DD does a good job here. a bit too much vibraato for me, but that's what happens when u push enough air to carry a large hall. --this bit about the dif between a falsetist & "real" ct is moot. Both are CTs. One is an unchanged voice, the other (like me) used the falsetto to find the CT voice. Now, in my mid register you can't tell whether I'm singin in full chest voice or head voice--sometimes I even forget--but it's all head, until I drop into the lowest part of the register. We are all CTs.
I love Mr. Daniels rich sound. It is pointless to compare one singer to another as they are all different gifts.
I only wish that I could sing like this and I am happy to see the revival of the countertenor voice in the world today.
It is for the connoiseur and, for me, much more beautiful than the woman´s voice in the same register. It is a part of the old aristocracy, and I don´t mind being labeled a snob for it.
Daniels uses (IMHO) simply too much vibrato too often and his pianissimo never really reaches a projected pianissimo. His high register tends to be a touch shrill and forced - it doesn't sound as effortless as Scholl's does.
@musicofnote1 I have heard David Daniels live many times and over a long period of time, and I can safely say his voice has never sounded forced or shrill to me, whether it be in a large hall like the Barbican in London, or the intimate acoustic of the Wigmore Hall. Furthermore he has a gift for communication, which is second to none. I have no hesitation in calling him one of the greatest singers at present before the public, whatever their range.
@musicofnote1 Interesting opinion...I listened to this and the Scholl version back and forth...I thought each performance had it's own strengths. I find Daniel's performance has more character and emotion. Not always the prettiest ct, but I think great conveyance of emotion. I think Scholl's voice is more classically beautiful, but sometimes I find myself being a bit emotionally underwhelmed by his performances. I
I saw Daniels in Munich a couple of years agp. I still prefer Andreas Scholl generally. Scholl has much more control over his voice, and definately has the larger dynamic range from inaudible to a beatiful unforced forte. Scholl uses vibrato as a true Baroque ornament, meaning he first hits the note and then warms it with vibrato (as a general rule) instead of vibrating from note to note.
2)At least in my country,the most of the music teachers r used to work with regular voices like tenor or soprano,so many r going tho reject a countertenor cause they don't know what to do with us or many people is ignorant about it and think that we r falsettistas,they don't see us as real voices,I just an audition to enter to a superior level study,but the teacher was ingnorant he call me a falsettista,im not and can proved,even i was one of the best he rejected me for being a real ct
or cast a female contralto or mezzo for the role,at the end all that matters is the opera as an everything,everything must match to do a good performance,like my teacher told me singers r instruments too,if one instrument dosn't have the right sound to match the rest of the orchestra it must to be replaced with an instrument with the right sound,a singer can be very famous but ,one singer can't compromise the whole opera and the work of all the other musicians
Probably the only countertenor now days that can sing this and really fill the theater...David Daniels is the first dramatic countertenor with a bel canto technique like any other mezzo soprano(female) that's why he can sing louder,with vibrato and full of harmonics and be hearded amount the orchestra...Andreas Scholl and his small english countertenor technique voice can hardly be heared with only a harpsichord
Heard Scholl in Rodelinda at glyndebourne a few years ago. Quite simply a stunning vocal performance. The Met production looks far superior - however doing Handel opera in a theatre the size of the Met seems pretty pointless as the scale of the opera is simply not designed for it. To hear his operas properly you need to hear in the theatres for which they were written for.
but for the other hand these operas were written for castrati, and castrati powerful voices can full any theater,people say that there r no singers male or female who can sing as a "loud" as a castrato,but at least a good real countertenor can sing as "loud" as mezzosoprano(cause the people who can't affort front row alse has the right to hear!) not some english school falsettista who can barely be heared in the 3rd row
yea - although not a problem at Glyndebourne as the acoustics are "perfect" with no difference between the first and last rows ! although it does only seat around 900
Well as a countertenor (real one not falsettista) and a person who study the early and baroque repertoire,theres not valid to say a real baroque countertenor!,old school researchers say that early music should be perform with "white voices"(child-like without vibrato and ornamentations) (of course that BAROQUE music was performed by castrati and the glory of castrati was the vocal fireworks! on big opera theaters
So now there like 2 paths,old school and new school baroque musicians,we know now that the early music was performed according with the voice of different singers,some singers have big voices,dark voices,naturally with vibrato and the ornamentations was a choice of the singer,so both styles r correct...both techniques r correct David Daniels is as "real baroque countertenor" than Andreas Scholl
Im sorry i can't tell,there 2 kinds of professional ct,the falsettistas,men who get their sing degree as a baritone or tenor and the explore their falsetto register...usually do english repertoire cause these kind of voices dons't work on opera
and real countertenors who since the beggining of their training study as countertenors(these r very few im a real but not professional yet)1)cause it's a condition on the vocal chords that r not calcified so the voice breaks on puberty but don't lose the high register theres and study laringoscopic that show this kind of vocal chords and prove that real ct do exist we r not all falsettisti
Actually I transpose it even higher, and that's where I'm comfortable. I use the VanBasco's Karaoke, the one that you can slide up and down to transpose, or change tempo (or volume). It's great. Worth trying.
Yah, a high voice is what I have, but I want to know if you got around trying the VanBasco's Karaoke, and if you did, how do you find it? Is it adequate for your purpose?
I had no idea it was recorded on DVD as I have looked everywhere. I saw this production at the Met with Renee Fleming and for once everything was perfect, DD, clothes, scenery...It was out of this world.
it is so touching... wonderfull.
MmeFigaro 1 year ago
@fourmi1060 Not really, it's like comparing a diamond with a brick.
Sandraud 1 year ago
Very good. Beautiful music. The best version on YT is Nicholas Spanos's.
tamerlano236 1 year ago
@tamerlano236 Haha
Sandraud 1 year ago
My first time to the Met was this opera. Daniels and Fleming, what a treat.
jeffpsd 1 year ago
but what is the director?
MrRinaldo83 2 years ago
DD does a good job here. a bit too much vibraato for me, but that's what happens when u push enough air to carry a large hall. --this bit about the dif between a falsetist & "real" ct is moot. Both are CTs. One is an unchanged voice, the other (like me) used the falsetto to find the CT voice. Now, in my mid register you can't tell whether I'm singin in full chest voice or head voice--sometimes I even forget--but it's all head, until I drop into the lowest part of the register. We are all CTs.
doggy8dog 2 years ago
David is SUCH a hottie (pant pant).
baritonebynight 2 years ago
I love Mr. Daniels rich sound. It is pointless to compare one singer to another as they are all different gifts.
I only wish that I could sing like this and I am happy to see the revival of the countertenor voice in the world today.
It is for the connoiseur and, for me, much more beautiful than the woman´s voice in the same register. It is a part of the old aristocracy, and I don´t mind being labeled a snob for it.
mrmolinodelahoz 2 years ago 3
Beautifully sung, I think.
David Daniels gets so much expression into his singing.
Mootlet 2 years ago 2
(2nd part)
Daniels uses (IMHO) simply too much vibrato too often and his pianissimo never really reaches a projected pianissimo. His high register tends to be a touch shrill and forced - it doesn't sound as effortless as Scholl's does.
musicofnote1 2 years ago
I agree.
Jazzmaster11 2 years ago
@musicofnote1 I have heard David Daniels live many times and over a long period of time, and I can safely say his voice has never sounded forced or shrill to me, whether it be in a large hall like the Barbican in London, or the intimate acoustic of the Wigmore Hall. Furthermore he has a gift for communication, which is second to none. I have no hesitation in calling him one of the greatest singers at present before the public, whatever their range.
TheGregMitchell 1 year ago 2
@musicofnote1 Interesting opinion...I listened to this and the Scholl version back and forth...I thought each performance had it's own strengths. I find Daniel's performance has more character and emotion. Not always the prettiest ct, but I think great conveyance of emotion. I think Scholl's voice is more classically beautiful, but sometimes I find myself being a bit emotionally underwhelmed by his performances. I
grandcarriage1 1 year ago
I saw Daniels in Munich a couple of years agp. I still prefer Andreas Scholl generally. Scholl has much more control over his voice, and definately has the larger dynamic range from inaudible to a beatiful unforced forte. Scholl uses vibrato as a true Baroque ornament, meaning he first hits the note and then warms it with vibrato (as a general rule) instead of vibrating from note to note.
But they are both amazing!
musicofnote1 2 years ago
I believe this was the NYC Met production I saw around 2003. Daniels and Fleming; great on many levels.
jeffpsd 3 years ago
From where and when is this production?
Tigermuc 3 years ago
2)At least in my country,the most of the music teachers r used to work with regular voices like tenor or soprano,so many r going tho reject a countertenor cause they don't know what to do with us or many people is ignorant about it and think that we r falsettistas,they don't see us as real voices,I just an audition to enter to a superior level study,but the teacher was ingnorant he call me a falsettista,im not and can proved,even i was one of the best he rejected me for being a real ct
Heartlessiceboy 3 years ago
or cast a female contralto or mezzo for the role,at the end all that matters is the opera as an everything,everything must match to do a good performance,like my teacher told me singers r instruments too,if one instrument dosn't have the right sound to match the rest of the orchestra it must to be replaced with an instrument with the right sound,a singer can be very famous but ,one singer can't compromise the whole opera and the work of all the other musicians
Heartlessiceboy 3 years ago
looks like colin farrell, here
bramoditrionfar 3 years ago
Probably the only countertenor now days that can sing this and really fill the theater...David Daniels is the first dramatic countertenor with a bel canto technique like any other mezzo soprano(female) that's why he can sing louder,with vibrato and full of harmonics and be hearded amount the orchestra...Andreas Scholl and his small english countertenor technique voice can hardly be heared with only a harpsichord
Heartlessiceboy 3 years ago
Heard Scholl in Rodelinda at glyndebourne a few years ago. Quite simply a stunning vocal performance. The Met production looks far superior - however doing Handel opera in a theatre the size of the Met seems pretty pointless as the scale of the opera is simply not designed for it. To hear his operas properly you need to hear in the theatres for which they were written for.
amac4165 3 years ago
Agree about that,
but for the other hand these operas were written for castrati, and castrati powerful voices can full any theater,people say that there r no singers male or female who can sing as a "loud" as a castrato,but at least a good real countertenor can sing as "loud" as mezzosoprano(cause the people who can't affort front row alse has the right to hear!) not some english school falsettista who can barely be heared in the 3rd row
Heartlessiceboy 3 years ago
yea - although not a problem at Glyndebourne as the acoustics are "perfect" with no difference between the first and last rows ! although it does only seat around 900
amac4165 3 years ago
But I think Scholl's voice is very pure, he is a real Baroque countertenor, Daniel's voice is too romantic.
Totanz 3 years ago
Well as a countertenor (real one not falsettista) and a person who study the early and baroque repertoire,theres not valid to say a real baroque countertenor!,old school researchers say that early music should be perform with "white voices"(child-like without vibrato and ornamentations) (of course that BAROQUE music was performed by castrati and the glory of castrati was the vocal fireworks! on big opera theaters
Heartlessiceboy 3 years ago
So now there like 2 paths,old school and new school baroque musicians,we know now that the early music was performed according with the voice of different singers,some singers have big voices,dark voices,naturally with vibrato and the ornamentations was a choice of the singer,so both styles r correct...both techniques r correct David Daniels is as "real baroque countertenor" than Andreas Scholl
Heartlessiceboy 3 years ago
But I think Andreas Scholl is closer to the Baroque style. Of course he is not a castrato.
BTW,can you tell me how many professional countertenors in the world?I really want to know.
Totanz 3 years ago
Im sorry i can't tell,there 2 kinds of professional ct,the falsettistas,men who get their sing degree as a baritone or tenor and the explore their falsetto register...usually do english repertoire cause these kind of voices dons't work on opera
Heartlessiceboy 3 years ago
and real countertenors who since the beggining of their training study as countertenors(these r very few im a real but not professional yet)1)cause it's a condition on the vocal chords that r not calcified so the voice breaks on puberty but don't lose the high register theres and study laringoscopic that show this kind of vocal chords and prove that real ct do exist we r not all falsettisti
Heartlessiceboy 3 years ago
one of the best interpretation of this aria that i know.bravo
aniaen 3 years ago
i can´t understand a word
cantanteporsiempre 3 years ago
Is it the original score, I wonder ?
patukott 3 years ago
I mean, the original key.
patukott 3 years ago
Well, I've got the score in front of me, and it's in the key of E. but D.D. is singing it a half a tone higher (F). Hope this answers your question.
compeld2sing 3 years ago
It sure does, thanks:) I tried to sing it «together» with DD and felt comfortable, that's why I got interested.
patukott 3 years ago
Actually I transpose it even higher, and that's where I'm comfortable. I use the VanBasco's Karaoke, the one that you can slide up and down to transpose, or change tempo (or volume). It's great. Worth trying.
compeld2sing 3 years ago
You must have a nice high voice, then:) And, thanks for the suggestion !
patukott 3 years ago
Yah, a high voice is what I have, but I want to know if you got around trying the VanBasco's Karaoke, and if you did, how do you find it? Is it adequate for your purpose?
compeld2sing 3 years ago
Er. Haven't been able to lay my hands on one yet, but I intend to do so, and I'll let you know. And, I'm afraid my purposes are purely amateurish...
patukott 3 years ago
Nice ... Lovely
fabricedifalco 3 years ago 3
non perdetevi anche la versione con Andreas Scholl..entrambe sono splendide
marcocornetti 4 years ago
I remeber that he recorded this role on DVD. Does anyone have it? I want to hear Dorothea Roschmann's version of "Morrai si"!!
hillevifan 4 years ago
I had no idea it was recorded on DVD as I have looked everywhere. I saw this production at the Met with Renee Fleming and for once everything was perfect, DD, clothes, scenery...It was out of this world.
tuffy942 3 years ago
#1 countertenor
heavenlymilano 4 years ago
Impressing!
Sadiesexy 4 years ago 2
Wonderful! Do you have other DD's arias of this production?
missmuscade 4 years ago 2
great David.............
valentinart 4 years ago 2