Da Tempeste - Natalie Dessay 2011

Haendel's Giulio Cesare Paris Garnier 2011. Interesting rendition.

[@baryton303]

Intelligence du jeu, extrême sensualité, extrême musicalité, Dessay la plus grande des coloratures de notre siècle.

[@MrHbc3]

So do I. Different as the years roll by, but simply fantastic. She has a good basic voice, but her interpretations and musicality are wonderful. The CD made of arias from Cleopatra is the most recent one I have and I love it. As for her acting, I don't know of anyone who is as good. Someone may be, but she is unbelievable. In Cleopatra she did both the comic stuff AND the dramatic stuff tremendously well.

[@gekost79]

Dessay has stated countless times that she is a singing actress and she managed to make an opera (that is really outstanding) amazingly fun to watch to everyone. All my friends are not used to opera, but we have no problem watching operas with Dessay all together. Don't forget that Operas were written to entertain people, to be near the people! Many people would like Dessay to be a boring "quality" singer. And i m glad that their wishes will not be granted! Love love love Dessay!

[@stickom]

.. huh, i am so excited when listening to Haendel's i always cry... i guess it's me 57 or music...

[@eugenell]

Nathalie is much more than a singing actress, for me she is one of the most outstanding lyrical sopranos for the italian operas. Her voice bande is wide and techniques unimitable.

[@MrHbc3]

I agree with the "fantastic theatrical sensibility and acting" part. I do think her musicality and interpretation are wonderful. Honestly though, a large part of my love for Dessay is the way she seems to be as a person. Whether she had solid technical training or not is not something I can evaluate. She is by far my most favorite singer... and I like a lot of them. Mostly Mezzos.

[@keanukason5185]

You probably dont care but if you are bored like me during the covid times then you can watch all of the new movies and series on instaflixxer. I've been watching with my girlfriend for the last weeks xD

[@flynnenoch7931]

@Keanu Kason Yea, have been using instaflixxer for years myself =)

[@MrHbc3]

I love her Cleopatra Album.

[@cmauer1658]

Fantastic

[@Bailey2006a]

Love this...idiosyncratic embellishments but ... it's damned exciting and sung superbly!

[@petternilsson4393]

She is a genuis

[@onigbajamo]

This is much better singing than the MET version.

[@emperorcaracalla233]

Это правда. В Мет она пела в 2013 году в постановке с фестиваля в Глайндборне...Увы, это было плохо, она уже была практически без голоса . И вскоре оставила оперную сцену

[@magicmonkichi]

@sour7lemon I

[@mara8712]

Dessay is absolutely outstanding artist. All anti-objective comments are simply foolish. Dear "critics"! Listen please singers what you love, that's all.

[@eberlinpascal2837]

Beverly Sills et Valérie Masterson sont mes favorites dans cet air .Malgré tout Dessay s'en sort pas mal ,mais je ne suis un fan de sa façon de chanter .

[@gerarddelpech9213]

J'imagine la performance que chanter un tel air suppose...qui peut chanter cela sans en faire un hachis de cris ? Natalie Dessay et elle n'a surement pas beaucoup de concurrentes, en plus il lui reste encore la force de sautiller...Je suis totalement sous le charme

[@Thomas02ify]

I agree.

[@Lizzyjean5]

@pedrofribeiro I think it's the opposite. She never had technique--just an amazing raw instrument and fantastic theatrical sensibility and acting. The reason why her voice is going is because the fact that she never had a solid technical training is catching up with her.

[@remi1880]

@Lizzyjean5 Alucino con comentarios como éste. In other words: It may be this is not her best performance, but the comment " ... she never had technique...." is at least a bit inaccurate

[@vitellia]

It's interesting to hear the period orchestra playing in the modern pitch. Maybe she demanded it. Her singing and characterization is spectacular as ever, but she apparently had too much fun embellishing and even rewriting as she saw fit. What she did in da capo was interesting. Too bad this audience had no way to compare it to Handel's original writing.

[@rodion-burbin]

This orchestra playing in 415. But this aria was played in F major, not in original E.

[@MrHbc3]

It is not your everyday, doing it the same old way, all dressed up for a north European party rendition. I love it, and keep returning. The audience seemed to love it also. Of course the French don't know anything about art of any kind. Or so mid America thinks.

[@xiyyea5205]

Ritornello 1 0:00 Ritornello 2 2:02 Ritornello 3 3:34

[@MrHbc3]

Because audiences like her. Trolls don't, but they only buy tickets for odd reasons.

[@MrHbc3]

Remi, Lizzyjeans is on a mission. Although l like Natalie's interpretations and musicianship a lot, it is her acting that really attracts me. Yes, she was a brilliant high soprano when she was young, her voice is different now. She, in a long interview with Charlie Rose made it quite clear that the put the acting before the singing. Not that the singing was not important. You don't sing as well as she without having worked on it.. a lot.

[@operassassinOperaAssassin]

@Lizzyjean5 But when you have a place like KZbin that allows someone to see side by side Lucia, Cleopatra, Zerbinetta, Olympia and concerts, it seems that the "acting" is formulaic and an artillery of stock expressions, jerking arm gestures and athletics. There is seldom poise or subtlety in Dessay's singing.

[@Lizzyjean5]

perhaps a bit, as you say....but not far off the mark. There is no doubt that she was a phenomenon and will go down in the history books as one of the most amazing coloratura sopranos...but her longevity would be greater if she had worked more on technique. She started as a dancer, then moved to acting, and then to singing...and it shows.

[@operassassinOperaAssassin]

@MrDajx Because people don't generally know the difference.

[@MrHbc3]

You have an opinion, that's for sure. You do back up your opinion by simply adding more insulting.... opinions. The production in Paris was met by a very approving audience. I do have the CD and like it a lot, even though it does not, of course include the acting abilities of not only Natalie but several others whose acting was IMHO outstanding. Purely musically the CD was better, which is often the case. I loved both, but for different reasons.

[@jonathanchoe5472]

Messiah by Henkel

[@yb3542]

콜로라투라 기가막히네 ..

[@MrHbc3]

rekupp, I am glad "there are only so many scooped/skipped notes my ears can tolerate." Surely now you will go away. I am sorry you didn't enjoy it.

[@umbu12349]

@sour7lemon because she's trying hard to make things easier for her. Doing this, she avoid difficult passages to her voice. As one can notice, she has been sing badly lately.

[@Lizzyjean5]

@operassassin I would agree that she has a very predictable style in her acting and it not always convincing. I find her better in comic roles, such as Marie in La fille du Regiment. There are a few Olympia's that she has embodied extremely well.

[@HRJohn1944]

Ms Dessay's acting is rather limited: in no particular order it consists of: taking careful note of and giving appropriate emphasis to the words and situation; of looking at, or using body language to direct her words to or pay attention to the person(s) addressed (never the audience); and reacting to situations logically. Compare the Zerbinetta/Komponist duets with (a) Susan Graham, (b) Sophie Koch and (c) Susan Mentzer - three very different interpretations. I can't go on - no space.

[@hanzaw136]

I'm not supposed to care but I hate to see Dessay with that hair. It's ridiculous. XD

[@stephenbrown1389]

Han Zaw style collabo, de l'an quarante.

[@operadomestica]

Non altrettanto bene al Met nel 2013