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This season is all about what impresses the public: high notes (sometimes super high notes), and ornaments. For a number of episodes we will be addressing the roles that more than once have left us wondering: How can the human voice do that? Premiering on Youtube and later audio dissemination to all streaming platforms.
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In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from La Boheme by Maestro Puccini?
By far, one of the most beautiful melodies ever written for the tenor voice. There is no tenor who doesn't want to have it in his repertoire.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
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In this season we are reviewing the most popular arias and songs of all times. Who doesn't know this piece of music that Andrea Bocelli made very famous in the 1990s?
This song has been part of the programs for tenors and sopranos across the globe since then. In this particular case, there was a polemic on whether this should be part of the season, which was resolved by a voting of our subscribers. This is the result of such voting.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
This was a live session recording that premiered first on Youtube, subject to all technical challenges that this poses. So we beg your understanding on the troubles you may find.
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You can join our channel in Telegram:
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Send us a text
This season is all about what impresses the public: high notes (sometimes super high notes), and ornaments. For a number of episodes we will be addressing the roles that more than once have left us wondering: How can the human voice do that? Premiering on Youtube and later audio dissemination to all streaming platforms.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this hyper famous aria from Il Barbiere di Siviglia by Maestro Rossini?
By far, one of the most popular melodies ever written for the baritone voice. Always a huge success for these male voices.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
This a recording in the outdoors, subject to all technical challenges that this poses. So we beg your understanding for undesired noises in the background.
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In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Il Barbiere di Siviglia by Maestro Rossini?
By far, one of the most attractive and playful melodies ever written for the Mezzosoprano voice. And sopranos have made it part of their repertoire as well.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
This was a live session recording with public. subject to all technical challenges that this posed. So we beg your understanding should you find anything derailing a little.
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This final episode on the series with the subject of Maria Callas is in a format of 10 Q&A.
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This season is all about what impresses the public: high notes (sometimes super high notes), and ornaments. For a number of episodes we will be addressing the roles that more than once have left us wondering: How can the human voice do that? Premiering on Youtube and later audio dissemination to all streaming platforms.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Le Nozze di Figaro by Maestro W.A. Mozart?
By far, one of the most beautiful melodies ever written for the bass voice. There is no bass who doesn't have it in his repertoire.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
Support the show
You can join our channel in Telegram:
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Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from La Boheme by Maestro Puccini?
By far, one of the most beautiful melodies ever written for the soprano voice. There is no soprano who doesn't have it in her repertoire.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
This was a live session recording that premiered on Youtube, subject to all technical challenges that this poses. So, we beg your understanding should any trouble may arise.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
This season is all about what impresses the public: high notes (sometimes super high notes), and ornaments. For a number of episodes we will be addressing the roles that more than once have left us wondering: How can the human voice do that? Premiering on Youtube and later audio dissemination to all streaming platforms.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this song by Mexican composer Maria Grever?
Tenors and Sopranos of all nationalities very often make it part of their recitals.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
Support the show
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In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Il Trovatore by Maestro Verdi?
A very interesting piece for the Mezzosoprano voice. And still, hardly ever a regular on their presentations. Very brief piece also by the way.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
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In this season we are reviewing the most popular arias of all times. Who doesn't know this Neapolitan song by Maestro Cardillo?
One of the most beautiful melodies ever written for the tenor voice. There is no tenor (and many times sopranos) who doesn't have it in his repertoire.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
This episode was premiered on Youtube. This episode is the audio piece of it.
This will be a live session recording, subject to all technical challenges that this poses. So we beg your understanding should any trouble may arise.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
This season is all about what impresses the public: high notes (sometimes super high notes), and ornaments. For a number of episodes we will be addressing the roles that more than once have left us wondering: How can the human voice do that? Premiering on Youtube and later audio dissemination to all streaming platforms.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Turandot by Maestro Puccini? At the end of the last century Luciano Pavarotti made this a regular in his concerts.
By far, one of the most beautiful melodies ever written for the tenor voice. Most tenors would like to have it in their repertoire, though very few can handle it.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
Support the show
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In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Samson et Dalila by Maestro Camille Saint-Saens?
Ceertainly one of the most beautiful melodies ever written for the mezzo soprano voice. There is no mezzosoprano who doesn't want to have it in her repertoire. But it is also a likely aria for a contralto.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
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In this season we are reviewing the most popular arias of all times. Who doesn't know this duet from La Traviata by Maestro Verdi?
By far, the great favorite to close a concert. There are times when even other tessituras join it and make it a superb experience for the public.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
You can join our channel in Telegram:https://t.me/OperaWeLoveSinging
You can always check our page in Ko-fi where we are posting more content related to the program and ourselves. We are very interested in learning from you:
https://ko-fi.com/operawelovesinging
More content is also being added to our Youtube Channel /operawelovesinging
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In this season we are reviewing the most popular arias of all times. This time another great favorite from La Traviata: Giorgio Germont's aria.
By far, one of the most beautiful melodies ever written for the baritone voice. There is no soprano who doesn't have it in her repertoire.
In this season we talk about the author, and we analyze the aria from a technical vocal point of view as well as the interpretation based on the situation the character is going through.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging - Mehr anzeigen
