Folgen
-
Send us a text
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.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
This final episode on the series with the subject of Maria Callas is in a format of 10 Q&A.
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Fehlende Folgen?
-
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 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:
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 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
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 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.
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 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
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 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.
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 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
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. 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 -
Send us a text
In this last time travel to Palacio de Bellas Artes in Mexico City, year 1952, we will witness a good variety of titles that show the wide range of roles and the versatility of her voice. Achievements that would add to would later be known as La Divina.
The result is a little uneven, with Rigoletto standing on the way and whose results are not that good, as she herself would admit years later.
Few times have the Orchestra and the Choir honored the singer and this farewell is wrapped up with one of the most touching moments in the history of this Opera house.
As a reference you can also check on Sophia Lambton's book, the author of The Callas Imprint - A centennial biography, which you can find in most of the world through Amazon.https://www.amazon.com/Callas-Imprint-Centennial-Biography-ebook/dp/B0BRYPL5WN
For this final episode, we would like to suggest the following materials, the local radio program Viva la Opera also collaborated with comments and thought for this episode. You will find the reference of their own programs with excerpts from the titles here presented:
I Puritani:
https://open.spotify.com/episode/0Lau5BzS9wOE5QEO5mS8Fh?si=XCkxTL3RSxyljy-gfYkyvA
Maria Callas & Giuseppe Di Stefano: Bellini: I puritani (Mexico City 29-05-1952)
Lucia di Lammermoore:
https://open.spotify.com/episode/2KmL5I8H2Zm3YfmSbXZ8bO?si=etA8ia3VThC1fGzbi0-meA
La Traviata:
https://open.spotify.com/episode/4PbIJ456gnB1w1iinjqqf2
https://youtu.be/tDeFvQ2r-DY?si=SNuTMPoFtepbZn7O
Rigoletto:
https://open.spotify.com/episode/3KbMIykIORCOC4uDByIC87
https://www.youtube.com/watch?v=svMW6LskxSI
Tosca:
https://open.spotify.com/episode/01z0jpcxQZeb2OCd4iDRPa?si=jGbQbtfyQRKuwMREL7cZhg
https://www.youtube.com/watch?v=wZm-oWqBS-sSupport 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 Rigoletto by Maestro Verdi?
By far, one of the most well-known melodies ever written for the tenor voice. All tenors would like to have it in their repertoire. By far one of the melodies people have heard before even if they're not familiar with Opera.
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 -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from Rigoletto by Maestro Verdi?
By far, one of the most beautiful melodies ever written for the soprano voice. There is no soprano who doesn't want to 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 -
Send us a text
In this season we are reviewing the most popular arias of all times. Who doesn't know this aria from L' Arlesiana from Maestro Cilea?
This incredible piece of music has been sung by tenors for decades already and for sure for many decades to come. This aria, as many in this season, is unfortunately very often overdone, with singers paying to little attention to the notes of the Maestro on how this is expected to be sung.
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 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
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
1951 in Mexico City was for Maria Meneghini Callas a little different from the previous year, with only two titles. The cast was different, and Sigora Meneghini Callas would continue to make her path in this country that would never forget her.
Some of the content here referred is based on The Callas Imprint book, for your reference:
https://www.amazon.com/Callas-Imprint-Centennial-Biography-ebook/dp/B0BRYPL5WN
Local radio program in Mexico Viva la Ópera by means of his host Erick Zermeño was in continuous communication sharing his thoughts on this year for who years later would be known as La Divina.
Reference recordings:
Her Traviata 1951:
https://open.spotify.com/episode/63P4mebrgXAyWjH2RKghpG?si=orBU-dLdRpmbajyEfEK_pw
Callas, Valletti, De Fabritiis - La Traviata, Mexico 1951 - Vinyl Source
Aida 1951:
https://open.spotify.com/episode/0r3t4tEXRR6elOH7whRuar
https://www.youtube.com/watch?v=zijODox3A2w
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
Support the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging -
Send us a text
Three quick updates:
We are starting as of this July 2024 the live episodes recording in YouTube. Follow our Telegram Channel for quicker updates, just a click awayGoogle is shutting down Google Podcasts, please take action if you would like to keep following our contentSupport the show
You can join our channel in Telegram:
https://t.me/OperaWeLoveSinging - Mehr anzeigen
