Deh vieni non tardar Isabel Rey Teatro Real 2009

[abendempfindung]

He vuelto a escuchar esta versión, pero sigo pensando lo mismo que hace un año... Ese "incoronar" del minuto 3:54 confirma la falta de afinación constante de esta soprano desde que ha empezado a empujar. Tenía un timbre precioso, que ha perdido completamente. Es una pena, lo tenía todo y lo ha perdido.

[abendempfindung]

No doy crédito... ni a lo oído y ni a lo leído... Gracias Freni, por haber cantado Susanna, si Mozart viviera también te lo agradecería!

[arjado]

The best Susanna...

[asisecanta]

Finally we have a LYRIC Susanna with creamly tender voice. The pianissimo she does in the last phrase " ti vo la fronte incoronar di rose" is simply SUBLIME.

The world of opera needs more Susannas like this one

[leporello89]

Totalmente de acuerdo ^^, fue de lo mejor de la función, realmente soberbio, una Susanna para recordar durante mucho tiempo =)

[Sissi89go]

In my opinion, her voice is simply not right for Susanna...

[asisecanta]

Well.... and in your opinion what is her voice right for?

Let me mention that Susanna is the role she sang more times: more than 150 performances.

[Sissi89go]

In my opinion (just a simple opinion, I don't claim to be right) she is a lyric soprano. For example, staying in Mozart, she could be a very good donna Anna or Contessa. Susanna is a soubrette role, it needs a fresher and lighter voice. Think about Kathleen Battle or Anna Moffo: that is my idea of Susanna

[asisecanta]

PART 1: Actually, Isabel Rey sings Donna Anna (you can watch it on dvd) and plans to debut Contessa in the future. You say Susanna is a soubrette role, I think this is just a convention: we are used to hear light Susannas, but actually Susanna is a very central role in terms of range.

People like Dorotea Roschmann, Anna Netrebko or Isabel Rey have sang Susanna with more lyrical voices than used and I find this practice very interesting. Fortunately it happens more and more.

[asisecanta]

PART 2: Obviously, the vast majority of those lyrical Susannas move into Contessa sooner or later (as Roschmann for example did) but I LOVE having heavier voices singing Susanna.

On the other hand, I think Cherubino (usually played by light mezzos) is the role which is really adequate for a soubrette voice, since he is supposed to be a boy and he has to sing sweetly. In fact, many sobrurettes (such as Reri Grist, Helen Donath, Christine Schafer...) have played it succesfuly.

[Sissi89go]

I agree with you about cherubino, but, if you think about Susanna and cherubino, they are very similar. Susanna is a young girl, a funny character. That's why I think is better sang by a soubrette. There is a reason why there is this tradition.

[asisecanta]

In my opinion Susanna is more a clever character, not neccesarily a funny one. She doesn't behave in the way she does just in order to have fun, but, basically, in order to save her weeding with Figaro. She faces a non very nice situation (after all she is regarded merely as a sexual instrument) with humour, but I don't think she is enjoying what she is doing. That is the difference with Cherubino who doesn't have any "real" trouble in his mind, his main trouble is basically to find a skirt :-)

[Sissi89go]

I totaly agree with you about the comparison between cherubino and Susanna and about the fact that she is very clever. But she faces a very dufficult situation, as you said, with humor and in may opinion a soubrette can express better this situation.

[leporello89]

I think she's one of the best Susanna, her voice is perfect for the role =), and as asisecanta says, is the role she sangs more times, she really knows very good Susanna's part, and her performance in Madrid was simply brilliant ^^

[manrico29]

Outstandingly sweet voice, perfect technique and interpretation.

Pure delight !!!