The Barber of Seville - 'Una voce poco fa' (Rossini; Aigul Akhmetshina - The Royal Opera)

[@djalice]

Aigul Akhmetshina is astounding! Seen her a few times now and plan to see her as much as possible in the future!!!

[@bilyanaconsulova405]

AIgul is phenomenal in this role. I love the whole show - every singer is out of this world. They are the best in anything - singing, acting, one of the men was doing acrobatting stuff. Aigul and the American Almaviva are the perfect duo.

[@corneliusbates460]

She was wonderful. Such gorgeous singing

[@alexwehl2731]

I’ve seen and heard many Rosinas in my time and hers is amongst the very best. She’s young, improving and world star status beckons. I was seated in the stalls 3 nights before this live rendition was broadcast and her extraordinary crystal clear voice filled and resonated across the entire auditorium. After her arias that evening, the audience cheered and whistled. “Encore!” they cried. She was left in little doubt. This young mezzo is a star in the making. 👀💫

[@lefinlay]

I saw this live at the ROH too, and her voice moved through you! She was truly remarkable

[@alenkapintar8660]

I love Rossini's operas. Great aria.

[@toussaintmary]

A beautiful song bird to welcome the day:)

[@fionawillis1130]

Wonderful performance on the last night obviously thoroughly enjoyed by the audience.

[@djgualtiermaldeCO]

She reminds me the perfection of the voice of the great Jennifer Larmore. Rossini voice are not gone yet, good to know

[@alessandravisconti4344]

There is some Italian (the i in Lindoro, the n in cento, and some modified vowels) that isn't quite right, but the ring and vocal timbre of her voice is beautiful, and that's what counts.

[@vitellia]

Such a strong colorful voice, waiting to the next great Verdi mezzo.

[@anthonyrybicki1000]

A beautifully sung and played performance from the ROH with a classic and very agile comic performance from Bryn Terfel.

[@shuwee9202]

A voice just now Una voce poco fa Here in my heart it resounded Qui nel cor mi risuonò My wounded heart is already Il mio cor ferito è già And it was Lindor who plagued him E Lindor fu che il piagò Yes, my Lindoro will be Sì, Lindoro mio sarà I swear, I will win it Lo giurai, la vincerò Yes, my Lindoro will be Sì, Lindoro mio sarà I swore, ah yes, I will win it Lo giurai, ah sì, la vincerò The tutor will refuse Il tutor ricuserà I will sharpen my wits Io l'ingegno aguzzerò In the end it will be fine Alla fin s'accheterà And I will stay happy E contenta io resterò Yes, my Lindoro will be Sì, Lindoro mio sarà I swear, I will win it Lo giurai, la vincerò Yes, my Lindoro will be Sì, Lindoro mio sarà I swore it, ha, ha, yes Lo giurai, ah, ah, sì I am docile Io sono docile I'm respectful Son rispettosa I am obedient Sono obbediente Sweet, loving Dolce, amorosa I let myself be held, I let myself be held Mi lascio reggere, mi lascio reggere I let myself be guided, I let myself be guided, but... Mi fo guidar, mi fo guidar, ma... But if they touch me Ma se mi toccano Where is my weakness Dov'è il mio debole I will be a viper, I will be Sarò una vipera, sarò And a hundred traps E cento trappole Before giving in Prima di cedere I'll play, I'll play Farò giocar, farò giocar And a hundred traps E cento trappole Before giving in Prima di cedere I'll play, I'll play Farò giocar, farò giocar And a hundred traps E cento trappole Before giving in Prima di cedere And a hundred traps E cento trappole I will, I will play Farò, farò giocar I am docile Io sono docile I am obedient Sono ubbidiente I let myself be held Mi lascio reggere I let myself drive, but... Mi fo guidar, ma... But if they touch me Ma se mi toccano Where is my weakness Dov'è il mio debole I will be a viper, I will be Sarò una vipera, sarò And a hundred traps E cento trappole Before giving in Prima di cedere I'll play, I'll play Farò giocar, farò giocar And a hundred traps E cento trappole Before giving in Prima di cedere And a hundred traps I will make E cento trappole farò And a hundred traps E cento trappole Ah, before giving in Ah, prima di cedere And a hundred traps E cento trappole I will, I will play Farò, farò giocar And a hundred traps E cento trappole I will play Farò giocar And a hundred traps E cento trappole I'll play, I'll play, I'll play Farò giocar, farò giocar, farò giocar Ha, ha, yes Ah, ah, sì

[@flonoiisana4647]

Mille grazie.

[@flonoiisana4647]

I speak French, not Italian, and I can tell that the translation is not quite accurate, but it helps. Thank you.

[@RobCauser]

A few clicks slow on the metronome for my taste that would add more Rossini “sparkle”, nonetheless, Aigul is wonderful.

[@Nadia1989]

I attended the Feb 28 performance. Superb production, too bad they didn't keep Rosina in a wheelchair, that would be an interesting spin to the story.

[@pedrosergiolozar9860]

De primeira linha!

[@HaasRegen]

A beautifully luscious and elegant voice that is oddly devoid of any musicality, wit, or charm.

[@An-wj4ih]

роскошный голос!!! мастерства пока маловато, надо совершенствовать щедрый божий дар...

[@rch9676]

Если не будет форсировать и не делать лишних телодвижений!

[@cguzmmang]

Una mezzo como debe ser, espero escucharla en vivo alguna vez

[@mariainesdeandradealcantar3263]

👏👏👏👏👏👏👏👏👏

[@nailyabulgakova8816]

❤❤❤❤❤👏👏👏👏👏👏👏

[@shacharlavi5519]

she has a nice voice and presence. But what's going on with the Italian and accuracy of notes? seems like today pronunciation and the written notes do not matter anymore.

[@littled2o7]

who is the cast

[@lolitatorres4486]

Талантливая певица с большим и красивым голосом, но частично звук находится вне высоких резонаторов и поэтому голосом тяжело управлять. Поэтому медленные темпы и много «мышечных», а не «воздушных», легких в исполнении нот. В музыке Россини такое вибрато допустимо.

[@rch9676]

Но недопустимо это петь как Вагнера...голос недолго выдержит...

[@bigbob9702]

Seems like there are trolls in here who think they know what they are talking about. Your comments are what’s boring, not her voice.

[@bodiloto]

Vibrato noioso, pericoloso per questa bella voce ! Intonazione a volte poco precisa. Vocalità poco professionale degna del secondo anno del Conservatorio. Bellissimo finale ! 🌹🍀 il vecchio

[@ΙωαννηςΜπαβας-κ9θ]

Very nice* utube smile by john bavas

[@p.w.e.2374]

Her runs are choppy and kinda sluggish...Kinda needs that Rossini "spark"....nice sounding voice though.

[@idraote]

Someone please tell the director that singing correctly while sitting in an armchair is next to impossible.

[@mickyalexandru6894]

A most beautiful and flexible voice, BUT, this is NOT Rosina ! It sounds tired and quite boring.

[@ChezFeroce]

I prefer it when it's done by a Soprano.

[@zinam5795]

😂

[@williamgraham9309]

Coloratura very labored and not in tune.

[@the8thchurch461]

This lady is simply gifted. What a voice! It pierces and transports. I wish her all the success.

[@Christinebord]

I just heard her in Carmen and she was wonderful. Isn't she supposed to be a mezzo soprano ? Indeed, she is. And even with a powetful and very extended voice ( yes, I heard the " contre-mi", final note of the aria, and she performed it perfectly), she still have a to much heavy voice to sing Rosine, who is written for a soprano legero, she is not. That's why some technical vocalises are to loud. That's why the aria is not played in the good tempo ( to slow), and that's why it seems much dramatic it should be. Such a pity a very great singer like her sings arie not written for her voice. It should be better if she sings mezzo or even lyric soprano arie.

[@neil_1707]

Rosina is originally a mezzo role, sopranos sing it in a higher key when performing 😊

[@Christinebord]

@@neil_1707 well, yes, in the original version you're right. But in european version it has be changed in a higher key long time ago, because the popularity of the role. You will never hear nowadays someone else than a soprano ( and often a coloratur one) sings this aria, in France or in Italy for instance). The very high final note cannot easyly be performed by some others voices, as well as the brillant and very technical " vocalises". That's probably why I found the tempo too much slow. It could be useful for a mezzo, but I find it less brilliant and lightfull this way. I'm not use to hear it in this key. After all, Beaumarchais wrote it to be a very entertaining comedy. Not like the Rosine of Figaro, a much mâture women, and dramatical role.🙂

[@lauraservidei5728]

@@Christinebord You are very, very wrong. Nowadays Rosina is almost always cast as a a mezzo, as anybody can see simply by looking at the casting of Il barbiere in any Italian or French theatre. I suggest you check your sources before declaring such things with such arrogance.

[@rch9676]

Абсолютно согласна с Вами! Такому тяжёлому голосу нельзя петь Розину!

[@themarquis336]

Great voice, it’s shame she was never taught proper breathing technique or basic Italian pronunciation. Who knows if it’s too late.

[@bigbob9702]

She’s quite young. And seems to be a quick study. 😉

[@jorgealbertojoselettera4829]

Canta muy bien. La actuación es bastante estúpida.

[@yon8378]

too much vibrato

[@danielhughes441]

I hate the dramatic direction of this performance. Rosina is not supposed to be that neurotic

[@flonoiisana4647]

Different interpretation.

[@65NART]

If you don’t like the direction, close your eyes and listen to her interpretation and the music.

[@Christiancould]

​@@65NARTcritique is the core of growth. It's fine if someone doesn't like something about art. It is not a personal attack. If we stop critique and tell observers to cover their eyes, we die. If there were an ulterior motive, sure, but this is genuine feedback from someone who wasn't moved by this interpretation. It's a good thing. Please don't encourage the death of critique. Being sterile and polite, like standing for mediocre performances and direction, is one reason opera has fallen to its current state.

[@sasurai2042]

Direction aside, there is difference in personal cultural backgrounds.

[@unclepopeats]

Actually, you’re correct.