Vesselina Kasarova - La clemenza di Tito - Non più di fiori

Vitellia's rondo from Act II. Frau Kasarova's usual role in this opera is Sesto but listen how she does Vitellia! (Though for the sake of her voice I hope she'll never attempt her on stage.)

This aria together with many other gorgeous Mozart pieces is available on Kasarova's RCA Red Seal CD 'Mozart Arias'.

Category:

Music

Tags:

• Vesselina
• Kasarova
• Non
• più
• di
• fiori
• Vitellia
• Mozart
• Clemenza
• Tito
• Веселина
• Кацарова
• Моцарт

[rbmezzo]

¡Genial Kasarova!!!!!!!!!!!!!!!!!!!!!1

[Arashi110]

¡Perfectamente! :)

[Glenmed]

Wonderful aria - and a thrilling voice singing it. Brava!

[nicksum29]

Her lower register is chilling!

[90lysander]

I'm not usually a Kasarova fan, but I think she sounds lovely here. :)

[clarihuge]

Is just a coincidence that the two most sublime pieces that Mozat created in "La clemenza di Tito" were written for a feminine voice and clarinet? What Mozart did here and in "Parto, ma tu ben mio" is just impossible to equal. Two of the most amazing arias ever created!

[Dogaradodia]

And the winner is...

Vesselina Kasarova...

Best 'Non più di fiori'

[olympicfreak678]

For some reason, I imagine that Susan Graham would be good for this particular aria. I have no idea why; I just think of her voice when it gets to the pietas and the high notes. She just has a lachrymose quality sometimes that she could use to her advantage. However, she would struggle at those "chesties" that are throughout the whole piece and the Low G. Just an idea.

[londonblue123]

Kasarova convinces especially with her strength at the end of the aria. To me it is one of the more reasonable switches of singers out of their "home" pitch because it fits in a concept of a very weak Vitellia that concentrates her strength within this only aria. Nice job.

[fairlytaleofnewyork]

I love her singing this aria. She has a right voice and strengh to sing this aria.

Wonderful!

[Dogaradodia]

Certified Intergalactic!

[SDCmorg]

O, Arashi was quoting Kasarova rather than me there, bro. :o) I think he wrote certain characters' music in a way that 99.9% of singers can't sing it beautifully because he didn't want beautiful singing, but dramatically adept one.

To me, it doesn't mean that he disliked the character, but that he is looking for the singer to use compensatorial technique to cope with the notes that would also highlight the drama (like using different color, etc); to sound ugly or distressed or deranged... ;o)

[olympicfreak678]

Oh my goodness, could you imagine the first impio she uses her chest voice for!? What a great thoguht. Mozart must have adored Nozze di Figaro then if what you say about hating his characters is true. Why would he hate Sifares, Constanza, and Fiordilgi?