Speaking of breathing, Lotte Lehmann breathed all over the place, often in the middle of the vocal line where you'd never hear anyone else doing it. And that included opera as well as song. A "short breath," whether natural or due to the moment, is nothing in an aria like this, where one can punctutate the orchestral texture as well as, sometimes, rest on it.
There's no screaming at 3:43. She soars up! Possbily a bit short of breath here and there, but I mention that only in passing, as part of the live performance situation. You should always remember that live art is perfection created in the moment, which means the potential for less than perfect but human. Studio recordings are abstract perfection, abstracted from many takes. That's true if it's opera, music, theater, dance, any art form.
This has got me a little weepy. She's singing it, not screaming it, leaving room for vocal ornamentation, and it's wonderful, with of course, respect to those that defined the role in the last century. This is fucking amazing. ;-)
Alessandra Marc's voice is stunning. This production of 'Turandot', directed by Keita Asari, is one of the most spectacular ones I've ever seen. I've got it recorded on a DVD, and I advise everyone to watch it - you definitely won't regret it.
Marc's voice needs to heard live to appriciate it's full capacity. She stands equal to any of the lengendary singers. Folks, until you yourself can get up there and do it, and as well, just sit back and appricate those who can and do. They go to those positions through years of technical studies and successes climbing a very competitive ladder.
Alessandra Marc's voice is inimitable - her voice is fantastic! The staging is very beautiful! Before I watched this video, I had seen numerous productions of Turandot, and this one produced an exceedingly huge impression on me! And, may you please tell me, where can I acquire the full version of this production? Thank you in advance.
The tempo is crazy... I was wondering what the person who mentioned the tempo was talking about, but at the end it is CRAZY SLOW!!! God, does he think he has Gods here singing? No one can sustain those notes like that!
I heard Marc in the late 80's and she was terrifically exciting; a beautiful voice, great word sense, imaginative coloration and the loudest soprano since Nilsson.
Now the voice is gone. Marc has no breath, the glottal explosions are all over the place, and maybe the voice is smaller.
If she's lost weight, that's part of the problem, as it also hurt the tops of Callas, Norman and Voigt.
Listen to Marc's Elektra with Sinopoli. Much better.
This doesn't sound like the same person I heard a few years earlier in Orange County --the voice then was HUGE and solid as a rock throughout its range. btw, when Eaglen canceled the alternate perf's, Marc sang all eight in one week...
She can barely manage her lower register and the high notes sound too strained to me. She also seems to have struggles to keep up with tempo. Sorry but I don't like this performance at all.
New production at Scala, 2002, conducted by Pretre, also with Gallardo-Domas as Liu. Have seen this on PBS but not available as a DVD. She sounds fabulous to me.
Birgit Nilsson, Maria Callas, Joan Sutherland, and Eva Turner were the best turandots. Alessandra is very good but she fils more in the gweneth Jones category which is a step down but still good.
What a performance---some of those high notes are truly electrifying! I first met this great soprano about 30 years ago when she was Judy Borden, University of Maryland drop-out and singing in the Washington Opera Chorus...trust me--she has come a looooooooong way!!!
ha. martinucci is SO good in this. 60 years old and this is leaps and bounds above the other duets i have come across with him in his earlier years in turandot.
A truly beautiful and lucious voice! I agree with Marchesano, although Ms. Marc does seem to have an important concert career. Great to see and hear her in this video!
Those are not "cracks" in the voice. It is a technique and stylistic approach to certain lines and can be heard in dramatic voices of both soprano and tenors. Sometimes referred to as a sob or yelp in some cases. It is an exaggerated sigh, carrying the voice into the line to emphasize drama. Many singers who continued this Italian technique were criticized in their careers for it, including the great Corelli. She is in control throughout this performance and does it in places on purpose.
It is a great and sizable voice and she has no career now because of her size. Opera houses should be ashamed! I heard her two years ago in Washington DC in a piano recital she gave a few months after back surgery. She sang the recital from a wheel chair, and blew away the room with beauty and power. She sang several arias in the performance as well as some Gershwin, etc. Alessandra is a remarkable and musical singer.
cracks can happen on stage... no problem with that.
i think this is a marvellous voice with a good deal of musicality, the only thing that makes me sad is, that she has breath support trobles because of her body weight. a lot of phrases have to be interrupted because of lack of breath
Good grief. What is this need to create a hierarchy of brilliance?
Nilsson and Sutherland are gone. I love their work but who cares if they were better? Opera is a living art form. Its chances of survival are limited otherwise.
OMG. what has Sutherland to do with Turandot?? She sang it only in an experimental recording... of course she was an awesome singer, great Amina, Lucia, Elvira... but her voice, even if quite big and lyrical, is really miles far from being the right voice for Turandot.
It's not a chance that she never sang it on scene. This role would've destroyed her voice.
She would've been an excellent Liù, but let Turandot to the true great Turandots: Nilsson, Dimitrova, Callas, Marton.
only a mental case would call a recording with Sutherland, Caballé, Pavarotti and conducted by Zubin Mehta "experimental". Sutherland had a bigger voice than Callas, Nilsson and the other minor-leaguers you mention and could sing Turandot on stage with her eyes closed. She didn't because bel canto was her deal and it kept her busy enough.
Su therland's voice bigger than Callas' and NILSSON'S??? That's soooo funny.
Joan's voice was very big indeed in comparison to light sopranos who usually sing her same roles, but it's ridicoulos to compare it to the sheer power of the voices I mentioned, who had other, very different qualities from her's. Of course, she lacked dramatic power and was not at ease on low notes. Dame Joan is very intelligent, and she didn't put her carrer at risk singing on stage a role that was suicide for her.
I was talking about real singing, not screaming. If screaming is the measure, then Callas and Nilsson win of course. Sutherland could easily overcome an orchestra, even in Puccini.
There's absolutely nothing to address when somebody writes that Callas and Nilsson were screamers, and other similar silly things of rhe same league.
There's only a big, wide, triumphant ignorance.
So just live with it, if you like... I prefer not wasting my time, given that I tried writing seriously but received only offenses and deaf fanboy sentences.
Oh, there's nothing to win, of course :-) . Have a nice day too.
@anoperamusician You got that right. Try to say something serious about music or singing and the crazies line up to vilify you. The Callas Queens are the worst. I don't waste my time any more either. What did the one opera queen say? "Sutherland had a much bigger voice than Nilsson." Good grief how do you even respond to that? And then if you write that you heard these people live and you know how they sounded, then you're an arrogant kwow-it-all. Meglio tacere
In any case, please don't be offensive, with other commenters and with singer like Dimitrova and Marton, "minor leaguers" who are the greatest dramatic sopranos of last 40 years. Maybe you just didn't ever heard about them. It's not so obvious that anything made from recording mayors is the best possible. So often, it's only the best SELLING possible, with little attention to quality.
And putting great, popular singers into completely improper roles is just commercial junk.
Why do people around here take such pleasure in being nasty? This is great singing - not Eva Turner or Nilsson or whoever because she is a different person. The music is exceptionally difficult and Marc is employed because she is reconised in the profession as one of the very best exponents of this time. It would be great if people were more understanding of what it's like to stand up and sing something like this. Stop the gripes. See the bigger picture.
I think this is exceptional singing. I like how she keeps her tone light without sacrificing volume or quality. It reminds me of Eileen Farrell's recording of the aria.
You detractors of this are champions of the "auctioneer/hog caller" approach to dramatic soprano singing. This is skillful and intelligent singing at its finest.
Unfortunately, she has not been hired because of her size, and that is a crime, when a singer is this good. She sculpts the line and sings with feeling. The voice is large. I have heard her several times live, from arias concerts to Strauss Four Last Songs. Ms MArc is first rate. BTW, Nilsson and Dimitrova are gone forever, both deceased, so you have no hopes of them coming back!
If she practices the role very hard? You don't know anythign about her at all, do you? She's been singing the role for a long time; since at least the early 90's, and she's been around longer than that; she won MET council audtions in 1983 I think. She's fabulous. WAY more than just "acceptable".
Not only that but she has sung Turandot at the Met, Covent Garden, La Scala, Opera Company of Philadelphia, Opéra Bastille, Washington National Opera, Opera Australia, the New National Theatre in Tokyo, Maggio Musicale Fiorentino, Festival Puccini, and a host of other places. She has done more Turandots than any other singer alive right now.
She actually does a fine job with this aria. I'd defy scarpia1965 or anyone to show me a singer who can perform this better these days.
True, Marc's is probably more of a lirico-spinto voice rather than a dramatic soprano. She is certainly not a Dimitrova or Nilsson type, so to compare Marc to her is just silly.
And the whole nonsense about her not fulfilling the "next Nilsson" label is absurd. Who needs another Nilsson? Take Marc on her own terms and stop being so catty.
Her voice color is really dark but the high range is evidently lyric in nature, I saw her in other roles like Verdi's Don Carlos and the lyric lines are much better for her.Like Domingo was never a real dramatic voice or dark lyric voice she has the same.
this was Nicola Matteucci and Alessandra Marc, well... it's inpossible that 2 liric singers don't going well in time... they are ensemble in Turandot when that is Macerata (1996 7 times and 1998 2 times)!
ummm...so what are you saying exactly? If you're saying that Marc is a lyric soprano, you be very wrong. I've seen her live, and the voice is HUGE. Martinucci isn't a lyric singer either..
I do not like to critisize opera, and find many comments here on youtube that are simply stupid. But this is possibly the worst "In questa Reggia" ive seen. Marc is clearly fighting for those high notes, the tenor is looking stupid, and there duetting in the end is sounding bad, and is non-coherent. Sorry
wow...how fabulous...she's lost a LOT of weight. SHE still sounds great; this is one of my favorite voices. It's a real Rolls Royce of a voice. thanks for this.
You're right- she sounds really good here! The commments on here are just outrageous- ranging from stupid to beyond reproach! She is a great dramatic voice, and MUCH underappreciated here in America.
When one has to fight for highnotes it is hard to call that person a great voice. She was once called the next Birgit Nilsson, but this fame quickly diminished when her voice became pushed and inconsistent. Read about it.
Speaking of breathing, Lotte Lehmann breathed all over the place, often in the middle of the vocal line where you'd never hear anyone else doing it. And that included opera as well as song. A "short breath," whether natural or due to the moment, is nothing in an aria like this, where one can punctutate the orchestral texture as well as, sometimes, rest on it.
Tarcisisu53 2 months ago
There's no screaming at 3:43. She soars up! Possbily a bit short of breath here and there, but I mention that only in passing, as part of the live performance situation. You should always remember that live art is perfection created in the moment, which means the potential for less than perfect but human. Studio recordings are abstract perfection, abstracted from many takes. That's true if it's opera, music, theater, dance, any art form.
Tarcisisu53 2 months ago
This has got me a little weepy. She's singing it, not screaming it, leaving room for vocal ornamentation, and it's wonderful, with of course, respect to those that defined the role in the last century. This is fucking amazing. ;-)
MrJustin2782 3 months ago
Alessandra Marc's voice is stunning. This production of 'Turandot', directed by Keita Asari, is one of the most spectacular ones I've ever seen. I've got it recorded on a DVD, and I advise everyone to watch it - you definitely won't regret it.
MrSeveryan 3 months ago
Marc's voice needs to heard live to appriciate it's full capacity. She stands equal to any of the lengendary singers. Folks, until you yourself can get up there and do it, and as well, just sit back and appricate those who can and do. They go to those positions through years of technical studies and successes climbing a very competitive ladder.
ronboucher 5 months ago
I just met Alessandra this past week when she came into my clothing store to shop. What a lovely woman she is, and what an incredible talent!
SasaWest69 6 months ago
People must see her 1996 Richard tucker performance of this ARIA. THE BEST HANDS DOWN! What happened to it!
ascooby 7 months ago in playlist Turandot
Well the high notes are too shaky , and she suffers sto much on bringing them out . Nice tiber anyway
operaclassicc 8 months ago
SHE IS MY AUNT. :)
hannahsthebomb 9 months ago
UJAS!
fugu111 9 months ago
horrible!!!
MrsNewguy 9 months ago
Go to listen Ms. Nilsson
80Mrmirko 9 months ago
Alessandra Marc's voice is inimitable - her voice is fantastic! The staging is very beautiful! Before I watched this video, I had seen numerous productions of Turandot, and this one produced an exceedingly huge impression on me! And, may you please tell me, where can I acquire the full version of this production? Thank you in advance.
MrSeveryan 9 months ago
Nice!, the tenor's voice is quite similar to corelli's voice!!
MrJuanBampa 11 months ago
The tempo is crazy... I was wondering what the person who mentioned the tempo was talking about, but at the end it is CRAZY SLOW!!! God, does he think he has Gods here singing? No one can sustain those notes like that!
rlee1976 11 months ago
she is simply brilliant!!!!!!!!!!!!
annakayward 1 year ago
TOO LATE! This is heartbreaking.
I heard Marc in the late 80's and she was terrifically exciting; a beautiful voice, great word sense, imaginative coloration and the loudest soprano since Nilsson.
Now the voice is gone. Marc has no breath, the glottal explosions are all over the place, and maybe the voice is smaller.
If she's lost weight, that's part of the problem, as it also hurt the tops of Callas, Norman and Voigt.
Listen to Marc's Elektra with Sinopoli. Much better.
panskeptic 1 year ago
I was surprised to see how much weight she has lost. Check some earlier clips of hers - she used to be twice the size.
Lindow 1 year ago
Terrible! Also I am not against fat people but on stage we are only to sing but to act!The poor lady can not even breath correctly What a shame...
andiacal 1 year ago
This doesn't sound like the same person I heard a few years earlier in Orange County --the voice then was HUGE and solid as a rock throughout its range. btw, when Eaglen canceled the alternate perf's, Marc sang all eight in one week...
Randidan 1 year ago
She can barely manage her lower register and the high notes sound too strained to me. She also seems to have struggles to keep up with tempo. Sorry but I don't like this performance at all.
raaadja99 1 year ago
Alessandra, you are very appreciated in Romania. You are the best !
breakpoint30 1 year ago
New production at Scala, 2002, conducted by Pretre, also with Gallardo-Domas as Liu. Have seen this on PBS but not available as a DVD. She sounds fabulous to me.
pkunzip501 2 years ago
Grassa Brutta e calante!!!!!!
ilombardi123456 2 years ago
God people, RHYTHM and TOGETHERNESS would be so damn nice. GOD. No wonder she has to take breaths where she shouldn't
cmhmuscle 2 years ago 2
Birgit Nilsson, Maria Callas, Joan Sutherland, and Eva Turner were the best turandots. Alessandra is very good but she fils more in the gweneth Jones category which is a step down but still good.
Royalorgans 2 years ago
@Royalorgans
You probably forget Ghena Dimitrova.
Aetion 1 year ago
What a magnificent voice that was. She sang here in Chicago many times. thank you!
7inga7 2 years ago
What a performance---some of those high notes are truly electrifying! I first met this great soprano about 30 years ago when she was Judy Borden, University of Maryland drop-out and singing in the Washington Opera Chorus...trust me--she has come a looooooooong way!!!
markedwardindc 2 years ago
ha. martinucci is SO good in this. 60 years old and this is leaps and bounds above the other duets i have come across with him in his earlier years in turandot.
gdawg116 2 years ago
Brava!
AfroPoli 2 years ago
Comment removed
anoperamusician 2 years ago
Why the Met hires people like Gruber and Ghulegina to sing this and not Marc is one of the great operatic mysteries to me.
tristanchord85 2 years ago 2
A truly beautiful and lucious voice! I agree with Marchesano, although Ms. Marc does seem to have an important concert career. Great to see and hear her in this video!
Harpsicat 2 years ago 2
Enormous voice, wonderful characterisation, great Turandot.
kevinrainey 3 years ago
Those are not "cracks" in the voice. It is a technique and stylistic approach to certain lines and can be heard in dramatic voices of both soprano and tenors. Sometimes referred to as a sob or yelp in some cases. It is an exaggerated sigh, carrying the voice into the line to emphasize drama. Many singers who continued this Italian technique were criticized in their careers for it, including the great Corelli. She is in control throughout this performance and does it in places on purpose.
marchesano 3 years ago
It is a great and sizable voice and she has no career now because of her size. Opera houses should be ashamed! I heard her two years ago in Washington DC in a piano recital she gave a few months after back surgery. She sang the recital from a wheel chair, and blew away the room with beauty and power. She sang several arias in the performance as well as some Gershwin, etc. Alessandra is a remarkable and musical singer.
marchesano 3 years ago
Well, all of you who go on about the cracks get up there and have to sing this FIRST THING OUT OF YOUR MOUTH THE WHOLE EVENING will ya?
nohpiano 3 years ago 3
cracks can happen on stage... no problem with that.
i think this is a marvellous voice with a good deal of musicality, the only thing that makes me sad is, that she has breath support trobles because of her body weight. a lot of phrases have to be interrupted because of lack of breath
mrlammermoor 3 years ago
This comment has received too many negative votes show
If you want to here a true Turandot, then listen to Birgit Nilsson or Joan Sutherland.
Royalorgans 3 years ago
Good grief. What is this need to create a hierarchy of brilliance?
Nilsson and Sutherland are gone. I love their work but who cares if they were better? Opera is a living art form. Its chances of survival are limited otherwise.
Operataurus 3 years ago 17
well wouldnt you liek to here the best
Royalorgans 3 years ago
@Operataurus you´re so right!
werther11998877 1 year ago
OMG. what has Sutherland to do with Turandot?? She sang it only in an experimental recording... of course she was an awesome singer, great Amina, Lucia, Elvira... but her voice, even if quite big and lyrical, is really miles far from being the right voice for Turandot.
It's not a chance that she never sang it on scene. This role would've destroyed her voice.
She would've been an excellent Liù, but let Turandot to the true great Turandots: Nilsson, Dimitrova, Callas, Marton.
anoperamusician 2 years ago 2
only a mental case would call a recording with Sutherland, Caballé, Pavarotti and conducted by Zubin Mehta "experimental". Sutherland had a bigger voice than Callas, Nilsson and the other minor-leaguers you mention and could sing Turandot on stage with her eyes closed. She didn't because bel canto was her deal and it kept her busy enough.
tklogan11809 2 years ago
Su therland's voice bigger than Callas' and NILSSON'S??? That's soooo funny.
Joan's voice was very big indeed in comparison to light sopranos who usually sing her same roles, but it's ridicoulos to compare it to the sheer power of the voices I mentioned, who had other, very different qualities from her's. Of course, she lacked dramatic power and was not at ease on low notes. Dame Joan is very intelligent, and she didn't put her carrer at risk singing on stage a role that was suicide for her.
anoperamusician 2 years ago 3
I was talking about real singing, not screaming. If screaming is the measure, then Callas and Nilsson win of course. Sutherland could easily overcome an orchestra, even in Puccini.
tklogan11809 2 years ago
That's so silly and childish. It doesn't deserve any reply.
Fanboys' existence is just so stupid in sports, but in lyric singing it's even more absurd.
anoperamusician 2 years ago
yeah yeah thank for your generalities and for not addressing what I wrote, which is proof that I won the argument. Have a good day.
tklogan11809 2 years ago
Comment removed
anoperamusician 2 years ago
There's absolutely nothing to address when somebody writes that Callas and Nilsson were screamers, and other similar silly things of rhe same league.
There's only a big, wide, triumphant ignorance.
So just live with it, if you like... I prefer not wasting my time, given that I tried writing seriously but received only offenses and deaf fanboy sentences.
Oh, there's nothing to win, of course :-) . Have a nice day too.
anoperamusician 2 years ago 9
@anoperamusician You got that right. Try to say something serious about music or singing and the crazies line up to vilify you. The Callas Queens are the worst. I don't waste my time any more either. What did the one opera queen say? "Sutherland had a much bigger voice than Nilsson." Good grief how do you even respond to that? And then if you write that you heard these people live and you know how they sounded, then you're an arrogant kwow-it-all. Meglio tacere
assindiastignani 3 months ago
This has been flagged as spam show
In any case, please don't be offensive, with other commenters and with singer like Dimitrova and Marton, "minor leaguers" who are the greatest dramatic sopranos of last 40 years. Maybe you just didn't ever heard about them. It's not so obvious that anything made from recording mayors is the best possible. So often, it's only the best SELLING possible, with little attention to quality.
And putting great, popular singers into completely improper roles is just commercial junk.
anoperamusician 2 years ago
Comment removed
Schollistico 2 years ago
Why do people around here take such pleasure in being nasty? This is great singing - not Eva Turner or Nilsson or whoever because she is a different person. The music is exceptionally difficult and Marc is employed because she is reconised in the profession as one of the very best exponents of this time. It would be great if people were more understanding of what it's like to stand up and sing something like this. Stop the gripes. See the bigger picture.
Operataurus 3 years ago
This comment has received too many negative votes show
I believe her voice is great, But Birgit Nilsson and Joan Sutherland sand it better.
Royalorgans 3 years ago
Her voice cracked at 3:52. Sound like duckling.
peteloh81 3 years ago
"quel grido e quella morte" è pessimo.
oloferne84 3 years ago
for which saw Marc in the trouvere, ARIANE etc.... it is a sorry scandal. a horror.
marioj34 3 years ago
I think this is exceptional singing. I like how she keeps her tone light without sacrificing volume or quality. It reminds me of Eileen Farrell's recording of the aria.
You detractors of this are champions of the "auctioneer/hog caller" approach to dramatic soprano singing. This is skillful and intelligent singing at its finest.
MuscleMikal 3 years ago
why??? this is the crisis of opera, no more dramatic sopranos, then don¨¨t stage Turandot!!
cantanteporsiempre 3 years ago 2
C'est la première fois que j'entends Mme
Alexandra Marc,je la trouve très acceptable
bravo
guy1938 3 years ago
Unfortunately, she has not been hired because of her size, and that is a crime, when a singer is this good. She sculpts the line and sings with feeling. The voice is large. I have heard her several times live, from arias concerts to Strauss Four Last Songs. Ms MArc is first rate. BTW, Nilsson and Dimitrova are gone forever, both deceased, so you have no hopes of them coming back!
marchesano 3 years ago 2
"Not bad" ?!!!
Are you crazy? Madam Marc is a Maestra assoluta.
She really belongs to the best singers EVER.
And I find her attractive. Not in the way of nowodays skeletons, though.
In the Renaissance she would have been considered a vamp. Down with body fascism!
SENAFOREVER 3 years ago
Quite interesting although she is not my cup of tea...
asisecanta 3 years ago
not bad!
like her singing!
heard her live once in Brahms' 'Ein Deutsches Requiem' and still remember, how impressed I was by her voice (and figure, unfortunately).
It ain't over till the fat lady sings...
kateholli 4 years ago
Holy smokes...Who's the maestro? This tempo drags on and on. Anyone could choke singing it at this tempi!
donatello1 4 years ago 3
I bealieve she is just an acceptable Turandot, but if she practices the role very hard she could become the new reference Turandot.
I wish her the best luck.
Ostasio 4 years ago
If she practices the role very hard? You don't know anythign about her at all, do you? She's been singing the role for a long time; since at least the early 90's, and she's been around longer than that; she won MET council audtions in 1983 I think. She's fabulous. WAY more than just "acceptable".
BeauTenor 4 years ago
Not only that but she has sung Turandot at the Met, Covent Garden, La Scala, Opera Company of Philadelphia, Opéra Bastille, Washington National Opera, Opera Australia, the New National Theatre in Tokyo, Maggio Musicale Fiorentino, Festival Puccini, and a host of other places. She has done more Turandots than any other singer alive right now.
naters81 3 years ago
The conductor is really not the best....bad tempi.... also nessun dorma...
DaDaFamily 4 years ago
She actually does a fine job with this aria. I'd defy scarpia1965 or anyone to show me a singer who can perform this better these days.
True, Marc's is probably more of a lirico-spinto voice rather than a dramatic soprano. She is certainly not a Dimitrova or Nilsson type, so to compare Marc to her is just silly.
And the whole nonsense about her not fulfilling the "next Nilsson" label is absurd. Who needs another Nilsson? Take Marc on her own terms and stop being so catty.
mtrav95 4 years ago 2
The conductor, whoever he is, should be shot....anyone would die singing his tempi....
mojekajby1 4 years ago 2
Her voice color is really dark but the high range is evidently lyric in nature, I saw her in other roles like Verdi's Don Carlos and the lyric lines are much better for her.Like Domingo was never a real dramatic voice or dark lyric voice she has the same.
ilbacioditosca 4 years ago 2
She sings terrible!
scarpia1965 4 years ago
When she performed at La Scala,after Nilsson and Ghena,the public was uncertain....
saverioorlando 4 years ago
Maybe they should try to get Nilsson or Ghena to come back and sing again. I think that they will be certain after that!
craigwalters 4 years ago
You cannot find a Turandot in every bush...
jodalit33 4 years ago
On a lighter note - have a look at Dawn French as Renata von Trap. The resemblance is astonishing ...
owenboi66 4 years ago
she is having a bad night ..really struggling but she has had many other great nights
nabucco0 4 years ago
There are Coloratura:
* Dessay & Sumi Jo (different, one has higher tessitura)
There are Dramatic:
*Dimitrova & Marc (Dimitrova is louder and thicker) but Marc is still dramatic.
pirocagrande 4 years ago
Just listen to "quel grido"... she takes it a little to literally...
Dymension 4 years ago
This is actually from June 2001.
bernaljim 4 years ago 2
this was Nicola Matteucci and Alessandra Marc, well... it's inpossible that 2 liric singers don't going well in time... they are ensemble in Turandot when that is Macerata (1996 7 times and 1998 2 times)!
ericcardo 4 years ago
ummm...so what are you saying exactly? If you're saying that Marc is a lyric soprano, you be very wrong. I've seen her live, and the voice is HUGE. Martinucci isn't a lyric singer either..
BeauTenor 4 years ago
She's a spinto.
Liwah 4 years ago 3
Please listen other vidieos of her,
cek1111 3 years ago
This comment has received too many negative votes show
Filth
Caskader 4 years ago
Oh Dear, watch Ghena Dimitrova perform this one. A big difference. All I can say is she is tried hard.
lynnhounsell 4 years ago
So what if she looks like she is struggling, she sings them well!!
bondal 4 years ago
He was louder than her! I've seen this entire performance, and the soprano always wins. Not this time...
Dymension 4 years ago
I do not like to critisize opera, and find many comments here on youtube that are simply stupid. But this is possibly the worst "In questa Reggia" ive seen. Marc is clearly fighting for those high notes, the tenor is looking stupid, and there duetting in the end is sounding bad, and is non-coherent. Sorry
Danetenor 5 years ago 2
Gods! I love her even when not perfect. That pinched tenor wrecks the climax with his non-existent sense of rhythm...
scruffycritter 5 years ago
she had one minor flub, but thats live opera for you...its never perfect. other than that, she sounds and looks amazing!! thats one hell of a voice!
nycmetbound 5 years ago
don't know but her voice sounds a little bit dry at some passages
chapuzeto 5 years ago
wow...how fabulous...she's lost a LOT of weight. SHE still sounds great; this is one of my favorite voices. It's a real Rolls Royce of a voice. thanks for this.
BeauTenor 5 years ago
please chek urself on that. that was really dreadful!
schicchi1160 5 years ago
see her live, thane say that.
BeauTenor 5 years ago
o i have! miserable!
schicchi1160 5 years ago
well, to each his own. I saw her in Dallas and she was amazing. Huge voice, force of nature like.
BeauTenor 5 years ago
You're right- she sounds really good here! The commments on here are just outrageous- ranging from stupid to beyond reproach! She is a great dramatic voice, and MUCH underappreciated here in America.
courtneybaritone01 5 years ago
When one has to fight for highnotes it is hard to call that person a great voice. She was once called the next Birgit Nilsson, but this fame quickly diminished when her voice became pushed and inconsistent. Read about it.
schicchi1160 5 years ago