1. It's irrelevant to the discussion whether modern mezzo soprani sing this role today or not. Rodrigo is designated 'soprano' in the score, and the early 18th century did not recognize the 'mezzo-soprano' as a voice type.
2. He is not a countertenor/choir alto. He is obviously attempting the connection of head and chest registers, as ALL castrati (Tosi, Tenducci, Mancini, etc) writers considered essential to complete singing. His being a man, not a castrato, makes this harder.
The Role of Rodrigo is a solid mezzo-contralto of today, not soprano. He was sung by Banditelli and Wesserling in the recordings.
His voice anyway is not good, he doesn't have the support for low notes at all and in few occasions he is forced to move to the bariton register (something a counter should not do). Besides, it is very small and with shaky intonation.
He tries to mask his technical deficiencies with the spectacular (but empty, in my opinion) shouts in the acute part
Sorry... But there were notes sung that are NOT in a sopranos' true range... I am still not convinced that we have a true understanding of what's going on here. Someone care to explain? Dispassionately, please...
The lowest note in this piece is a low F#. That is still within a true soprano's range...a male soprano. You can find the same note in several pieces for male sopranos like from Mozart (Lucio Silla).
interesting voice, but he is either too far from the audience of the orchestra is too loud, or (less likely) he doesn't have enough power. I didn't understand a single word, except maybe "assai" near the end. I don't think it was necessary to make him crouch like that all the time. Is that the new standard singing position? You see it everywhere. But I like the idea of the tower and the crown.
as desirable as it is to understand the words, it is not so necessary with such a superb voice. People used to wonder even what language Joan Sutherland was singing in....who cares with a voice like that!
Well, it does seem the voice is coming from a place other than his body, it is a bit too boyish for a grown man, but still, I cannot possibly dismiss the fact that this is, at the same time, one of the most beautiful and unique voices I have ever heard. :)
When all these idiot stage directors will stop to punish us with their obrobrious, trivial, and stupid mise en scene of baroque operas will be always too late.
@ counterforever20: do you really believe in what you are writing here? the man sings in a high quality and he is not a countertenor like you think he is. robert crowe is a male soprano and he has a big talent and a beautiful voice. so please inform you before writing wrong information!
I missed the post you are replying to, but I had to reply to you to say I agree completely with you. I heard Robert Crowe today in solo recital of three Carissimi motets and his line, range, diction, dynamics, and expression are astounding. Really the most lovely singing I've heard and I've been a professional accompanist for singers for 33 years.
@hugolight I understand your terminological choice/preference but a male soprano can also be called a counter tenor. Now I do understand that he is singing in modal/soprano voice not in falsetto, so I understand your preference
This comment has received too many negative votesshow
I am sorry but this man is so ridiculous even if he has a beautiful voice .Don' t forget that countertenor is a MALE voice !!! ( listen Bejun Mehta or David Daniels who sing very high but with virility and power..!!)
@perles75
1. It's irrelevant to the discussion whether modern mezzo soprani sing this role today or not. Rodrigo is designated 'soprano' in the score, and the early 18th century did not recognize the 'mezzo-soprano' as a voice type.
2. He is not a countertenor/choir alto. He is obviously attempting the connection of head and chest registers, as ALL castrati (Tosi, Tenducci, Mancini, etc) writers considered essential to complete singing. His being a man, not a castrato, makes this harder.
instacapon 10 months ago
The Role of Rodrigo is a solid mezzo-contralto of today, not soprano. He was sung by Banditelli and Wesserling in the recordings.
His voice anyway is not good, he doesn't have the support for low notes at all and in few occasions he is forced to move to the bariton register (something a counter should not do). Besides, it is very small and with shaky intonation.
He tries to mask his technical deficiencies with the spectacular (but empty, in my opinion) shouts in the acute part
perles75 1 year ago
Sorry... But there were notes sung that are NOT in a sopranos' true range... I am still not convinced that we have a true understanding of what's going on here. Someone care to explain? Dispassionately, please...
Emyth9 2 years ago
The lowest note in this piece is a low F#. That is still within a true soprano's range...a male soprano. You can find the same note in several pieces for male sopranos like from Mozart (Lucio Silla).
TheAulos 2 years ago
interesting voice, but he is either too far from the audience of the orchestra is too loud, or (less likely) he doesn't have enough power. I didn't understand a single word, except maybe "assai" near the end. I don't think it was necessary to make him crouch like that all the time. Is that the new standard singing position? You see it everywhere. But I like the idea of the tower and the crown.
wattever333 2 years ago
as desirable as it is to understand the words, it is not so necessary with such a superb voice. People used to wonder even what language Joan Sutherland was singing in....who cares with a voice like that!
mmabq 2 years ago
crouch?
christiaandhooghe 2 years ago
crouch and crawl actually.
wattever333 2 years ago
oops, I meant "audience OR the orchestra"
wattever333 2 years ago
can anyone tell me the name of this aria?
transsinger 2 years ago
"Siete assai superbe oh stelle"
idaspe 2 years ago
well now, that was surprising. very good, i'm in awe
samararh3 2 years ago 2
Io non credo che in teatro sia facile udire la sua voce...
Gentario 2 years ago 2
Well, it does seem the voice is coming from a place other than his body, it is a bit too boyish for a grown man, but still, I cannot possibly dismiss the fact that this is, at the same time, one of the most beautiful and unique voices I have ever heard. :)
lalagonegaga 2 years ago
When all these idiot stage directors will stop to punish us with their obrobrious, trivial, and stupid mise en scene of baroque operas will be always too late.
singingtruth76 3 years ago 6
@ counterforever20: do you really believe in what you are writing here? the man sings in a high quality and he is not a countertenor like you think he is. robert crowe is a male soprano and he has a big talent and a beautiful voice. so please inform you before writing wrong information!
hugolight 3 years ago 5
I missed the post you are replying to, but I had to reply to you to say I agree completely with you. I heard Robert Crowe today in solo recital of three Carissimi motets and his line, range, diction, dynamics, and expression are astounding. Really the most lovely singing I've heard and I've been a professional accompanist for singers for 33 years.
mmabq 2 years ago
@hugolight I understand your terminological choice/preference but a male soprano can also be called a counter tenor. Now I do understand that he is singing in modal/soprano voice not in falsetto, so I understand your preference
okebaram 1 year ago
This comment has received too many negative votes show
I am sorry but this man is so ridiculous even if he has a beautiful voice .Don' t forget that countertenor is a MALE voice !!! ( listen Bejun Mehta or David Daniels who sing very high but with virility and power..!!)
counterforever20 3 years ago
This comment has received too many negative votes show
what a bizarre sound. even for a countertenor, perhaps he would be better in 'boy' roles like Sesto.
altodivo 3 years ago
He has sang Sesto and it's on recording.
CubbyNH 3 years ago 3
Bella voce, costumi e scenografia invece lasciano a desiderare per rappresentare il barocco
Athys700 3 years ago 8
Beautiful! great voice!
Athys700 4 years ago 8