the best and in the Assoluta repertoire no less... she has literally sung EVERYTHING and gorgeously

I couldn't agree more. And her Vitellia is incredible.

If I had Marina's voice Id take that obligation gladly 😍

I found a genuinely dramatic soprano named Saioa Hernandez. Her Bel Canto roles are awful because her agility sucks, but when she does the dramatic stuff, her voice is big in all registers. Although she's not quite as polished as Nilsson and Flagstad because of a couple of flaws, she's probably by far the best dramatic female voice alive today. Check her out.

@@Empoweredwoman1234 I wouldnt exactly call Flagstad polished when, very rarely, attempted her non-existing C6, my description would be: disoriented Panic :D (as J Steane had written: Flagstad was a huge dramatic mezzo)... As for the chest u mentioned in your other comment check the rest of the ladies singing this Nightmare of a role, for example dame Janet Baker trying to ROAR that G3, it is an unnatural for the female voice note, it is in the male baritone area... and dame Janet after getting chocked on the G3 omits the D6... Marina has a Splendid chest: kzfaq.info/get/bejne/j6-en8iDqrTWcZc.html but she is not diving to it every second and does not project it in full Dynamics ALL the time cause if she did she wouldnt be singing for more than 15 years now an already VAST repertoire

This is a basset horn, not a bass clarinet. A basset horn is a clarinet in F with an extension down to low C, instead of the usual low E. It's similar in size and appearance to an alto clarinet, but has a smaller bore. Mozart loved this instrument and wrote a lot for it, most notably in Magic Flute, the Requiem, and the chamber work K 361 the Gran Partita.

@@coloraturaElise Yes! I believe you are correct. I have played Mozart Requiem countless times and enjoyed hearing the basset horn. On closer listening here I detect a slightly more 'clarinet' sound and less of a bass clarinet sound. Is the entire passage done on basset? Or does it trade with a regular clarinet? Great singing, great playing! Cheers!

@@donbenham1 All on basset horn.

Cool

Do you know the specific player? Always fun to try to figure it out

I dont think she will sing the heavy dramatic repertoire (Medea, Aida, Gioconda, Lady M, Abigaile) while in her prime although she has all the notes and dynamics... she does sing often a very beautiful Norma and a spectacular Violeta and soon she will add officially Imogene (cant wait), the Trovatore Leonora and Thais

@@LohengrinO It'll be worthwhile waiting for them !!! 🙏

kisses Elsa

very intelligent comparison to Varady, both of them had Phenomenal Ranges, Exquisite Technique and incredibly wide repertoire... I hope Marina sings the Keiserin (but not Abigaile) one day

@@LohengrinO Among today's sopranos, she is my favorite, and I have been following her career for the last years. I have the highest expectations regarding Rebeka's repertoire and vocal capacity, and so far I have not been disappointed. She deservedly arrived at Scala, and will continue to conquer many other great theaters. Down with mediocrity, and heil the musical virtuosity!

@@rodrigoandrade1807 she adds Imogene, the Trovatore Leonora and Thais next year

@@LohengrinO Can't wait!!!!!!!!

@@rodrigoandrade1807 me neither, especially Imogene fits her Voice like a Glove

I prefer more frank approaches in Mozart as for the chest someone mentions as a bit rough check the rest of the ladies singing this Nightmare of a role, for example dame Janet Baker trying to ROAR that G3, it is an unnatural for the female voice note, it is in the baritone area... and dame Janet after getting chocked on the G3 omits the D6

I agree. Too strong chest notes

@@patrickmouyren9978 I don't agree with you

@@LohengrinO I read that Callas advised the young singers to approach Mozart' s music more frankly.

@@claudineshafa5546 yep... All my remarks reflect Callas on some level... she considered Mozart a master of bel canto and asked singers not to sing him as if they are on tiptoes