Brava! Shes so good-unfort. she hasn't the place that she deserves- this is from 1998- first time I've heard her was in the early 90ths. And she still sing on now on highest level-Ive heard her in macbeth and aida in Dresden-and she was fantastic. And she can sing norma sometimes like no one els can this today. shes absolutely unterrated!!!!! When you can sing Norma nearly 20 years- you know exactly how to sing!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
Well, this is very nice, but prefere Guleghina's animalistic aproach :) If you haven't seen her life (as Abigail I mean), you have no idea what you've missed.
Callas did justice to all the roles and she is OPERA ehrself...but Hasmik is best in our days, she has a huge voice, simply impatient Armenian nature does not let her sing slowly :))) lol bravo Armenia...Hasmik yuo're better than any of nowadays sopranos- coballe should learn how to sing from you...
This is indeed a very demanding role, but Ms. Papian does GREAT. A great reference, at least for me, is the Elena Souliotis / Titto Gobbi recording of the early 60's. (After hearing this, no wonder Souliotis destroyed her voice).
Certainly the preference between the two lies with Papian. There is a lot to admire in the singing; high notes are crisp and well placed - unlike Guleghina, and the turns here are much more beautifully articulated than in Guleghina's rendition. Additionally, the overall characterization is more believable and sympathetic.
The unfortunate thing is that the chest doesn't really function properly - the bottom of the 2 octave drop takes much too long to phonate.
I like the voice, wish she would make better use of her chest voice, most teachers jsut don't know how to teach it or advize against it! Listen the exciting recording of Caterina Mancini singing this! Papian over Guleghina who is dark, muddy in coloratura and high notes are taken back rather than forward
Papian's voice turns into a thin shriek at the top of her voice. She has no business singing Abigaille! She should stick to more lyrical parts. Guleghina is a mediocre Abigaille - pretty good at the Met in 2001.
I have heard Papian many times in person and belive me her voice is not "thin" at the top. She has a wonderful upper extension, up to about C, then it thins out. I don't agree with your comment about her singing Abigaille, not everyone needs to attack the role as if it were Medea! This is early Verdi and can be sung as a belcanto opera.
In fact the role was sung by Giuseppina Strepponi, who used to excel in Belcanto roles like Adelia. I agree with what you said entirely. One does not need to belt out the notes to be forceful.
One can't compare then and now. Mariella Devia also excelled in Belcanto parts such as Adelia, but you didn't hear about her travelling around singing Abigaille.
And what does Mme. Strepponi has to do with anything? A lot has happened in the world of music the past 170 years and you don't find many Belcanto singers who would attemt Abigaille these days. Most early Verdi soprano parts are assigned to the "heavier" voices today.
I asked you to read the comments properly. First of all I was replying to hotazzoperastud regarding attacking the role as if it was Medea. Secondly I cannot understand your argumentative tone.
The fact is that the role didn't suit Strepponi at all. We all know very well she ruined her voice completely with that role and couldn't sing anymore.Papian is in my opinion excellent.
The problem is that the role is murderous from the vocal point of view, and it hardly suits any voice. Verdi was very demanding with his sopranos lol. The cabaletta alone requires coloratura di forza and stamina that only a few sopranos can command. Arguably only the early Callas could do justice to the role.
I have listened to Papian a couple of times more just now, and have to admit that it wasn't as bad as I thought after the first time I heard her (and posted my last coment). She's not bad. But I still think she's underpowered in this part and I think she lacks a certain amount of rage in the cabaletta.
Where was that? She sings very well, it's much nicer to listen to her than to Guleghina. Beautiful voice. Acting is just alright, not overdone definitely. Thanks!
Thank you for posting this beautiful video. Could we possibly have more of Papian's performances in you tube please?she puts so much emotions in her roles.We love her.
Between the two, I'd definitely choose Papian. She's still in control of her resources, whereas Guleghina's voice is frayed from years of abuse - especially the top. At least you could walk out of the Norma without bleeding ears with Papian's version. 8-) Still awaiting a Norma for our time...
Papians voice isn't was it was in this video anymore, while still a beautiful sound and good interpreter her voice has lost agility and is more turned inwards now.
It may just have been off-nights for her; I saw her as Traviata in Rotterdam, Norma in Amsterdam and Suor Angelica in Liege all in 2005. She was great in all btw! Suor Angelica was with Fiorenza Cossotto, which was quite a rarity!
Norma is such a hard role because no matter how good the soprano is they will always be haunted by the memories of Callas, Sutherland, Caballe! This makes it less attractive to sopranos that consider taking on the role. In fact, the great Mariella Devia who was forever considering the role (and who would have been great in her own way) will not take on the role now. So will we have a Callas or Sutherland today? No likely, but I really enjoyed Theodossiou in the role!
Brava! Shes so good-unfort. she hasn't the place that she deserves- this is from 1998- first time I've heard her was in the early 90ths. And she still sing on now on highest level-Ive heard her in macbeth and aida in Dresden-and she was fantastic. And she can sing norma sometimes like no one els can this today. shes absolutely unterrated!!!!! When you can sing Norma nearly 20 years- you know exactly how to sing!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
OLIVCHEN77 1 year ago
Maybe the most difficult role in opera, sang very well and with bold technique
dedal141 1 year ago
DIVA!
kvardans 2 years ago
Well, this is very nice, but prefere Guleghina's animalistic aproach :) If you haven't seen her life (as Abigail I mean), you have no idea what you've missed.
MisterSoprano 2 years ago
Callas did justice to all the roles and she is OPERA ehrself...but Hasmik is best in our days, she has a huge voice, simply impatient Armenian nature does not let her sing slowly :))) lol bravo Armenia...Hasmik yuo're better than any of nowadays sopranos- coballe should learn how to sing from you...
feveroo7 2 years ago
@feveroo7 the name is Caballe (Monserrat Caballe) not coballe
callas777 1 year ago
@callas777 did not really concern me...smartasss
feveroo7 1 year ago
She's too lyric for me ...I prefer Maria in this role...by the way she is also a divina !!! :)
Santuzza01 2 years ago
This is indeed a very demanding role, but Ms. Papian does GREAT. A great reference, at least for me, is the Elena Souliotis / Titto Gobbi recording of the early 60's. (After hearing this, no wonder Souliotis destroyed her voice).
noneisbetter 2 years ago
Certainly the preference between the two lies with Papian. There is a lot to admire in the singing; high notes are crisp and well placed - unlike Guleghina, and the turns here are much more beautifully articulated than in Guleghina's rendition. Additionally, the overall characterization is more believable and sympathetic.
The unfortunate thing is that the chest doesn't really function properly - the bottom of the 2 octave drop takes much too long to phonate.
Still, most admirable!
Gigglingatagas 2 years ago
At least she's on pitch!
Dymension 4 years ago
I like the voice, wish she would make better use of her chest voice, most teachers jsut don't know how to teach it or advize against it! Listen the exciting recording of Caterina Mancini singing this! Papian over Guleghina who is dark, muddy in coloratura and high notes are taken back rather than forward
gayoperadude 4 years ago 2
I couldn't possibly agree more. :) Guleghina is dark and muddy, has no coloratura technique or technique for high notes.
Turand0t 3 years ago
Papian's voice turns into a thin shriek at the top of her voice. She has no business singing Abigaille! She should stick to more lyrical parts. Guleghina is a mediocre Abigaille - pretty good at the Met in 2001.
dhng1982 4 years ago
I have heard Papian many times in person and belive me her voice is not "thin" at the top. She has a wonderful upper extension, up to about C, then it thins out. I don't agree with your comment about her singing Abigaille, not everyone needs to attack the role as if it were Medea! This is early Verdi and can be sung as a belcanto opera.
hotazzoperastud 4 years ago 7
In fact the role was sung by Giuseppina Strepponi, who used to excel in Belcanto roles like Adelia. I agree with what you said entirely. One does not need to belt out the notes to be forceful.
sevoflurane 4 years ago
One can't compare then and now. Mariella Devia also excelled in Belcanto parts such as Adelia, but you didn't hear about her travelling around singing Abigaille.
dhng1982 4 years ago
Were we talking about Devia? I missed that part... read the comments properly, thank you very much!
sevoflurane 4 years ago
And what does Mme. Strepponi has to do with anything? A lot has happened in the world of music the past 170 years and you don't find many Belcanto singers who would attemt Abigaille these days. Most early Verdi soprano parts are assigned to the "heavier" voices today.
dhng1982 4 years ago
I asked you to read the comments properly. First of all I was replying to hotazzoperastud regarding attacking the role as if it was Medea. Secondly I cannot understand your argumentative tone.
sevoflurane 4 years ago
The fact is that the role didn't suit Strepponi at all. We all know very well she ruined her voice completely with that role and couldn't sing anymore.Papian is in my opinion excellent.
corellithebest 3 years ago
The problem is that the role is murderous from the vocal point of view, and it hardly suits any voice. Verdi was very demanding with his sopranos lol. The cabaletta alone requires coloratura di forza and stamina that only a few sopranos can command. Arguably only the early Callas could do justice to the role.
sevoflurane 3 years ago
and Dimitrova couldn't (do justice to the role)?
Wotan123456789 2 years ago
I have listened to Papian a couple of times more just now, and have to admit that it wasn't as bad as I thought after the first time I heard her (and posted my last coment). She's not bad. But I still think she's underpowered in this part and I think she lacks a certain amount of rage in the cabaletta.
dhng1982 4 years ago
The tempo really isn't helping her with the rage part; then again, she may have set it.
bmh4d0k3n 4 years ago
@hotazzoperastud yea I agree doesnt sound shriek to me either quite good actually
TerrancePogue 1 year ago
between papian and guleghina i prefer surely papian... more good tecnique and pretty voice... but both have not the voice for abigaille..
LittlePasserotto 4 years ago
Sure, I prefer Papian ! Guleghina is impossible.
taillia 4 years ago
je prefere Varady sans problème
openaby 4 years ago
Tzaint ansbar Takuhi ierkich ashkharhi. Haiutiune patsartsagabes hbard e kezmov. Anmahutiant ture pats e ailevs.
keutahiatsi 4 years ago
Brava!!!!!!!!
mariavelasco 4 years ago
Beautiful..beautiful...voice, video. Hasmik Papian, you are amazing. I wish we could have more you in Metropolitan opera.
irinam2005 4 years ago
Where was that? She sings very well, it's much nicer to listen to her than to Guleghina. Beautiful voice. Acting is just alright, not overdone definitely. Thanks!
Dormiglione 4 years ago
Thank you for posting this beautiful video. Could we possibly have more of Papian's performances in you tube please?she puts so much emotions in her roles.We love her.
Gregory10000000000 4 years ago
Between the two, I'd definitely choose Papian. She's still in control of her resources, whereas Guleghina's voice is frayed from years of abuse - especially the top. At least you could walk out of the Norma without bleeding ears with Papian's version. 8-) Still awaiting a Norma for our time...
drdre333 4 years ago
Papians voice isn't was it was in this video anymore, while still a beautiful sound and good interpreter her voice has lost agility and is more turned inwards now.
MMMartenSSS 4 years ago
I have seen Papian in Aida and Traviata, not too long ago and the voice seemed fine to me.
hotazzoperastud 4 years ago
It may just have been off-nights for her; I saw her as Traviata in Rotterdam, Norma in Amsterdam and Suor Angelica in Liege all in 2005. She was great in all btw! Suor Angelica was with Fiorenza Cossotto, which was quite a rarity!
MMMartenSSS 4 years ago
Is Cossotto STILL singing? WOW!
drdre333 4 years ago
Yup, caught on exactly her 70th b'day. Beautiful it was not, though quite impressive
MMMartenSSS 4 years ago
Norma is such a hard role because no matter how good the soprano is they will always be haunted by the memories of Callas, Sutherland, Caballe! This makes it less attractive to sopranos that consider taking on the role. In fact, the great Mariella Devia who was forever considering the role (and who would have been great in her own way) will not take on the role now. So will we have a Callas or Sutherland today? No likely, but I really enjoyed Theodossiou in the role!
coloraturafan 4 years ago