I love Carmen and I will not deny it in the slightest. Let’s face it, if I were a curvaceous woman and a mezzo-soprano, I would sing her to my heart’s content, especially where the final lines of her third act card aria En Vain Pour Eviter is concerned. I hope you enjoy my rendition of this.
At this rate, this video should be retitled “I wish were a woman and singing dramatic mezzo-soprano and contralto roles” because they always get the best roles in opera. I thought it would be great if I also did this for fun. I hope you enjoy my rendition of Azucena’s closing lines from her second aria in Act 2 “Condotta ell’era in ceppi” from Verdi’s Il Trovatore.
Lord Arturo Bucklaw from Donizetti’s Lucia di Lammermoor. His role in this opera may be thankless, especially for a lyric tenor, but his little solo during Lucia’s wedding is absolutely fun to do. Perhaps, it would have been more fun with the chorus. Enjoy listening to my rendition of Arturo’s little number as much as I enjoyed singing it.
Ah, Belmonte from Mozart’s Die Entführung aus dem Serail or The Abduction of the Seraglio. As a lyric tenor, I can decree that he is one of my most favorite Mozart characters for the tenor voice, and here I am singing his entrance aria. It was also a really challenging aria to get through, but I definitely enjoyed the ride. So, I hope you all enjoy my rendition.
Good morning, everybody. Antoni here with another channel I would love to recommend to all of you. Do you love chiaroscuro singing? Do you treasure vocal clarity in opera? Barone Vitellio Scarpia has you covered when it comes to separating the great singing from the bad. Named after Tosca’s villain, this gentleman mostly specializes in comparing various tenors, baritones, bass-baritones, and basses with the occasional comparison to sopranos, mezzos, and contraltos. For the record, I would also love to see him branch out in comparing more female voices a lot more often so that there can be a bit more balance and variety in his channel. I have been subscribed to him for only a couple of months, and his content is quite fascinating in terms of comparing various singers and finding out some really underrated gems. He only has 335 subscribers, but I would love to see his channel flourish because of what he has to offer as a content creator revolving around opera. Ergo, he has definitely been another wonderful content creator who has helped me appreciate what true opera singing is. Without further ado, I hope you can all show your love for Barone Vitellio Scarpia, subscribe to his channel, and witness what he has to offer. You will not regret it in the slightest iota. Have a good day and stay safe, everybody. https://www.youtube.com/channel/UC_sA1hwIPw83QobAcO-QZjA/featured
Hey, everybody! Antoni here with something I have been wanting to get off my chest, no pun intended, for quite some time. Being an online reviewer who mostly specializes in opera and vocal music, I have always asked this question to myself. Why is it that I prefer singers of the past such as Enrico Caruso, Margaret Harshaw, Luisa Tetrazzini, Fedora Barbieri, Giulio Neri, and Giangiacomo Guelfi as opposed to the modern singers even back in my mid to late-teens? Sure, their technique was so much more nuanced, disciplined, and visceral as opposed to the mediocrity most mainstream opera houses are facing today. However, there was something more. Enter This is Opera!, which is a channel I have been loyally subscribed to for two years and started out by professional musicians. The whole mystique about quality comparisons was stripped away not only thanks to them but also other channels such as GeneralRadames, AfroPoli, and the newcomer Barone Vitellio Scarpia. Thanks to the fine people of This is Opera, I managed to comprehend the utter importance of coordinated chest voice, the necessity of having that release on every single note, the vocal muscles needed for proper head voice and chest voice action to work so well, what makes coordinated and collapsed head and/or chest voice different from each other, and why singing in the mask is one of the biggest cons ever! I also managed to distinguish between what makes one’s technique bad and/or excellent. Ergo, the information found on content of this ilk is absolutely valuable to me as an opera aficionado. I state this with such gusto because they have given more direction as a music-oriented critic. A lot of my previous reviews were lenient towards the singers I saw and heard because, one, I knew what it was like to perform as an actor and a singer and had constant feedback of what worked and what did not and the pressures of trying to perform at my very best in everything I do and, two, I was an opera fan first, thus realizing that most of my reviews were based on a fan’s point of view with almost little substance to back up my thoughts. Moreover, looking back at a lot of my previous reviews, a lot of the people who gave input had every right to critique me on my assessments. The people of This is Opera as well as GeneralRadames, AfroPoli, and Barone Vitellio Scarpia have given me more than one reason as to why I love making vlog-style reviews of opera productions and concerts revolving vocal music. It is because the power of the human voice should never be taken for granted. Whether you are an opera singer, a Broadway musical singer, a jazz singer, a stage actor, a voice actor or any other performer whose main instrument is the voice, you owe it to yourself to not only nourish your abilities but also have a better understanding as to how singers and thespians of the past used their voices to magnificent effect. Please support This is Opera by subscribing to their YouTube channel, check out there content, and open your minds to the true beauty of authentic Bel Canto singing. If you love their channel, you will also love other channels such as GeneralRadames, AfroPoli, and Barone Vitellio Scarpia. You will never regret it in the slightest iota. Stay safe and keep singing in the right way, opera aficionados and opera singers of the world. https://www.youtube.com/channel/UCZmPxGnYwbE-mrhuI0UivHQ
One month ago, Deutsche Oper Berlin exclaimed hail to the queen, when Liv Redpath made her role debut as Marguerite de Valois aka La Reine Margot. Enjoy my review and let me know your opinions as well.
After a two-month hiatus, I am back with a review of a Meyerbeer opera starring a young, enamored peasant girl from bucolic Breton whose head is in the clouds. Enjoy my review and let me know your opinions as well.
My final night here in Tallinn and my final Red Ribbon Reviewers’ contribution goes out with a bang, as Kristel Pärtna, who I saw two years ago as the poignant Pamina, takes on the iconically dramatic role of Violetta Valery. Enjoy my review and let me know your opinions as well.
Boasting a huge, wide-ranging repertoire from lyric to dramatic soprano roles, Heli Veskus heralds this cast with courage and steeliness. Enjoy my review and let me know your opinions as well.