She and Miah Persson are my favourite susannas (and I'm not comparing the two, just saying I like their performances equally!!). This is perfect!!!!!!
Sometimes it's hard to reconcile some truly bad work on her part in music that wasn't appropriate for her towards the end of her operatic career with the gleaming, unparalled brilliance of her earlier work in music that was made for her. Like this or Semele or Pamina. Or worse, the recorded versions of things pale in comparison with live. Key example her and Marsalis brutalize the Jauchzett Gott cantata, but if you can track down the live version from the early 80s she is stunning in that music.
How can anyone hate on this VOICE!! this is sung perfect, I even love the acting especially at the end. What I love about Battle is that she is always good/great when she sings an aria, its never a let down, people might have others as their favorites, but even those people have to admit this was simply sublime =)
I agree that Ms Battle always gives a great rendition of the arias she sings, I do disagree with others here, that she has always song for the music. I am not sure why people try to continue to denigrate her!
Well, while I do agree that this version is absolutely fantastic, Steber is even better. Steber sings all the appogiaturas and does some nice ornamentation.
Batthe might have been glorious, but she did not stand alone on the Mozart Pedestal and in some instances people edged her out.
Search Reri Grist in this aria as well. She gives KB a run for her money.
Well-characterized. Gorgeous tone. Exemplary legato & breath control. Well-placed ppp. This, by far, is one of the most satisfying renditions I've ever heard. In fact, it is, right now, my favorite, for no other singer, in my opinion, sings this aria more sensually. Not even the great Lucia Popp, whom I adore. Moments like this remind us why Battle was worshiped in her prime. Then she was a great artist, singing with phenomenal beauty and technical proficiency--always in service of the music.
This comment has received too many negative votesshow
It's so true. And it's also sad what happened in the 90s. There were still moments of brilliance (Adina L'Elisir/some great Rosina's) but her move to the more intensive coloratura stuff was not for her (her recordings of Kostanze/Amina/Maria are a hot mess). If only she had been content with her natural gifts and not tried to move beyond them, she may have been less insecure and, perhaps, a little less nutty to her peers. And still singing at a high level.
This comment has received too many negative votesshow
She recorded the big arias from it, as well as Sonnambula and a bunch of coloratura too big for her in the late 80s/early 90s. The Kostanze is on a mozart disc and Amina is on "bel canto."
Thanks! I remember reading about those recordings now ... but how would that have effected her career? Unless you mean that she made similar mistakes onstage.
This comment has received too many negative votesshow
I just think they were evidence of her aspirations to be what she perceived as a great "leading lady" and not being content as a soubrette specialist, even though that's what her voice really was. I think her aspiratins and insecurities in music that was too big for her contributed to her bad behaviour. She'd still be singing ina/etta roles today (like Blegen and Grist) had she been content to do what her voice was made to do. Marie in Le Fille wasn't it.
I agree with Brownmuscle: What's the point on bringing her personal issues after so many years? And I don't see any relationship between she singing "bigger" roles and her personality. Actuall, I think it's the opposite: she was (and still is) very aware that her instrument is not big and she always kept herself within her limits. For instance, in the late 80's, Karajan asked her to sing the whole role of Konstanze and also Donna Elvira. She said no.
I disagree with you and I would not call "a hot mess" her recordings of ARIAS (not the whole role) of Konstanze, Amina and Marie. Her Ach ich liebte was ok, well negotiated; her Martern was fine, considering the size of her voice. She was awesome as Marie though. Even though she did not record the role on a commercial recording, there is a private recording of her singing Marie with San Francisco Opera. She was glorious; I have that recording.
For my money, Anna Moffo's rendition is the most sensual. As you mentioned, I would not apply that particular adjective to Lucia Popp's performance, but it is one of my favorites. It's just a matter of different approaches. This aria has certainly taken a lot of them, all the way down to Alison Hagley's world-weary, teary version on the Haitink DVD.
I am STUNNED to see this whole performance online. Stunned, thrilled, delighted and overjoyed. I've never loved the Muti Nozze and hearing Battle and this great cast over the last day has been a real treat. Thank you SO much!
This has to be the purest, most effortless and most beautiful "Deh vienni" on youtube... probably the world! Battle here is just... out of this world.
She and Miah Persson are my favourite susannas (and I'm not comparing the two, just saying I like their performances equally!!). This is perfect!!!!!!
papagena92 1 year ago
Wow! I never realized how provacative this song is when singing to her lover, however in a restrained way.
singngurli4jc 1 year ago
Battle is sublime.
racheleleeba 1 year ago
I'm learning this song!
kittypride2 1 year ago
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Compare to another similar aria writen by JOSEPH MARTIN KRAUS (1756-1792):
Concert aria - " Innocente donzelletta "
igorvragovic 1 year ago
Et quelle parfaite entente entre la voix et l'orchestre...
francescobi 1 year ago
EXQUISITE
musicalme27 2 years ago 3
Time stopped on her high "vieni".
I am speechless.
Caramellatta 2 years ago 5
She is absolutely incredible as Susanna. Her musicianship is impeccable. Battle is such a wonderfully special talent.
mgsxmgs 2 years ago 4
I've slammed her in other videos as well but here --- she simply defines the role. exquisite and without peer.
gwright199 2 years ago 2
Sometimes it's hard to reconcile some truly bad work on her part in music that wasn't appropriate for her towards the end of her operatic career with the gleaming, unparalled brilliance of her earlier work in music that was made for her. Like this or Semele or Pamina. Or worse, the recorded versions of things pale in comparison with live. Key example her and Marsalis brutalize the Jauchzett Gott cantata, but if you can track down the live version from the early 80s she is stunning in that music.
FoggyRoad81 2 years ago
I apologize for my criticisms of late-Battle. Whatever I may think about her later work this performance is absolute perfection!
FoggyRoad81 2 years ago 3
How can anyone hate on this VOICE!! this is sung perfect, I even love the acting especially at the end. What I love about Battle is that she is always good/great when she sings an aria, its never a let down, people might have others as their favorites, but even those people have to admit this was simply sublime =)
Bahia82 2 years ago 5
Absolutely breathtaking!
I really feel like I didn't breathe for 5 minutes..
sopranistin13 2 years ago 3
How poor Figaro suffers until he understands what is going on. Great Raimondi!
ElisabettaVS 2 years ago 2
The best rendition ever, ever, ever!
GOD!!!!!!
sweetvlc 3 years ago
I agree that Ms Battle always gives a great rendition of the arias she sings, I do disagree with others here, that she has always song for the music. I am not sure why people try to continue to denigrate her!
Brownmuscle2007 3 years ago 3
Well, while I do agree that this version is absolutely fantastic, Steber is even better. Steber sings all the appogiaturas and does some nice ornamentation.
Batthe might have been glorious, but she did not stand alone on the Mozart Pedestal and in some instances people edged her out.
Search Reri Grist in this aria as well. She gives KB a run for her money.
tenore23 3 years ago
Well-characterized. Gorgeous tone. Exemplary legato & breath control. Well-placed ppp. This, by far, is one of the most satisfying renditions I've ever heard. In fact, it is, right now, my favorite, for no other singer, in my opinion, sings this aria more sensually. Not even the great Lucia Popp, whom I adore. Moments like this remind us why Battle was worshiped in her prime. Then she was a great artist, singing with phenomenal beauty and technical proficiency--always in service of the music.
BlkMuscGent 3 years ago 4
This comment has received too many negative votes show
It's so true. And it's also sad what happened in the 90s. There were still moments of brilliance (Adina L'Elisir/some great Rosina's) but her move to the more intensive coloratura stuff was not for her (her recordings of Kostanze/Amina/Maria are a hot mess). If only she had been content with her natural gifts and not tried to move beyond them, she may have been less insecure and, perhaps, a little less nutty to her peers. And still singing at a high level.
FoggyRoad81 3 years ago
Wait ... did she really sing Kostanze?
nclysander 3 years ago
This comment has received too many negative votes show
She recorded the big arias from it, as well as Sonnambula and a bunch of coloratura too big for her in the late 80s/early 90s. The Kostanze is on a mozart disc and Amina is on "bel canto."
FoggyRoad81 3 years ago
Thanks! I remember reading about those recordings now ... but how would that have effected her career? Unless you mean that she made similar mistakes onstage.
nclysander 3 years ago
This comment has received too many negative votes show
I just think they were evidence of her aspirations to be what she perceived as a great "leading lady" and not being content as a soubrette specialist, even though that's what her voice really was. I think her aspiratins and insecurities in music that was too big for her contributed to her bad behaviour. She'd still be singing ina/etta roles today (like Blegen and Grist) had she been content to do what her voice was made to do. Marie in Le Fille wasn't it.
FoggyRoad81 3 years ago
I agree with Brownmuscle: What's the point on bringing her personal issues after so many years? And I don't see any relationship between she singing "bigger" roles and her personality. Actuall, I think it's the opposite: she was (and still is) very aware that her instrument is not big and she always kept herself within her limits. For instance, in the late 80's, Karajan asked her to sing the whole role of Konstanze and also Donna Elvira. She said no.
TheAleph74 3 years ago 8
Totally disagree with you. Have you heard the whole recording of her Marie?
TheAleph74 2 years ago
@FoggyRoad81 She was the definitive Marie. I have the whole recording, she's stunning.
pedrofribeiro 1 month ago
I disagree with you and I would not call "a hot mess" her recordings of ARIAS (not the whole role) of Konstanze, Amina and Marie. Her Ach ich liebte was ok, well negotiated; her Martern was fine, considering the size of her voice. She was awesome as Marie though. Even though she did not record the role on a commercial recording, there is a private recording of her singing Marie with San Francisco Opera. She was glorious; I have that recording.
TheAleph74 3 years ago 6
For my money, Anna Moffo's rendition is the most sensual. As you mentioned, I would not apply that particular adjective to Lucia Popp's performance, but it is one of my favorites. It's just a matter of different approaches. This aria has certainly taken a lot of them, all the way down to Alison Hagley's world-weary, teary version on the Haitink DVD.
nclysander 3 years ago
I am STUNNED to see this whole performance online. Stunned, thrilled, delighted and overjoyed. I've never loved the Muti Nozze and hearing Battle and this great cast over the last day has been a real treat. Thank you SO much!
FoggyRoad81 3 years ago 6
Don't mention it! It's always a pleasure to share this sort of thing.
antmusique 3 years ago 2
This has to be the purest, most effortless and most beautiful "Deh vienni" on youtube... probably the world! Battle here is just... out of this world.
TheAleph74 3 years ago 2