I would put her, much as I like her, after the three singers you mention. To pick a point like legato and then compare her unfavourably with those ladies is really odd! Also, her vibrato rate is a little fast for me. It's interesting to hear Porgi Amor sung as though the character is agitated, but it doesn't beat te Kanawa.
Finaly, finaly I felt something in my heart hearing this aria!Normaly I can' t wait that it' s over.I felt realy the pain hidden behind those beautiful elegant lines...BRAVA.
I adore her rendition of Porgi Amor because it is very raw. Whether or not it is in keeping with the true characterization of the Countess is up for debate. It has been said to me in the past that the Countess represents all of Mozart's ideals in women and that she is his madonna in her quiet sufferings and forgiving nature. What do you think?
raw yes. i think raw can be a great thing. roschmann though is rough and that is not in keeping with any form of singin no matter the school. i think roschmann can achieve raw and musical without this over stressed and unlegato singing. i expect more from someone like her, even if the standards are already very high. she is a very very great artist and can do better.
I'm a huge fan of Röschmann's Susanna. In my opinion, the DVD with Pape at the Berlin Staatsoper was much better than this DVD with Netrebko. Can't put my finger on exactly why, I think it was mostly pitch accuracy and phrasing that I thought Netrebko was lacking at least at this particular performance.
I just think that Mozart deserves a bit more than white walls and leaves. Not to mention the angel running around like a lunatic most of the time (albeit not here) during the performance.
It's a wonderful staging, one of the best I've ever seen. And the angel makes perfect sense. It's Cupido who is playing his games to confuse the lovers. But in the end he doesn't win and all goes well.
I agree that the plot needs more than a staircase, but taken by itself, i think the set looks pretty nice. But, of course, I think the direction is ridiculous and the little angel guy needs to go.
The angel is just ridiculous. Just like this set. I would like to know how exactly they do the first trio in this Act (Susanna, or via, sortite). Where will anyone hide? Also, this is supposed to be a light-hearted and fun comedy. It was not supposed to be full of symbolism and make you think! It is supposed to be a very human opera.
Figaro is full of symbolism! The play by Beaumarchais, on which this opera is based, was written as a satire of the politics of pre-Revolutionary France. It was so influential and subversive in its content that it was banned. True, Mozart and his librettist did away with a lot of the politics when putting this opera together, but the underlying message is still there. Mozart was very much an adherent to such Enlightenment philosophies.
You're right in that it is classified Opera Buffa, but I don't believe that was Mozart's intention. In any case, they had doors that were part of the back wall where characters could hide (Susanna hid behind one door, Cherubino behind the other during Susanna, or via, sortite). The starkness is intentional to emphasize the drama and the angel "cherubim" meant to be a sort of catalyst for the affairs, drama, etc. I thought it worked, although it was a huge departure from traditional Figaro.
Does anybody know why the Salzburg audience DID NOT APPLAUD after this beautifully sung and acted aria?
Gaff8132 5 days ago
I was completely convinced by her agitation.And why wouldn't she be agitated? .She fears losing the love of her husband.
Wonderful voice.I didn't know of her till now.
TheSmoshmy 9 months ago
Fantastic!!!
quetepique48 1 year ago
Very original acting of that scene ! I really like it !
dacor31 2 years ago
Exquisite legato,, this woman is superb!! I don't bother with Schwartzkopf , te Kanawa or Flemming any more now Dorothea is on the scene
macenroc 2 years ago
I would put her, much as I like her, after the three singers you mention. To pick a point like legato and then compare her unfavourably with those ladies is really odd! Also, her vibrato rate is a little fast for me. It's interesting to hear Porgi Amor sung as though the character is agitated, but it doesn't beat te Kanawa.
JPD060486 2 years ago
@JPD060486
macenroc 1 year ago
Finaly, finaly I felt something in my heart hearing this aria!Normaly I can' t wait that it' s over.I felt realy the pain hidden behind those beautiful elegant lines...BRAVA.
kassandra1977 3 years ago
I adore her rendition of Porgi Amor because it is very raw. Whether or not it is in keeping with the true characterization of the Countess is up for debate. It has been said to me in the past that the Countess represents all of Mozart's ideals in women and that she is his madonna in her quiet sufferings and forgiving nature. What do you think?
elisarig 3 years ago
raw yes. i think raw can be a great thing. roschmann though is rough and that is not in keeping with any form of singin no matter the school. i think roschmann can achieve raw and musical without this over stressed and unlegato singing. i expect more from someone like her, even if the standards are already very high. she is a very very great artist and can do better.
moghedien13 2 years ago
I like her expresivity and I like (and admire)that she sings this aria in a different way that other sopranos. Brava
yulisaaa 3 years ago
Dorothea Roschmann touches me: Dorry you are perfect and sing with heart!
rigoletto82 4 years ago 5
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rigoletto82 4 years ago
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rigoletto82 4 years ago
This contessa sings with such insistant, never-wavering pain. It is like a laser beam of suffering from the 1st note to the last.
yn65he 4 years ago
Countess knocked out in the first round.
contediwarwick 4 years ago
I love Dorothea RÖSCHMANN's voice but her Susanna is the best.
armida23dalila 4 years ago
I'm a huge fan of Röschmann's Susanna. In my opinion, the DVD with Pape at the Berlin Staatsoper was much better than this DVD with Netrebko. Can't put my finger on exactly why, I think it was mostly pitch accuracy and phrasing that I thought Netrebko was lacking at least at this particular performance.
fluteility 3 years ago
Superb singing from a real singer....one of the few in the production.
D9l3tt 4 years ago
Good singing, Harnoncourt's very peculiar-sometimes weird-conducting, ridiculous set.
SirGeorg 4 years ago
I think the set looks beautiful. Simple but realistic.
norcalrobbie2 4 years ago
I agree
hillevifan 4 years ago
I just think that Mozart deserves a bit more than white walls and leaves. Not to mention the angel running around like a lunatic most of the time (albeit not here) during the performance.
SirGeorg 4 years ago
It's a wonderful staging, one of the best I've ever seen. And the angel makes perfect sense. It's Cupido who is playing his games to confuse the lovers. But in the end he doesn't win and all goes well.
Oleole14 4 years ago
I understood that of course but, to me, it lacks subtlety and it's superfluous.
SirGeorg 4 years ago
I agree that the plot needs more than a staircase, but taken by itself, i think the set looks pretty nice. But, of course, I think the direction is ridiculous and the little angel guy needs to go.
norcalrobbie2 4 years ago
The angel is just ridiculous. Just like this set. I would like to know how exactly they do the first trio in this Act (Susanna, or via, sortite). Where will anyone hide? Also, this is supposed to be a light-hearted and fun comedy. It was not supposed to be full of symbolism and make you think! It is supposed to be a very human opera.
olympicfreak678 4 years ago
Figaro is full of symbolism! The play by Beaumarchais, on which this opera is based, was written as a satire of the politics of pre-Revolutionary France. It was so influential and subversive in its content that it was banned. True, Mozart and his librettist did away with a lot of the politics when putting this opera together, but the underlying message is still there. Mozart was very much an adherent to such Enlightenment philosophies.
norcalrobbie2 4 years ago
You're right in that it is classified Opera Buffa, but I don't believe that was Mozart's intention. In any case, they had doors that were part of the back wall where characters could hide (Susanna hid behind one door, Cherubino behind the other during Susanna, or via, sortite). The starkness is intentional to emphasize the drama and the angel "cherubim" meant to be a sort of catalyst for the affairs, drama, etc. I thought it worked, although it was a huge departure from traditional Figaro.
fluteility 3 years ago