Come Scoglio (Così fan tutte)-Mozart

Soprano: Yelena Dyachek
Pianist: Hye Jung Shin
Fall 2015 Recording

[@francescodonizetti]

Congratulations on winning the Met Competition! Bravissima!

[@adrianaguevara9859]

What a beautiful voice.

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta"

[@OksanaPolishchuk]

Лена, наша Лена, ну какая ты умничка!!!!!

[@vincec8218]

Послушайте, пожалуйста, сопрано Касондра Казанджян (Kasondra Kazanjian), "Tu che di gel sei cinta"

[@claudeborrel4265]

Elle a une belle voix et elle chante bien.

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta"

[@Sopranogracezhang]

Wow

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta"

[@greatmomentsofopera7170]

This aria has so much that is obviously about the contrast of chest voice and head voice... it's bland and lifeless without a developed chest register. There are other Mozart arias to sing if you don't have a chest register.

[@valevikt]

Great moments of opera I strongly disagree. She doesn’t sing the “d” ( “trai-I” from “contrai”) in full chest but in a blend what ensures her to keep full control over the intonation. She’s still very young and in my opinion making the right decision of taking care of her voice. As you probably know, chest voice is the least natural position for a soprano voice and even tho it is good to have a good resonance and foundation for the voice down there she’s making a conscious choice to only go to chest where her voice naturally wants to around central “C” or “b flat”. She has all the technical skill and brains to sing this aria very well and give meaning to the music.

[@greatmomentsofopera7170]

Viktória Valentin well tastes will vary but we know that it’s what Mozart wanted from contemporary accounts, if it weren’t already obvious from the writing itself. Having worked in several Vocal faculties I find it absolutely appalling that chest voice is so neglected by the vast majority of teachers. Without a chest voice you cannot have a stable and resonant middle voice even. Students need to work it out for themselves now it seems and reintroduce it into the repertoire of Vocal technique. There’s a fear around using chest voice but there should also be a fear around not using it - not using it leads to its own technical problems, quite apart from the artistic ones of not being able to execute a score. It’s challenging because the only top Mozart singer of the previous generation who used Chest voice well and beautifully was Renee Fleming, but other than that you have to look back two or three generations to see what the appropriate sound is. I am very worried the Vocal arts will be lost.

[@kamaakestad]

Maybe we should instead direct the angst towards the institutions that create the demand for **young** singers to sing these roles before their voice is completely developed and settled? To me, her voice sounded extremely consistent throughout the registers. She is VERY young, and it's going to be very exciting when her voice reaches its maturity, with power in the top and bottom. The middle voice is ALWAYS the most difficult to coordinate, but she has command of that.

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta"

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta"

[@ladyvanilla3]

Unfortunately I don't like her musicality at all. No legatto, no phrasing

[@manonclaudia]

Sooo mean!! Raise up and ING like that! Do you think you need to be so mean! She has a precious voice, one of the most beautiful I've hear in a while. Why do you need to be so mean? If you don't li'e than don't comment, young singers must be encouraged not snapped sooo harshly! Yelena you are great, be confident! I would die to here you in real!!

[@vincec8218]

Please check out soprano Kasondra Kazanjian, "Tu che di gel sei cinta", tremendous voice