus, primohomme, if you don't know German you shouldn't be writting anything in that language, because people DO NOT have to write every single word in capital letters according to the German Grammar, only nouns and first words in paragraphs/sentences.
Babygurl you better worry your faves off key and strained notes while she jumps up and down showing her tits and pussy on stage like a mad woman starved for sex
@primohomme what the hick are you talking about? outside the absolutly inappropiate words you use when you talk, I can tell you right now that when she was singing that particular aria she was quite still, in fact she was attached to the backside wall in the teather and couldn't have moved under any occasion. Just so you know I like her very much, but I also think mistakes do the greatest artists even greater.
I'm not going to get involved in any debates. All I want to say is I think Ms.Fleming has one of the most gorgeous and astonishing voices I've ever heard! I adore listening to her. She makes me feel as if I'm floating on a cloud. She's been blessed with a gift I can only dream of having. Yeah, I'm kind of jealous. :)
@primohomme excuse me for going offtopic under Your video but I'm curious of Your opinion again:) Here's another crazy lady from my country whose voice/skill I need You to evaluate. Do You think she could have become an actual opera singer if she wanted to?? I find her voice kind of ugly but she has that 4 octave range and big sound. I'm asking because she sang arias and used opera techniques of vocal production
I don't know what you mean by ugly voice, because that's just a matter of preference...some like "sweeter" lighter voices, others like darker richer voices, others like voices with a more metallic edge and a tanginess, etc etc etc. It's a matter of personal preference.
Anyways, I had heard of that lady before, she has been compared to Yma Sumac, very good and great range.
@primohomme actually I was asking about the overall singing skill. Some of Violetta's fans say she slays Callas, Sutherland and so on. Somehow they don't convince me so I was wondering what a serious opera critic like You thinks about such comparisons:) You're right that ugliness of a tone is subjective. As a matter of fact it can be captivating sometimes so you're absolutely right. let's not discuss that.
As a singer in her style she is amazing, great instrument, great singing.
But I doubt she could truly sing opera without a microphone projecting over an orchestra with a solid sound on a standard fach. Not because of lack of talent but because it takes A LOT of training to support the sound properly with resonance. For example Yma Sumac, GREAT singer in her style, but when trying operatic arias (in private recordings) below mediocre. Again, for lack of technique.
@primohomme I'm not sure I understand You well. Are You saying her vocal production is not that operatic and she produces a sound too weak to sing opera?
It's not so much that but other factors as well, we have no idea of knowing how big as voice is and its possibility unless the microphone is taken away and placed at least 6 feet away.
@primohomme Renee Fleming doesn't use microphones she has stated in many interviews and what opera singer with her credits use a bloody microphone that breaks the purpose in training in opera =)
MrJudube asked me what do I think of Violetta Villas, a Polish vocalist with a 5 octave range, somewhat like Yma Sumac. And I said she has an impressive vocal range and fine voice but I don't know if she could truly sing opera, and I was commenting that Yma Sumac could not really sing true opera (based on private recordings of her singing in standard soprano tessitura without using the rest of her big range).
@primohomme at 1:16 of track 14, cd 3 ("Se al mio crudel" ) and then again at 1:25 - it's just after the most astonishing low note she sings in the score - the G3 at 1.05ish which is so rich and terrifying that she gives the 6 tenors a run for their money!! I might be wrong but I don't think I am!
@primohomme You're right about the score but I was pretty sure she was singing these notes an octave lower. Maybe there's just so much chest that they just sound an octave lower... I wish I could check now!
She has an amazing register, but the Eb 3 is easier done when singing jazz and pop. ;) It doesn't have to resonate the way it would have to in classical singing. I know that you know that, primohomme. Nevertheless: The F# 3 was d**n good! She is a great singer. :) She has also managed to do what hardly any other classical soprano has managed: She sounds authentic when singing jazz!
she does have a powerful chest voice, but not a maria callas chest voice. Fleming has a chest voice like a mezzo, Callas had a chest voice like a baritone =P
I downloaded the score to check it out and make sure, there are no F's...there are a number of Eb's and some of them are optional, the highest in the scale were some sopranos like Dessay and Damrau throw a high F is actually high Db (written). If you want I'll give you a link so you can download it and check it out by yourself. I don't know which copy you might be seeing, but the original by Bernstein does not have F's written.
@primohomme u didnt comp. my comm. either. i said its ur vid, so it really doesnt matter what i say, yet there's sum offense taken. if u've taken offense toward my pointless comm., my apologies. i said there's a possibility the oct. being a minor error. i got a clear comp. of ur specs. mention'd w/the vid. again, renee's a jewel w/a glorious range. notes r there, thats all'at matters. if there's a misunderstanding of sorts, its fine & part of human nature :D
@primohomme makes no sense have low notes from highest to lowest, then high notes from lowest to highest. the title does say from Eb3 -G6, usually meaning from lowest to highest, not highest to lowest in 1 voice, the lowest to highest in another. I'm just sayin, but it is ur video and it is good cuz renee is a spectacular singer. have a blessed day! :)
*retract last comment. What I'm sayin is that the 1st Bb isnt the correct octave cuz the G natural after that is at a lower frequency than the initial Bb.
@primohomme I was stating that the Bb that was placed at the beginning was the wrong octave because the G natural that comes later is lower than the 1st Bb, which the G natural was relative to the 4th octave. So if the intentions were to order the pitches chromatically from lowest frequency to highest frequency, everything is accurate except for the claimed Bb3 which was pitched higher than the G4.
The low notes are arranged from highest to lowest...higher being the Bb3 she sings in Armida and in Lucrezia Borgia, Bb3 is right below middle C. Middle C is C4...so below that it's the 3rd octave and thus Bb is Bb3. If you can't hear the difference between a low note and a middle voice note...well, I can't help you with that.
I'm assuming you can't count notes correctly, Bb3 is right below middle C...and yes, Bb3 is higher than G3 I put them from highest to lowest and then from lowest to highest. It's pretty obvious.
Incredible -- to take such a rich voice up to the stratosphere and maintain that much sound! I had no idea she had such a high extension. And she can create such a contralto color in the lower range. What an incredible color and seamlessness throughout her range. Amazing
God can be cruel. She's Renee Fleming, and we're not.
hermitcrabbot 2 weeks ago
Holy shit. She could be anything from an Alto to high soprano.
:23 Bb3 all my god how does she go so low on that. Sounds like something like Ulrica and then go alway high to sing "Glitter & be Gay."
Also @ 1:22 - She's one of the few opera singers who sound like they could sing pop. Most opera singers voices sound too affected to sing pop.
I've always had respect for Renee, but man this is fantastic.
sirmercutio99 2 months ago
I can manage a top B easily, a top C normally and maybe a top D if you're lucky. However, I've ALWAYS wanted to be able to hit notes lower than a G3, like an E, but I know that it's impossible to lower your voice even a LITTLE bit after your voice has broken (meaning my range went down a little, and I could hit higher notes before) :(
spotoftrouble 2 months ago
I'm 13 with high hopes to be an opera singer.Not like jackie Evancho who sings "popera" but real opera like maria callas,renee fleming,and joan sutherland. I have a range of bflat3-g6 also and i'm a lyric soprano if I had to compare my voice to any opera singer,I'd be most like Renee although I LOVE all the others too! :)
bearanease 2 months ago
@bearanease
Good for you! Work a lot on your voice, study and learn as much as you can from the greats, I recommend you the master class I uploaded of Joan Sutherland and Marilyn Horne to get you started on breathe support and placement :)
primohomme 2 months ago
@primohomme cool i'll look into it :)
bearanease 2 months ago
A majority of these clips are from her Bel canto album which I think everyone should own!
nostopsnopurgatory 2 months ago
This is such a music geek video, and I love that you made it & put it out there. "Hatrz stay pressed" hahaha. I really love her dark creamy sound, and y'know her contemporary albums are actually really good.
TeressaByrne 3 months ago in playlist More videos from primohomme
Her voice is so rich, damn it
hidalgo699 3 months ago
Could've sworn I commented on this. Oh well. Wonderful singer and amazing range. Seriously, this woman should be on the same level as Callas.
Devotedlamb19 3 months ago
@Devotedlamb19
I adore Renee, but I don't think she should be put at the same level of Callas.
Callas was a phenomenon that only happens once in a century.
primohomme 3 months ago
@primohomme I'm saying that considering her technical ability and vast range, she has the versatility and potential to be an assoluta on the same level as Callas. How would you rate Renee's musicality, BTW?
Devotedlamb19 3 months ago
@Devotedlamb19
I adore Renee, and consider her so intelligent, great musician, great technician, beautiful artist
But her voice is different than Callas, it's much more on the lyric side while Callas' was much heavier with a dramatic weight.
The voices that had Assoluta potential like Callas (not just the range, but the weight of the voice and the coloratura) were Leyla Gencer, Adelaide Negri, Marisa Galvany...but flaws on their technique kept them from truly becoming Assolutas.
primohomme 3 months ago
@primohomme Is it a requirement that a voice be dark/heavy in order to be an assoluta? I know most were Mezzos/Contraltos, but is it impossible for a true Soprano to be an Assoluta?
Devotedlamb19 3 months ago
@Devotedlamb19
And Assoluta voice needs to have a heavy/dense chest low register, like a mezzo/contralto
Renee has that, but the main Assoluta roles in opera require a more dramatic voice, a louder voice than Renee's which is more lyric, more gentle. She is on the more lyric side of the Assoluta voice.
Truthfully, it's easier for a mezzo/contralto to develop good high notes than for a high soprano to develop strong heavy low chest tones.
primohomme 3 months ago
@Devotedlamb19
But yes, Renee is on the lyric side of the Assoluta voice perhaps ;)
She has sung 3 Assoluta roles quite beautifully; Armida (Rossini), Imogene (Bellini), Lucrezia Borgia (Donizetti).
primohomme 3 months ago
@Devotedlamb19 She IS on the same level as Callas! At least, in my mind. But, I truly think she is =)
wishingonthemoon1 3 months ago
OMG I'm 13 and this is freaking amazing!
bearanease 3 months ago
Gee, too bad she didn't make Rolling Stone magazine's list of the 'Top Ten Greatest Singers Of All Time'. How will her reputation survive that?
( this is sarcasm )
hermitcrabbot 4 months ago
@hermitcrabbot
That list is complete bullshit. They leave Ella Fitzgerald and Sinatra out, but they include shits like Christina Aguilera and even put her ahead of a technically perfect vocalist like Mariah (in her prime).
primohomme 4 months ago
my face ----> O.O
GamerGirl1020 4 months ago
It's surprising (pleasantly so) that Fleming has such an extensive upper range. If you listen to her speaking voice, you would never guess that she was capable of singing much higher than an F5 or so!
ryan33bttm 5 months ago
@ryan33bttm
Indeed, her voice is so rich and velvety, almost like a mezzo
primohomme 5 months ago
@primohomme Well said, sort of like Callas albeit without as much weight.
ryan33bttm 5 months ago
@primohomme what song is she singing at 3:51? i really want to know, because that sounds like a really cool song! Please tell me!
pinkbeachloverable 4 months ago
@pinkbeachloverable
"Glitter and be Gay"
primohomme 4 months ago
I have noticed even when she is singing in her higher range, she has a dynamo of sub-harmonics idling in the basement. Compare her voice, for instance, to that of Dawn Upshaw.
roundtheblock1 5 months ago
i believe there is a low D on the schubert album in death and the maiden. so Eb is not her lowest.
mmhnewyork 5 months ago
Wow at all these comments. There is a LOT that goes into determining which roles a singer sings, not just high notes. Vocal health decisions the singer makes, what roles opera companies ask them to sing, which roles they choose based on their knowledge of what would best suit their voices. You do not know Renee's voice even 10% how well she knows her own voice. Just listen to what she performs and enjoy. She's a true master who is in the middle of living a LONG career. We are blessed in that.
longliveclassicmusic 6 months ago
My apologies if I've upset any of you (including you Primo sweetie). It's a free country & I wanted to express my opinions. Renee's very talented but like Bartoli overrated. They overdo it! Look at both Fleming & Bartoli's opera performances from the 90's. Fleming was a great Rusalka, Thais & Manon. But the way she sings now is overdoing it & it sounds bad to me even if you all think it's "great". I'm sorry but I'm upfront & honest.
OperaMystery80 6 months ago
Comment removed
OperaMystery80 6 months ago
I must say that she sounds like a totally different woman with a diferent singing voice singing that pop song or jazz song 1:25-1:42, Renee has openly admitted she wanted to be a jazz singer, not an opera singer. She could have done well not singing opera too
OperaMystery80 6 months ago
@OperaMystery80
And so could have many of your faves who simply lacked the range or voice to sing the roles that they sang making a ridicule of themselves
primohomme 6 months ago
which song is she singing when she sings the coloratura up to Eb?
pinkbeachloverable 6 months ago
I'm not a Fleming hater, but I'm not crazy about her. She's talented as proven here has great range from low to high registers. But even she openly admits to being purely a technician of voice; not acting at all. I prefer for my sopranos with good lower notes (the few of them there are) to send me! Callas & Caballe excite me more, Sills, Price, Norman, Freni,Bumbry, Verrett, Vaness, Gheorghiu. Fleming is a big fat show off, sorry. She sings this way as if to prove she's the best.lol
OperaMystery80 6 months ago
@OperaMystery80
A great deal of the ones you mention try to sing what they can't
For example Caballe sang the Assoluta roles rather horrible as she lacked the range
Gheorghiu also tried to sing big dramatic roles but her voice was too small
Sills tried to sing the Assoluta roles without having the right voice for them and ended up wrecking her voice
primohomme 6 months ago
@primohomme I've read your comments and you adore Fleming & Callas, that's great. I just don't play favorites and love many different sopranos; I liked Fleming from 16 years ago, not so much now. Also I'm yet to hear your thoughts on Jessye Norman who was as amazing as an assoluta to my ears, as was Bumbry and Verrett, Freni and Vaness. You can't say that these great ladies aren't amazing opera singers.
OperaMystery80 6 months ago
@OperaMystery80 She is not a show off!!!! She just likes to sing things that are challenging. Assuming that you are a musician, is it fun to work on boring things? No, you want to work on things that are more challenging because it is exciting and new to you. That's what the thing is with Ms. Fleming here. She is constantly challenging herself. In her case, that means doing really hard songs. She doesn't just want to do the same thngs over and over again. She's a pro.
pinkbeachloverable 6 months ago
Comment removed
OperaMystery80 6 months ago
@pinkbeachloverable Indeed she sings basically the same stuff; like Bartoli all she does is dig up old obscure coloratura music. If she's so into challenging herself she would be singing roles that were not in her fach as other sopranos have done. She sings only "un bel di" from Butterfly but can't sing the whole role; or the whole Tosca, she's pretty weak if you think about it. Do you like her Isolde LOL She won't even sing Norma or Lucia in their entirety.
OperaMystery80 6 months ago
@OperaMystery80
She has sung some roles that are much more difficult than Lucia (coloratura wise) earlier in her career, for example Mozart's Konstanze. She has also sung roles in the Assoluta tradition such as Lucrezia Borgia, Armida, Imogene, etc. She has also sung a great deal of Strauss, Bellini (early in her career), Donizetti (also early in her career). I think a lot of those roles are not typical of the lyric soprano fach, so take several seats.
primohomme 6 months ago
Comment removed
OperaMystery80 6 months ago
@primohomme But she either can't sing Norma or is too chicken, my guess is she can't really do it. Other sopranos who as you point out repeatedly shouldn't sing Norma with their "wrong" fach, still have the guts to do it, irregardless of the critics. If as you say she's sung "harder roles than Lucia" then Lucia would be easy for her & she still didn't do Lucia. Just seems to me you're worshipping her as those nutty Callas fans. No one soprano deserves that much praise not even Callas
OperaMystery80 6 months ago
@OperaMystery80
Why would she HAVE TO sing Lucia anyways? Perhaps she felt her top is not correct for something like Lucia, after all she didn't develop into a lyric coloratura soprano, she sang roles like "La Sonnambula" and Konstanze early in her career, and even Elvira in "I Puritani" but her career didn't go in that direction.
primohomme 6 months ago
@OperaMystery80
(Continued)
And I think the main reason she hasn't sung Norma is because of the constant boycotts by the nasty coloratura queers who worship voiceless nobodies like Gruberova and Devia. They seem to dispise Renee because their faves never became big stars at the MET while Renee did, and in every ocassion they can they stage some kind of boycott to her performances in Italy.
Also, I believe her coach Gerald Moore has (wrongly) adviced her not to sing the role
primohomme 6 months ago
@primohomme
actually it was the Queen of the Dead Singing Marilyn Horne who advised her not to... you know horne? the singer who kept dropping to chest voice every two seconds for absolutely no reason? :))
LohengrinT 6 months ago
@OperaMystery80
you call Sills' effort to sing Norma guts? I call it Mental Retard :)) and if it werent for the Gay Queens that haunt the Opera Houses Sills' Norma would have been thrown tomatoes at as she deserved it, her Bolena and Elisabeta as well
We have a local singer here, Jehny Drivala she was called, she had the GUTS to sing Costanze Lucia Norma and Bolena -
Lucia would be easy for Fleming to sing? why because Fleming is a coloratura soprano? :)))
LohengrinT 6 months ago
Comment removed
OperaMystery80 6 months ago
@OperaMystery80 maybe she just doesn't want or have the time to perform norma or lucia in whole? Maybe she just likes some of the songs from those operas and only wanted to sing those songs ( not that they are too hard for her). Maybe she just didn't want to sing them because they weren't for her taste in music?
pinkbeachloverable 6 months ago
@primohomme
it is one t hing to reply to a serius conversation and another to reply to 15 year old kids who keep repeating what they read in the net ;) Just block the idiot - one idiot less in this world :p
LohengrinT 6 months ago
@OperaMystery80 she says so herself that she can't sing them in their entirety because they are too heavy for her voice. she chooses not to try and do them and throw away her voice. she's just not that kind of soprano. and it's not like she has to sing everything she sings only once. she worked hard for the pieces she likes to get to perfection, and now she's enjoying the fruit of her hard work. but it's not like she doesn't sing other songs too.
pinkbeachloverable 5 months ago
She's a soprano lirico-dramatic coloratura with extentions :)
TheCaseyonline 6 months ago
Comment removed
OperaMystery80 6 months ago
@OperaMystery80
Renee has sung roles that are much more challenging than Lucia
As they require full use of the range, not just top notes
For example Imogene in "il Pirata" and "Lucrezia Borgia" as well as "Armida"
Early in her career she sang Konstanze, which is a role that is like 10 times more difficult than Lucia
But indeed, she is not a pure coloratura soprano, has never been.
primohomme 6 months ago
@OperaMystery80 Ahahah ! Delete comment ! ;D
TheCaseyonline 6 months ago
This has been flagged as spam show
@TheCaseyonline Personally I just see her as being a lyric soprano. Dramatic ? Nah. Has she ever sang Brunnhilde, Salome, Isolde, Turandot, Tosca, Kundry, etc. That's dramatic soprano. Coloratura ? She has coloratura but why has she never sung signature coloratura roles like Lucia and Queen of the Night ? Her Traviata was sung late in her career as a mature older woman and it sounds awful to me. She's just a lyric soprano who can sing low notes, that's it.
OperaMystery80 6 months ago
that's not alto
beautiful voice
angelzplay2000 6 months ago
@angelzplay2000
DUH! she is not an alto, she is a soprano, but she has the chest voice like an alto, very strong and rich
primohomme 6 months ago
What piece is the scale up to the G?
celloguy 6 months ago
@celloguy
"Era desso il figlio mio" from the opera Lucrezia Borgia, by Donizetti
primohomme 6 months ago
This has been flagged as spam show
I think she's the best...but It' inpossible be alto and soprano! [the lowest and highest]
I have got veird voice...cuz I have range of small "a" [ mezzo] and coloratura.
But all range in one voice...that's impossible..even if womens voice go low about 3 notes an cuz of some problems more low...she can be firstly, even veird like me, coloratura with low notes - mezzo...and she can be next dramatic mezzo...or firstly mezzo secondly alto...but soprano and alto ? o.O
NicoleAlicjaB 7 months ago
What aria is that at :41? I know it, I do... I just heard Bartoli sing it, I believe, but I can't put my finger on it. Can someone please shed some light? Thx
uniquebfly 7 months ago
@uniquebfly
"Ah mio cor" from Handel's opera "Alcina". Not sure if Cecilia has ever recorded it though, perhaps sung it in recital?
primohomme 7 months ago
I agree with you. I was just anxious that she would not make the same errors as Cheryl STUDER, singing such a vast repertory that she destroyed her voice in 10 years ( she said: "Callas did it, why not me ? " ). The question is: to have a prodigious compass does not mean that you have a universal voice. But I noticed that R. Fleming is much more prudent, reserving the "heavy" music for the recording, and not on the scene. Please excuse my english, which is not my native language...
bpicaud1 7 months ago
I love very much Renée Fleming for all her qualities but I must admit that she not a great coloratura ( in Rossini's Armida, for example, her virtuosity was not good ).
bpicaud1 7 months ago
@bpicaud1
Well, in the latest productions of Armida her coloratura was just so so, but in 1993 and 1996 her agility was fine. She was never a coloratura soprano though, she could sing coloratura but it wasn't her specialty.
primohomme 7 months ago
not a fan or her upper range (I'm spoiled from all the coloratura sopranos I listen to on a regular basis, so I forget that not every soprano can have effortless high Ds and Es that spin like a top)
her lower register though, BAD ASS =D
raigekimaru 7 months ago
@raigekimaru
I don't really listen to coloratura sopranos except for Joan Sutherland, I prefer voices with a solid middle, and most coloratura sopranos have a hollow middle and non existant low register.
primohomme 7 months ago
@primohomme
I find coloratura soprano voices relaxing and soothing, but for serious listening I like more dramatic voices in all facher. my favorite types of voices are dramatic but bright voices like Joan Sutherland, Sherrill Milnes or Kirsten Flagstad. the exception is tenors in which case, the darker the better (I view most tenors the same way you view coloratura sopranos). my ideal tenor would basicially be a dramatic baritone in a higher key =D
raigekimaru 7 months ago
clicked on this expecting someone who's pretty good at singing... on the first note my eyes popped out O.O
JudyMadeline 8 months ago
This is phenomenal singing. For a lyric soprano to even be touching high high G's is a marvel. Especially in public. Most lyric sopranos wouldn't dare singing Eb's in public. That's for the shower.
tenorlovesasoprano 8 months ago
Comment removed
liatma1 8 months ago
@liatma1
if you dislike Renee, why would you even search for this video and check it out? It's illogical.
primohomme 8 months ago
@primohomme
1. coz I am able to interest in many thing- yes, even things I dont seem to like
2. coz Renee will visit my country in about a month
3. I dont dislike Renee, I dislike her wrong use- T O MY O P I N I O N- in her higher notes.
liatma1 8 months ago
Comment removed
liatma1 8 months ago
@liatma1
Then why are you coming to this video to troll? Gurl #BYE
primohomme 8 months ago
This has been flagged as spam show
@primohomme never ment to troll; just wanted to express my opinion. sorry, I should have realized that different opinions are not welcome, and will not mistake again to think that it is the difference that inreaches the discussion. have a good day!
liatma1 8 months ago
@primohomme Ideed. Dear @liatma1, this video is dedicated to show to us, opera fans, one of the greatest sopranos of our time, singing a really beautiful aria, perfect suited for her voice. So, if you don't like her as person, or her voice, or if you're simply a hater, well, don't see it! There's a little bar above the video, it's called "SEARCH BAR", everything that you have to do is: type on it the name of a singer that you like, and bampt! Tons of videos that you might enjoy. #DontFeedTrolls
pedrofribeiro 8 months ago
Soprano sfogato - is that what's being meant in this post?
Cissy97 9 months ago
@Cissy97
Perhaps, her voice is not quite dramatic size like Callas who is the true soprano sfogato, buuuuuuuuuut Renee is on the lyric side of the soprano sfogato perhaps :) and also, for the bel canto roles which belonged to the soprano sfogato...indeed she is very well suited in my opinion.
primohomme 9 months ago
@primohomme You gave a wrong information. Callas wasn't a Sfogato Soprano as many people thinks. Sure she had a huge range, but only with low notes, her highest note was an E6, and one of the requirements to be a Sfogato is "a soprano that can easily go higher than the F6, with no color changes", wich means, even if she had a Wisthle Register(wich is awful) she wouldn't be able to be classified as a Sfogato. A real Sfogato should be able to sing both Contralto and Coloratura Soprano roles.
pedrofribeiro 8 months ago
@pedrofribeiro
I think you got your terms completely mixed up...
One thing is the soprano sfogato which some also call Assoluta
and another thing completely is the soprano acuto sfogato.
A soprano acuto sfogato sings higher than F6, for example Mado Robin, and they usually don't go very low at all.
A soprano sfogato on the other hand can encompass both contralto and high soprano, which Callas did...she had a range from F3 to F6 and sang both mezzo/contralto and high coloratura roles.
primohomme 8 months ago
@primohomme Sorry, but there's no such thing called "Soprano Acuto Sfogato". The word "Sfogato" or "Assoluta" means ilimited, wich leads to a great voice in all tessituras, but as every "regular" singer, they would each one have their own "stronger" tessitura. Mado Robin had a huge range B3 up to D7, and she actually sang Contralto(a few), Mezzo(some) and High Coloratura roles, wich makes her an Assoluta. Just like Erna Sack G#3 to C7. Callas reached F6? (Don't get me wrong, HUGE fan of hers).
pedrofribeiro 8 months ago
@pedrofribeiro
Are you a native Italian speaker? If not, don't you dare come and tell me if a concept exists or not in my language.
When the term "Soprano Sfogato" appeared in the early 19th century it refered to the divas who were dark dramatic voices with a mezzo or contralto timbre but an extension up to high soprano allowing them to sing both mezzo/contralto and high soprano roles, such as Isabella Colbran, Giuditta Pasta, Maria Malibran, Pauline Viardot, etc. (continued)
primohomme 8 months ago
@primohomme Calm down sir. I never intend to offend you, and no, I'm not Italian, I'm brazilian. Actually, to be fair, I was not aware that the timbre and the voice color both matters on the "Assoluta" classification. As far as I knew the singer should have a huge range, capable of sing and sustain notes in all tessituras. What Erna Sack, aparently could do in german, austrian and french roles, but not italians. And Callas could do in italian, some french and a few germans. (Continue)
pedrofribeiro 8 months ago
@pedrofribeiro
(continued)
The concept was NEVER used to refer to high flying light bright voices like Jenny Lind or Adelina Patti or a fuller soprano voice like Grisi or Sontag.
How can anyone sing a contralto role with a B3 as lowest note? the 9 main Assoluta roles require heavy low Bb's and even low G's, how could a high soprano whose lowest is B3 be considered an Assoluta? Ridiculous.
primohomme 8 months ago
@primohomme (continued) As long as we're talking about an Italian concept, taking as the "Assoluta" range G3-D6, a dark color of voice and a contralto/mezzo timbre we can arrive with some answers. Aparently "Sfogato" is only, at least mainly, used as a reference to classify singers of Italian repertoire. So Callas was an Assoluta, Erna Sack wasn't, and Mado Robin for sure wasn't. Renee is 'our time' Sfogato, capable of sing in all tessituras with a dark(not much, but ok) timbre.
pedrofribeiro 8 months ago
@pedrofribeiro
(continued)
Also, the Italian composers didn't write very high, usually Db6 at the most, they wrote for heroic voices, not for canaries like the French and Austrians did. So the requirements for an Assoluta (a real one like Callas) is a range from G3-D6 (AT LEAST), capable of singing a heavy contralto sound with equal ease as a high flying delicate soprano sound, all that was Callas, not Mado Robin or Erna Sack.
primohomme 8 months ago
Comment removed
pedrofribeiro 8 months ago
@primohomme Callas sure was one of the greatest sopranos ever, with what was probably one of the finest techniques of all times. But you said that her range was up to F6, and I never heard that note from Callas. Do you possess some records of her reaching it? I'd love to hear it, Callas upper register, against what many people says, it's really pretty and she had such a coloratura technique. To be fair, she was one of the few sopranos with a perfect legatto, trill, and staccatto.
pedrofribeiro 8 months ago
@pedrofribeiro
Well, the term "sopranos sfogato" as used in the 19th century was used to refer to that voice type as I said, nowadays in Italians some call "soprano sfogato" simply to big dramatic voices, which I don't agree with.
Mado Robin and Erna Sack had big upper extensions which allowed them to climb way high but to be a true Assoluta the singer needs also a heavy low chest voice, and the ability to comfortably sing mezzo/contralto without tiring as well as high soprano without tiring
primohomme 8 months ago
@pedrofribeiro
(continued)
I didn't mean to be aggressive against you, I was just a bit annoyed that the term has lost its meaning in a way and people now use it to mean whatever they want.
Anyways, Callas did sing an F6 (though SLIGHTLY flat) in her "Armida", I think she had the note but was her very top, her high E was better. Same with Joan Sutherland, her high F was slightly under pitch.
watch?v=bRYfN8i0ymM -- Callas' F6
primohomme 8 months ago
@primohomme I heard it and well, powerfull as every note that Callas ever produced, but really out of pitch. For sure it was her last upper note. I knew Sutherland "tales" about the High F, I just never heard anything like that about Callas. Sutherland make the crime of singing the Queen of Night's arias without the F's or with horroble ones... There's a record of a High F of her in "O Zittre Nicht" that souds like a cat being run over. She was one of the greatest, but never really had the F6.
pedrofribeiro 8 months ago
@pedrofribeiro
I really don't care for Joan or Maria's high F's, the truth is that they were great up to E6
And Maria's voice truly was sort of an extended mezzo/contralto instrument, and one can really hear that in operas like "La Gioconda", "Norma" and "I vespri Siciliani" and her early Leonora in "il Trovatore" where her low chest notes are sung HUGE and so dark, and also she had effortless gorgeous high notes like in her 1953 "Lucia".
primohomme 8 months ago
@primohomme The F6 is my "favorite" note, but Callas never needed it to be great, and neither did Joan. Callas' voice remains a mistery, but as you said, it was probably a mezzo instrument with some sort of anomaly that gave her a huge range with an unmatched power in all tessituras. Now about Joan, I never really liked her upper voice, but she was great in middle register. Althought, she did the ultimate rendition of Mozart's "Martern Aller Arten", it's simply perfect. /watch?v=6NKL6hE3Szs
pedrofribeiro 8 months ago
@pedrofribeiro
I actually love Joan Sutherland's upper register, it's full and resonant and free up to her E6
I only really like her middle in baroque and Handel, for some reason her middle was much more solid then, but once she went into bel canto she dropped the support in the middle, and of course she never had a solid chest voice.
primohomme 8 months ago
Renee Fleming´s chest voice is very dark
ernest671 7 months ago
@primohomme This is a new term to me - acuto sfogato. Does this encompass the sopranos whose highest notes are whistle tone, or only full voice?
gustopheles 6 months ago
So ironic that Fleming and Callas and Radvonovsky take the high E, but high sopranos like Gruberova and Sills and Devia don't.
gustopheles 9 months ago
Can my fav do that? Well dessay has reached up to an A6 so, yeah my fav can do that :D
killerbunny123123 9 months ago
@killerbunny123123
Where's her F#3 or her Eb3? ;)
I like Dessay, back in the 90's
primohomme 9 months ago
No, your quesiton at the end was "can your fav do E6 and G6?" That's why i said that dessay can. Well I do not know of F#3 but she can reach G#3, at "Nube che lieve". Well I suppose it is balance...Flemming has strong low notes but can hold coloratura high notes for very little time while Dessay has light low notes but can hold high ones for entire seconds. And yes it is true that to this day very little of her voice is left...I predict her soon starting to sing only Arias that students sing...
killerbunny123123 9 months ago
@killerbunny123123
No, at the end says "Eb3 to G6, can your fave do it?"
I think Natalie needs to take some time off and retrain her voice
I listened to her "Cleopatra" album and her middle sounds really hollow and the one high note she sings (I forgot which aria) sounds like a lot of effort.
primohomme 9 months ago
@primohomme I guess you mean the high note in "piangero la sorte mia"...Well live it sounds like a squeak and in studio it sounds just as strained as her notes have always sounded after 2006..."some time off"? The woman is 45 and her voice is already consumed...all she is gunna do is sing lighter and easier....a loooooot easier stuff (like I said stuff that teachers make their students sing) and then retire. We have loved Dessay very much but we want her to retire before she destroys her image.
killerbunny123123 9 months ago
What the...? I didn't know she had such an extreme higher register. What happened to it?
AccidentalTouch 9 months ago
@AccidentalTouch
She still has it, but her usual repertoire does not really require those extreme high notes
She has even hit B6 (in a laughter and within key) in a Rossini aria
primohomme 9 months ago
she untunes like hell singing Lucrezia Borgia, plus, primohomme, if you don't know German you shouldn't be writting anything in that language, because people DO NOT have to write every single word in capital letters according to the German Grammar, only nouns and first words in paragraphs/sentences.
CarlitosDessay 10 months ago
@CarlitosDessay
Babygurl you better worry your faves off key and strained notes while she jumps up and down showing her tits and pussy on stage like a mad woman starved for sex
primohomme 10 months ago
@primohomme what the hick are you talking about? outside the absolutly inappropiate words you use when you talk, I can tell you right now that when she was singing that particular aria she was quite still, in fact she was attached to the backside wall in the teather and couldn't have moved under any occasion. Just so you know I like her very much, but I also think mistakes do the greatest artists even greater.
CarlitosDessay 10 months ago
@coloraturatenor ach ich liebte, war so glücklich (Mozart - Die Entführung aus dem Serail) no other
CarlitosDessay 10 months ago
Wow this video head me on the edge of my seat the whole time!! Very well put together!!
SimplyMuzick 1 year ago
<3 Renee! I just saw her live in our home town of rochester,NY! Found out I talk to her mother on a weekly basis and didnt even know it!!!
missa10894 1 year ago
You are my opera idol Renee Fleming!
LeeanneTracy 1 year ago
De très belles choses,d'autres bien moins bonnes!Le choix fait n'est pas toujours à son avantage.
abracadabranque 1 year ago
what is the piece from 2:45 to 3:13?
littlechildren01 1 year ago
@littlechildren01
Ach, Ich Liebte, War So Glücklich
primohomme 1 year ago
her voice sounds like heaven Her and Kristin chenoweth are my fav, sopranos
delibessylvia 1 year ago
I'm not going to get involved in any debates. All I want to say is I think Ms.Fleming has one of the most gorgeous and astonishing voices I've ever heard! I adore listening to her. She makes me feel as if I'm floating on a cloud. She's been blessed with a gift I can only dream of having. Yeah, I'm kind of jealous. :)
Silver54ful 1 year ago
What is the first piece (the Eb3)?
Viva La Renée!
THL95 1 year ago
Renee rules!!!!!!!!!! Renee rock`s!!!!!!!!!!!!!!
toddydelahov 1 year ago 2
for me her voice as the best voice of all sopranos at this time!
liricobarroco 1 year ago
@primohomme excuse me for going offtopic under Your video but I'm curious of Your opinion again:) Here's another crazy lady from my country whose voice/skill I need You to evaluate. Do You think she could have become an actual opera singer if she wanted to?? I find her voice kind of ugly but she has that 4 octave range and big sound. I'm asking because she sang arias and used opera techniques of vocal production
watch?v=KYE0X9eZKIU
MrJudube 1 year ago
@MrJudube
I don't know what you mean by ugly voice, because that's just a matter of preference...some like "sweeter" lighter voices, others like darker richer voices, others like voices with a more metallic edge and a tanginess, etc etc etc. It's a matter of personal preference.
Anyways, I had heard of that lady before, she has been compared to Yma Sumac, very good and great range.
primohomme 1 year ago
@primohomme actually I was asking about the overall singing skill. Some of Violetta's fans say she slays Callas, Sutherland and so on. Somehow they don't convince me so I was wondering what a serious opera critic like You thinks about such comparisons:) You're right that ugliness of a tone is subjective. As a matter of fact it can be captivating sometimes so you're absolutely right. let's not discuss that.
MrJudube 1 year ago
@MrJudube
As a singer in her style she is amazing, great instrument, great singing.
But I doubt she could truly sing opera without a microphone projecting over an orchestra with a solid sound on a standard fach. Not because of lack of talent but because it takes A LOT of training to support the sound properly with resonance. For example Yma Sumac, GREAT singer in her style, but when trying operatic arias (in private recordings) below mediocre. Again, for lack of technique.
primohomme 1 year ago
@primohomme I'm not sure I understand You well. Are You saying her vocal production is not that operatic and she produces a sound too weak to sing opera?
MrJudube 1 year ago
@MrJudube
It's not so much that but other factors as well, we have no idea of knowing how big as voice is and its possibility unless the microphone is taken away and placed at least 6 feet away.
primohomme 1 year ago
@primohomme Renee Fleming doesn't use microphones she has stated in many interviews and what opera singer with her credits use a bloody microphone that breaks the purpose in training in opera =)
classicalgalNYC 1 year ago
@classicalgalNYC
We were talking about someone else entirely.
primohomme 1 year ago
@primohomme My apologizes =) Who were you speaking of?
classicalgalNYC 1 year ago
@classicalgalNYC
MrJudube asked me what do I think of Violetta Villas, a Polish vocalist with a 5 octave range, somewhat like Yma Sumac. And I said she has an impressive vocal range and fine voice but I don't know if she could truly sing opera, and I was commenting that Yma Sumac could not really sing true opera (based on private recordings of her singing in standard soprano tessitura without using the rest of her big range).
primohomme 1 year ago
@primohomme ok i'm giving You a break :) goodnight
MrJudube 1 year ago
@primohomme at 1:16 of track 14, cd 3 ("Se al mio crudel" ) and then again at 1:25 - it's just after the most astonishing low note she sings in the score - the G3 at 1.05ish which is so rich and terrifying that she gives the 6 tenors a run for their money!! I might be wrong but I don't think I am!
I love that recording so friggin much!
celloguy 1 year ago
I think you might be right actually.
celloguy 1 year ago
There's several Eb3s in her live Armida recording. And an insanely powerful G 3...
celloguy 1 year ago
@celloguy
No, the score of Armida goes down to G3 but no low E flats, the part would require a true contralto if that was the case.
primohomme 1 year ago
@primohomme I just looked at the score and you're right that it's not in the score, but I think she sings it an octave lower...
celloguy 1 year ago
@primohomme You're right about the score but I was pretty sure she was singing these notes an octave lower. Maybe there's just so much chest that they just sound an octave lower... I wish I could check now!
celloguy 1 year ago
She has an amazing register, but the Eb 3 is easier done when singing jazz and pop. ;) It doesn't have to resonate the way it would have to in classical singing. I know that you know that, primohomme. Nevertheless: The F# 3 was d**n good! She is a great singer. :) She has also managed to do what hardly any other classical soprano has managed: She sounds authentic when singing jazz!
Turand0t 1 year ago
Comment removed
Turand0t 1 year ago
@bconsitt
she does have a powerful chest voice, but not a maria callas chest voice. Fleming has a chest voice like a mezzo, Callas had a chest voice like a baritone =P
raigekimaru 1 year ago
where is her F6? if she has a G6 then why wasnt her F6 put in here?
sweetaztecangel69 1 year ago
@sweetaztecangel69
I don't know of any recording that shows an F6 by her
primohomme 1 year ago
@primohomme the one you got of glitter and be gay should have it...the piece goes up to an F6
sweetaztecangel69 1 year ago
@sweetaztecangel69
I doesn't, only Eb6. Some sopranos add the F6 but it's not written.
primohomme 1 year ago
@primohomme Ive done Glitter and be Gay for school before..its an F6
sweetaztecangel69 1 year ago
@sweetaztecangel69
Do you have a copy of the score? I'm almost 100% certain that there are no F6's written, there are three Eb6's though and the coloratura is intricate.
primohomme 1 year ago
@primohomme yes im looking at it right now and its an F6
sweetaztecangel69 1 year ago
@sweetaztecangel69
I downloaded the score to check it out and make sure, there are no F's...there are a number of Eb's and some of them are optional, the highest in the scale were some sopranos like Dessay and Damrau throw a high F is actually high Db (written). If you want I'll give you a link so you can download it and check it out by yourself. I don't know which copy you might be seeing, but the original by Bernstein does not have F's written.
primohomme 1 year ago
@primohomme and I bought the original score....I don't need to download it illegally
:]
sweetaztecangel69 1 year ago
@sweetaztecangel69
It's not illegal to download what's in public domain. Could you take a picture of the measure with the high F? I'd like to see that.
primohomme 1 year ago
5:05 - 5:06
composer4u 1 year ago
Hey guys, take it easy. Enjoy her and all the notes.
1931JC 1 year ago
@primohomme u didnt comp. my comm. either. i said its ur vid, so it really doesnt matter what i say, yet there's sum offense taken. if u've taken offense toward my pointless comm., my apologies. i said there's a possibility the oct. being a minor error. i got a clear comp. of ur specs. mention'd w/the vid. again, renee's a jewel w/a glorious range. notes r there, thats all'at matters. if there's a misunderstanding of sorts, its fine & part of human nature :D
datboiq10 1 year ago
@primohomme makes no sense have low notes from highest to lowest, then high notes from lowest to highest. the title does say from Eb3 -G6, usually meaning from lowest to highest, not highest to lowest in 1 voice, the lowest to highest in another. I'm just sayin, but it is ur video and it is good cuz renee is a spectacular singer. have a blessed day! :)
datboiq10 1 year ago
@datboiq10
They are clearly notated, if you got lost is not my problem...you just simply didn't comprehend, when a lot of other people did.
primohomme 1 year ago
*retract last comment. What I'm sayin is that the 1st Bb isnt the correct octave cuz the G natural after that is at a lower frequency than the initial Bb.
datboiq10 1 year ago
@primohomme And my first statement of the "G3" was actually a bit of a typo (which I meant G4), pardon my error
datboiq10 1 year ago
@primohomme I was stating that the Bb that was placed at the beginning was the wrong octave because the G natural that comes later is lower than the 1st Bb, which the G natural was relative to the 4th octave. So if the intentions were to order the pitches chromatically from lowest frequency to highest frequency, everything is accurate except for the claimed Bb3 which was pitched higher than the G4.
datboiq10 1 year ago
@datboiq10
The low notes are arranged from highest to lowest...higher being the Bb3 she sings in Armida and in Lucrezia Borgia, Bb3 is right below middle C. Middle C is C4...so below that it's the 3rd octave and thus Bb is Bb3. If you can't hear the difference between a low note and a middle voice note...well, I can't help you with that.
primohomme 1 year ago
Sorry but the Bb wasn't a Bb3, it was a Bb4. which is higher than the G3.
datboiq10 1 year ago
@datboiq10
I'm assuming you can't count notes correctly, Bb3 is right below middle C...and yes, Bb3 is higher than G3 I put them from highest to lowest and then from lowest to highest. It's pretty obvious.
primohomme 1 year ago
Incredible -- to take such a rich voice up to the stratosphere and maintain that much sound! I had no idea she had such a high extension. And she can create such a contralto color in the lower range. What an incredible color and seamlessness throughout her range. Amazing
sopranosd 1 year ago
wow, no sabía que tenía tal rango!!
yayacantando 1 year ago
Dear Mr. primohomme, from what aria was the G6 from? =D
DrRigolettoPianist 1 year ago
@DrRigolettoPianist
Lieve Son Al Par Del Vento, and Era desso il figlio mio