No "brava" should be given here.

@@mikaelb7735 Mind your business troll, “BRAVA”

@@mikaelb7735 ¿Quién te dio vela en este entierro?

@@BellaFirenze Sadly i dont read Spanish.

@@samueljaramillo4221 Shows your personality. Try apples next time as lemons are sooooo sour.

You should hear Olga Borodina...

@@elisabeth400 I have of course heard Borodina's and I wasn't comparing her to others - I was comparing her own performances of this aria

@@Yves_Ka She sings Eboli not well, she is not a dramatic mezzo. Btw: i am opera singer.

@@elisabeth400 The role was never written for a DRAMATIC MEZZO as such. And by the way You may not like this performance but I think she sings it very well here.

@@Yves_Ka It is unbelievable how arrogant and ignorant some people are. Eboli "was never written for a dramatic mezzo".. 🤦 Eboli is one of the most famous dramatic mezzo roles! There are even some university dissertations where you can find this role as an example for a dramatic mezzo. I am sorry, but who are you to discuss about voices? Did you sing this role that you know what type of voice is needed for Eboli? I am a singer and i sing Eboli, Lady Macbeth and other Verdi roles. Have you ever heard of "Verdi voices" and what does it mean? I studied with the most famous singers, also with one of the best Eboli of all time: Grace Bumbry. The role of Eboli need a very special voice: a hybrid between a mezzo and dramatic soprano, but it is a very DRAMATIC role. You need a powerful, resonant voice, with a particular dark colour, able to project over a massive orchestra. I am happy that you like Elina Garanča, but she does not have the timbre and volume for this role. AND: Verdi began to compose the role of Eboli FOR A MEZZO-SOPRANO Rosine Bloch, who sang dramatic mezzo roles like Azucena and Amneris at the Paris Opera, and completed it for Pauline Guéymard-Lauters who was older than Bloch and had a dramatic voice between mezzo-soprano and soprano (she sang Leonora but also Amneris). You should hear to Giulietta Simionato, Fiorenza Cossotto, Shirley Verrett or Leyla Gencer to understand what dramatic voices are. Elina Garanča does not approach those historical standards. Do you know that Riccardo Muti said: "We have a lot of singers good for Mozart and Rossini, but singers in the heavy repertoire are becaming fewer and fewer. It is certainly impossible to cast singers for an opera like La forza del destino well", because the great dramatic voices become very rare. Verdi singing faces the most severe crisis and this is very sad. When Grace Bumbry heard my voice for the first time in Salzburg, she said: you have an amazing, very important voice, but who will you sing with- there are no more such voices. The spinto and dramatic voices are so unique that we have now a "new" bad standards. In the Eboli's first aria "Nel giardin del bello" the tessitura undulates between both: dramatic mezzo and dramatic soprano. The high soprano range has to quickly delve into sustained low mezzo passages, almost contralto-like in placement and than suddenly segue into high staccato. But the second one "O don fatale" shows what quality a dramatic mezzo must possess.

I’d guess the knife had (fake) blood inside the blade that you can release by pushing a button or something

Teatro San Carlo is one of the biggest opera house in Europe; I heard this performance twice and Elina voice was huge and stunning, the audience got crazy and asked for encore!

We’ve heard her at the Met. Which is a large theater. And her voice sounds glorious there.

@@michelebzz t has nothing to do with sizes of operahouse and a "claque". Just listen to the way this aria is sung. Not flattering.

DOLORA ZAJICK

@@mikaelb7735 Your opinion, not a fact

Es una mujer bellísima, de presencia angelical. Su voz es preciosa, pero yo creo que está abordando, de la misma manera que Anna Netrebko, papeles que rebasan sus capacidades, sea porque su voz no es grande o porque la técnica de entrenamiento vocal no las ha llevado a explotar todo su potencial. Elina se ahoga con las notas graves, y sí reconozco que se entregó a su interpretación con todo. Parece ser que es una tendencia actual que los cantantes no tienen las voces de antes. Quizás sea hora de volver a aprender de las escuelas antiguas, las que trajeron a celebridades como Callas, Tebaldi, Simionato, Oralia Domínguez, Franco Corelli, Del Mónaco, y muchas glorias del siglo pasado. En fin. Espero que no lo tomes a mal, amigo. Saludos desde México.

Your're so right. Too light a voice for this role.

I can hear it too, without knowing nothing about vocal technique. Just listen how forced and ugly her chest voice is! Whenever she does not use her chest, her timbre is wonderful.

@@ESilva-qv1uv light shmight - one can either sing it or one cant.

​​@@Yves_KaThere's a difference between being able to hit the right notes and actually doing a good job without exhausting oneself and straining their voice. We'll see how she'll be doing in a few years. I'm afraid an early retirement is on the way for Elīna, if she goes on like this.

@@E.V.-il some singers prefer to retire earlier than others but main thing they enjoy their singing career and sing what they want to sing. Many great singers retired early. Singing is not like an airline where one has to aim to keep an aircraft in service for as long as they can. Besides mezzos mostly have the choice to switch to character roles and enjoy extra years doing that. No problem though. I will pass 🪪 n that you are worried she will have to retire early

Bla bla bla...

Not everyone can Appreciate it

🥵The expert

Oh, get over yourself.

Моя любимая Элина...не ожидала от нее такого..Ведь она очень умна! Сколько певиц теряет голоса на не своем репертуаре, мы теряем потрясающих звезд, которым бы петь и петь..Дессей яркий пример..Я очень надеюсь, что Элина сделает сама правильные выводы..

You are absolutely right!

Вы вокалист? Или так, соболезнуете?