Im begging her to sing Gemma in her next Spirito album in her Facebook page... she is currently recording a complete Traviata

@@LohengrinO I look forward to it!

I think she is the first real Assoluta of the 21st century... she is not Callas or Sutherland, but she can really sing the Assoluta repertoire without cuts and compromises... and we are discussing THE most difficult singing ever written for a human voice... she is extraordinary

@@LohengrinO This is why so few singers are successful in this repertoire. Callas is the only artist I know of who was able to fully encompass the demands of the assoluta roles which she undertook, and to do it brilliantly, as to the manner born. I would love to hear La Rebeka as Lady Macbeth, Armida and Medea.

@@jasonhurd4379 Hmmm...Armida, definitely. But not convinced re: Lady Macbeth or Medea. Maybe. But to me, both roles need a much harsher, choked sound to really excel. Rebeka's voice may still be too rich and beautiful a sound to pull them off. But, then again, maybe she has the ability to color her voice for the effect like Callas did. (It was actually hearing those 2 specific roles that finally got me to adore Callas. I didn't care for her at first, but that was because all I really had heard was her '59 studio recording of Lucia.) It would be interesting to see if she could color her voice for the roles.

J.J. Schlachtfeld I totally agree with you my friend. My DAD would of loved her as well. Arnold Bourbon Amaral 👱👴🌹🌿🌏🌎🌍🎼🎶🎻🎵

Another new singer I like is Lisette Oropesa, have you listened to her?

Francesco - yes I too like Lisette. I’ve seen her live before, before she was popular.

Tomba 2 this was Werther at the MET 2014 or 15. My first time seeing an opera there. Wether was Kaufmann, Charlotte was Sophie Koch. Lisette was Sophie naturally. Not a fantastic role but she has a pretty nice aria for a light lyric. Anyway, she was a bright spot vocally and with her stage presence. Everything was easy and seamless, bright and warm which matched the character perfectly (Sophie is 15.) she skipped onstage while holding her last A in the aria without losing support. And in Werther with its super psychological drama and ultra dark nature (amplified too by Kaufman’s technique which is to darken EVERYTHING although this is one of the only places it works well.) I always perked my ears up when Lisette walked onstage. She was wonderful and left a lasting impression. I’m glad she’s found success and it rising to the operatic forefront. I’ve been rooting for her for a while. She’s also very good to her fans and has had brief conversation with me on Facebook. Lovely voice, lovely person.

@@francesco-9579 I try not too my friend. Her Manon was a circus. And the tenor was even worse. Sorry my friend. Arnold Bourbon Amaral 💙🐫😷

@@manolis.799 Are we here commenting on Marina Rebeka's singing or Lisette Oropesa's!!🙄

I was at her concert on 21st March in Paris where she sang marvelously Donizetti and Bellini and the audience was absolutely conquered. The ovation she received was unequivocal.

@@claudineshafa5546 I can only speak my own mind.

because Netrebko is a super star and Marina not yet... she will be singing Norma in Hamburg in 2020 and all I have to say after hearing recently her Seattle Norma is how on earth she still has a voice to sing well after singing like that (full forte dramatic Voice without the slightest compromise)… and we are discussing a 3+ octave singer who keeps singing Violeta's Eb6 and C6s and D6s in every single one of her many Traviata performances

@@LohengrinO If she loses her voice at least she'll lost it singing without the slightest compromise as you said; everything or nothing at all, so much dignity in that. On the other hand she's waited for her voice to fully bloom before doing this all, maybe and this is just wishful thinking (very naively of me), she'll have a longer career than we expect her to have.

@@mariomolinaorbea2180 exactly... she waited for her voice to strengthen step by step before diving into the Assoluta repertoire and I think that will protect it from premature aging... and indeed when she loses it, she will have sung several vocal destroyers and quite well... above all, I like to hear to her recordings of the Assoluta roles :D I play and replay them... doesn't happen to me often with any singer in this most Diabolical repertoire

@@LohengrinO Yes! That opening messa di voce grabbed me instantly, and the high notes are great too (there's a video of her recording of Spirito where you can see all the choir's members in shock listening to her).

I’m still hoping SF Opera will pull their heads out of their collective rumps and offer her a contract.

kisses!!

Davanti e sopra !!!

@@LohengrinO.... Meno male che sei anche spiritoso!! Mi fa piacere saperlo... di nuovo un saluto e una buona serata caro Lohengrin0. 😁😁😁😁😁😁😁😁😁😁😁😁Elsa

at the second Roberto, in the beginning, she closes her cords directly upon the high tonality without scooping etc... amazing!! I think all these people who bad mouth her are just parrot-repeating things they have read about her

@@LohengrinO Her portamento indeed is one of the greatest I've heard (ever).

@@LohengrinO What bad things could they possibly have to say about her? She's amazing!

she wont, she is slowly rising to super star status

What you people are talking about? She's not as famous as Netrebko, but is definitely one of the most celebrated sopranos now and since some years ago she's been always singing at all the most important opera theaters of the world in main roles to great acclaim. Name it: Met, Paris Opera, Covent Garden, Scala, Munich, Berlin, Wiener Staatsoper, Liceu de Barcelona... Maybe she's not a bestseller of albums (very few singers are today), but she's definitely an A top tier among the world's sopranos nowadays.

@@Homoclassicus ...plus Bartoli in her prime was one of the greatest Virtuosos Opera has ever seen

@@LohengrinO She is also helped by the fantastic reading of the score by Arrivabeni. In this production the work really becomes the star, with every nuance of the score given dramatic impact in duet with the scenic and vocal action.

I think she said she wont delve into the very heavy repertoire... she was offered Abigaille and I think she replied: it is one thing to be able to sing it in studio and a totally another onstage (implying she wont or cant - ) She has been singing Norma beautifully for years now and no sign of vocal loss... I also hope she doesn't start screaming and destroy her Instrument

@@LohengrinO i cannot believe anyone would offer her abigaille. my comment was addressed to the one below that said she should sing medea... few people might know that scotto recorded abigaille. she had a tiny voice but she thought she should be a dramatic soprano. she tried things like gioconda and elena (vespri), by pumping up the chest voice... it was just ugly. terrible choices she made. rebeka's voice is so pretty and pure, she should never damage it by going too big. i was surprised by some of her choices, but i'm glad she's finding a more dramatic persona. i'd love to hear her sing more rossini rarities.

There is nothing misogynistic about comparisons. People are compared to each other in any profession or field regardless of their gender performativity. Misogynistic would be: talking about the soprano's hairdo or makeup while criticizing the tenor's singing. And i agree with Lohengrin. You can't compare coke to champagne.

Saïd Mrabet Totally agree. Birgit Nilsson said, “We each get our best reviews when someone else is singing!”

Well said SAID MRABET. my sentiments exactly.

@@wotan10950 ahahahahaha GODDESS!!!

😂

thank you very much for the correction (corrected) - my ear was between Eb6 and D6 but I was never really able to make the distinction by ear alone only by feeling the Placement of each singer and I dont know Marina that well

VERY very interessante.

full Body focused singing with extreme low and extreme top notes (more than 3 octaves range)... my favorite today along with Julia Lezhneva

She has already been singing a VAST repertoire for over 15 years and she still sounds rock solid... on the other hand several other brilliant singers who sing 3-4 roles altogether have already developed Wobble... Marina with her repertoire already deserves the title Maestra

@@LohengrinO Maestra maybe is too much...

@@ramoncifuentes4664 have you got a glimpse of her repertoire and she has sung them all exquisitely... Violetta, Norma, Donna Anna, Desdemona, Bolena, Imogene, Maria Stuarda, Anna Erisso, Mathilde, Amelia Boccanegra, Thais, Devereux Elisabetta (in concert), Antonia, Tatiana, Mimi, Vitellia, Trovatore Leonora, Lucia, Queen of the Night (studio), Margherite (Gounod), Juliette (Romeo et Juliette), Luisa Miller, Nedda (Pagliacci), Elcia (Mose in Egitto) and 99% of them live onstage productions with multiple performances (she has been singing Norma for 10 years now - full ranged Norma from top to bottom)... we havent seen the likes of a singer like this since Caballe (50% of roles were done when Montsy had lost her voice)

@@LohengrinO Ok, ok...I see you are her principal fan...but for me she is not a goddess yet. But nowadays we can ask for more...

She is a Maestra and has many fans like LohengrinO

It says 1 year ago??

@@LohengrinO Νο. That's what I mean.

I disagree... did you attend her recent Moscow recital of the 3 Queens?

Lohengrin O Ich habe Marina in Wien gehoert.Sie hat Violetta gesungen.Fuer mich alles klar.Sehr gute Stimme,aber das ist zu venig.Das ist meine Meinung.Vielen Dank fuer alles!!!!🌷

Marvelous voice, interpretation and singing