She can sing the hell out of this. THANK GOD I don't have "perfect pitch" therefore, O don't always have to tell everyone that a singer is flat or sharp. I get to enjoy them instead.
Simplemente Verdiana y estupenda! Me da miedo de solo verla, esta en el rol hasta los huesos, la voz es un cañon y tiene un color maravilloso, arrobadora e inolvidable!
This comment has received too many negative votesshow
this voice is unattractive, ill produced, and speaks of utter artistic indifference to any concerns but volume. Unacceptable, and doubly so now that she appears to be the Met's preference in this rep. A truly sad day for opera.
for your information: VERDI (you know, the composer of Macbeth!) wanted Lady Macbeth to sound unpleasant! or do you want Lady Macbeth to sing in the style of Violetta, or Desdemona or even Tosca? Lady is not a TRAGIC heroine, Lady is a powerful woman, an evil woman, therefore she can not have the "voice of an angel". Guleghina portrays Lady perfectly, and if you want to hear her sing with "the voice of an angel" then listen to her Manon Lescaut with Muti from Scala...
Saw this production. It was a little hard to embrace guns and a jeep in the XVI century Scottland, but Maria was lovely! The best soprano in the world - bar none!
I saw her last week at the Met playing Lady Macbeth. It was interesting to hear her big but lyric soprano. She sang calante most of the performance, fleeing the high C but amazingly blasting a final high Db in the concertato of act I. A beautiful instrument that she shouldn't push to sound spinto or drammatico.
Guleghina always will be a great voice, specially improving in Lady Macbeth troughout the years. It helps a lot being well conducted by great conductors, as Levine. In this performance, Campanella was terrible, being booed at the end. I've been there.
are you nuts? she's got the largest soprano instrument on the stage now, even without pushing! She completely sings over all other principals and chorus! I've watched this woman since I was 16 years old, and one thing that she has in spades is unforced volume. She actually has a gargantuan instrument. She just has no technique whatsoever. So its very hit or miss with this artist! lol.
That wouldn't be easy to attest, but indeed she's arguably the lyric soprano with the largest sound at the Met. Now, in the presence of dramatic Mattila, Gruber and perhaps Voigt I've heard even larger voices and greater sound live on stage. And they're all performing this season at the Met: Mattila is Manon, Gruber is Lady Macbeth and Voigt sings Isolde & Sieglinde.
Gruber has 15 voices and her cords are fried. Who knows what her actual voice sounds like. And even at its most resonant is still not as large as Guleghina. Mattila IMO fits your description of Guleghina to a tee. A HUGE lyric instument. It's not a penetrating sound. It's a rich deluxe sound, but not necessarily a dramatic one, although it is enormous.
I saw Gruber's Turandot this past April & though uneven, her raw sound was greater than Guleghina's Lady. Mattila's also got bigger sound, her Met'02 Chrysothemis was a miraculous dream. Epitome of the jugendlichdramatisch(young dramatic) or lirico-spinto(italian), her metallic edge(punta di voce) and dense flexibility in upper notes attest that. Btw, though Guleghina's got squillo(blast), she lacks that edge, & that's why I don't find hers a true spinto.
Voigt in her prime could equal Guleghina in volume I'm sure, but it is much more sinew in the middle voice, not an enveloping "huge" sound. And she has developed a wobble and the expansiveness of the top is gone.
I also saw Voigt both before & after the surgery (Met'01 Ariadne & Met'07 Helena). On the contrary, the stronger passages in middle register were surrounding and I couldn't hear any wobble whatsoever. Ah, and a massive high C couldn't sound more expansive.
I've heard Voigt live a couple of times in the last few years, but I only heard a wobble when sitting in the family circle. Up there, it sounds like everyone has a wobble. I heard her in Forza from the orchestra and she was fantastic.
She can sing the hell out of this. THANK GOD I don't have "perfect pitch" therefore, O don't always have to tell everyone that a singer is flat or sharp. I get to enjoy them instead.
georgerannie 1 year ago 2
Why does she always have to be so flat???
Medeafuriosa 1 year ago
Certificate Intergalactic! Molto bella Guleghina!
Dogaradodia 2 years ago
Simplemente Verdiana y estupenda! Me da miedo de solo verla, esta en el rol hasta los huesos, la voz es un cañon y tiene un color maravilloso, arrobadora e inolvidable!
LiricumLord 2 years ago
i love how intense she is when she sings....just watching her face is amazing. I love her in all this verdian evil gloriousness!
frenchkitty218 3 years ago
How could anyone have a problem with this voice?
phronie125 3 years ago
Wow she's fantastic in evil roles like Abigaille or Lady M.
xav71176 3 years ago
she`s the last diva singing at Colon theatre in Buenos Aires in 2006. after she nobody else...
aircat29 3 years ago
This comment has received too many negative votes show
this voice is unattractive, ill produced, and speaks of utter artistic indifference to any concerns but volume. Unacceptable, and doubly so now that she appears to be the Met's preference in this rep. A truly sad day for opera.
michonnetsu 3 years ago
Unattractive? Ill produced? Indifference? Was that your parents reaction the day you were born?
phronie125 3 years ago
for your information: VERDI (you know, the composer of Macbeth!) wanted Lady Macbeth to sound unpleasant! or do you want Lady Macbeth to sing in the style of Violetta, or Desdemona or even Tosca? Lady is not a TRAGIC heroine, Lady is a powerful woman, an evil woman, therefore she can not have the "voice of an angel". Guleghina portrays Lady perfectly, and if you want to hear her sing with "the voice of an angel" then listen to her Manon Lescaut with Muti from Scala...
loveallmusic100 3 years ago 2
Saw this production. It was a little hard to embrace guns and a jeep in the XVI century Scottland, but Maria was lovely! The best soprano in the world - bar none!
MariaIn08 4 years ago
Interesting discussion-Try Brenda Harris in this aria
brentanoleader 4 years ago
I wished she'd be more bold in using chest voice! That would make her more exciting!
gayoperadude 4 years ago
I saw her last week at the Met playing Lady Macbeth. It was interesting to hear her big but lyric soprano. She sang calante most of the performance, fleeing the high C but amazingly blasting a final high Db in the concertato of act I. A beautiful instrument that she shouldn't push to sound spinto or drammatico.
soundfond 4 years ago
Guleghina always will be a great voice, specially improving in Lady Macbeth troughout the years. It helps a lot being well conducted by great conductors, as Levine. In this performance, Campanella was terrible, being booed at the end. I've been there.
gtelloz 4 years ago
are you nuts? she's got the largest soprano instrument on the stage now, even without pushing! She completely sings over all other principals and chorus! I've watched this woman since I was 16 years old, and one thing that she has in spades is unforced volume. She actually has a gargantuan instrument. She just has no technique whatsoever. So its very hit or miss with this artist! lol.
powerinpraise2000 4 years ago
That wouldn't be easy to attest, but indeed she's arguably the lyric soprano with the largest sound at the Met. Now, in the presence of dramatic Mattila, Gruber and perhaps Voigt I've heard even larger voices and greater sound live on stage. And they're all performing this season at the Met: Mattila is Manon, Gruber is Lady Macbeth and Voigt sings Isolde & Sieglinde.
soundfond 4 years ago
Gruber has 15 voices and her cords are fried. Who knows what her actual voice sounds like. And even at its most resonant is still not as large as Guleghina. Mattila IMO fits your description of Guleghina to a tee. A HUGE lyric instument. It's not a penetrating sound. It's a rich deluxe sound, but not necessarily a dramatic one, although it is enormous.
powerinpraise2000 4 years ago
I saw Gruber's Turandot this past April & though uneven, her raw sound was greater than Guleghina's Lady. Mattila's also got bigger sound, her Met'02 Chrysothemis was a miraculous dream. Epitome of the jugendlichdramatisch(young dramatic) or lirico-spinto(italian), her metallic edge(punta di voce) and dense flexibility in upper notes attest that. Btw, though Guleghina's got squillo(blast), she lacks that edge, & that's why I don't find hers a true spinto.
soundfond 4 years ago
Voigt in her prime could equal Guleghina in volume I'm sure, but it is much more sinew in the middle voice, not an enveloping "huge" sound. And she has developed a wobble and the expansiveness of the top is gone.
powerinpraise2000 4 years ago
I also saw Voigt both before & after the surgery (Met'01 Ariadne & Met'07 Helena). On the contrary, the stronger passages in middle register were surrounding and I couldn't hear any wobble whatsoever. Ah, and a massive high C couldn't sound more expansive.
soundfond 4 years ago
I've heard Voigt live a couple of times in the last few years, but I only heard a wobble when sitting in the family circle. Up there, it sounds like everyone has a wobble. I heard her in Forza from the orchestra and she was fantastic.
baritonoguapo 3 years ago
this voice is nothing in front of Callas Macbeth. Only Verrett could compete Callas in this role
astrotheme2007 4 years ago
@soundfond you are crazy. She can't be a lyric soprano. To me she doesn't sound like a soprano at all. She sounds like a fairly large mezzo.
ididete 2 months ago
piu che Lady sembra una zoccola che non e' stata pagata a fine trattamento.....
robbie3013 4 years ago
weird
gavinh9 4 years ago