God Bless you Sir. Thank you for what you wrote brother!!!!!!!!!

@@eddiecadzow3936 I meant every word of it ! Denyce Graves = C L A S S ! LOVE her performances !

@@workonitm8 So do I bro.

Yeah she did!😀

Beverly Hawkins can't find this on iTunes

Eight years had passed.So,did you? ;-)

please, listen to Irina Arkhipova version who is original singer of this aria.

This was an amazing special that you all put together, and I’ve loved it ever since I first saw it on dvd in 2008. This piece in particular has always been the highlight for me 👏🏾

Aedan Alvena precisely

Well she's a mezzo soprano she can't neglect her modal registers.

Just totally stunning mastery in every sense of the word. Denyce you rock!!!

Das ist Unsinn-ohne Brustregister ist man in der Oper aufgeschmissen, in jedem Stimmfach.Aber auf die richtige Mischung kommt es an!

More like the Castrati of the past. Graves has a richness in her tone that no countertenor could achieve.

castrati reach sound, lel. we have castrated guys today, either endocrynically castrated voice, trans people or just by accident. i don't hear about any of them making big career. there is no bigger lie than that about greatness of castrated guys voices. they were just famous in baroque, when females did not sing (it was treated as a disgrace). it is just an artifact of the past. no castrati of the present or the past could match mrs denyce vocally. countertenors > castrati anyway (though great countertenor voices are really rare, most guys either lack good technique or their voices just suck).

Aedan Alvena Franco Fagioli

@@alicjaalvena1120 You're not familiar with Argentinian countertenor, Franco Fagioli?

Aedan Alvena We don't have castrati today, and even if we did they wouldn't go through the same hard training old castrati used to (Even modern opera singers in general don't have the same training and the decline in quality is visible). As for the claim that castrati were substitutes for women, it's simply not true. They were for choirs because , indeed, women weren't allowed to sing in church. But in opera that wasn't the case. Castrati and female voices are different and roles were written for voices that best suited the characters in the composer's intentions. For example Handel's Julius Caesar, Rinaldo and Serse are male roles written for and played by castrati (now by women and falsettisti, of course). On the other hand, there are roles written for and played by women from the same era, such as Mozart's Queen of the night from the Magic Flute or Countess Almaviva from the Marriage of Figaro, or Handel's Arsamene (also from Serse) or Galatea from Aci and Galatea. Plus, you have roles originally written for and played by women beside the fact they characters are men, Cherubino from the Mozart's Marriage of Figaro or Goffredo from Handel's Rinaldo are examples of travesti roles.

100% И для меня правильно указать автора тоже важно. Хотя я из Украины, НО правда дороже. Лютнист из Ленинграда А. Вавилов сочинил мелодию для заполнения пластинки «Лютневая музыка 16-17 веков». Как композитор он был малоизвестен, поэтому боялся, что художественный совет (музыкальное издание в СССР) не позволит ему поставить свою пьесу рядом с именами Франческо ди Милано, В. Галилея и других. ПРАВДА ОТКРЫЛАСЬ ТОЛЬКО ПОСЛЕ ЕГО СМЕРТИ В 1973 ГОДУ. Поэтому я очень обижаюсь, когда они продолжают приписывать авторство Каччини, но ни слова о Вавилове.