Vo' solcando un mar crudele

[@danielrodriguez9630]

Por fin una mezzosoprano...

[@Mini_Min_]

A million time more enjoyable than the numerous countertenors who sing this aria. Creating music in your unconstricted, natural voice brings the beauty and magnificence out of this aria no countertenor can ever manage. I actually found this piece annoying before I heard it sung by female voices.

[@VeganWithAraygun]

Agreed! 💯🎯 100% on target!. As I said in my original comment, This is an astonishing work by Leonardo Vinci And Lucia's incredible voice is good strong medicine; healing and totally exhilarating. Lucia is fabulous. Her rendition is powerful and smooth, without sounding forced, contrived like the falsetto of an overreaching male countertenor or overbearing. I'm not against countertenors or others in the same vocal range... but I have yet to hear this work as "natural sounding"(?) or pleasingly plump and sweeter than Lucia's. Unlike other interpretations, Lucia knows when to, and more importantly, when Not to use vibrato. Bravo Lucia ❤

[@sandrovilucchio5782]

You re right

[@cansuyalcinulus9499]

Vo solcando un mar crudele Senza vele, E senza sarte: Freme l’onda, il ciel s’imbruna Cresce il vento, e manca l’arte; E il voler della fortuna Son costretto a seguitar. Infelice! in questo stato Son da tutti abbandonato: Meco sola e l’innocenza, Chi mi porta a naufragar.

[@GIROSSINI58]

Questo è cachemire. Brava.

[@VeganWithAraygun]

Or as Google translates to English: I am crossing a cruel sea Without sails, And without seamstresses: The wave quivers, the sky is darkening The wind grows, and there is no art; And the will of luck I am forced to continue. Unhappy! in this state I am abandoned by all: With me alone and innocence, Who takes me to shipwreck. ___________________ ❣️

[@adityapurohit8232]

Thanks madam for the florid, sublime & stately artistic singing of this fabulous aria of Leonardo Vinci.

[@silvestrosalieri9832]

Grazie

[@venierocongedo4842]

Adoro la morbida eleganza di sottofondo che non viene mai meno durante tutta l'esecuzione...

[@danielrodriguez9630]

Esta mujer . Nos lleva al cielo. Y solo con su voz...

[@VeganWithAraygun]

HER voice!

[@mariolamari4554]

BRAVISSIMA!!!!......... ECCELLENTE ESECUZIONE DI UN'ARIA COLMA DI ENERGIA!!!!

[@olivierteixeira3757]

Quelle grâce dans l'interprétation de Lucia Cirillo, avec une multitude de délicieuses ornementations, comme FARINELLI aurait pu le faire au 18ème siècle ! Bravissimo Lucia !!

[@maurorocca1745]

L'interprete con questa superba esibizione rende omaggio alla straordinaria e ineguagliabile scuola musicale Partenopea, fucina inesauribile di Genii del pentagramma. Il Grande Leonardo Vinci tra l'altro fu il primo maestro del più grande musicista di tutti i tempi: Giovanni Battista Draghi detto Pergolesi! Senza polemica... altro che i tedeschi solo buoni a copiare!

[@VeganWithAraygun]

Esattamente! Exactly!

[@albertocolzani897]

Che dire? Bravissima, con una splendida emissione naturale. Con ciò, chapeau a Franco Fagioli, come lui nessuno, anche in termini di presenza scenica!

[@lagunabird1]

both Franco Fagioli and Lucia Cirillo are excellent. Many thanks for posting

[@broutinbenard5466]

I agree with you.

[@Esoterre]

I really like this interpretation it's beautifully done, however, Fagioli's interpretation is fantastic as well. One interpretation is not better than the other, they are both just different and that's wonderful.

[@diablotin1971]

Fagioli is better

[@Esoterre]

@@diablotin1971 I think Fagioli is a bit more dramatic, which is good.

[@tenor-haute-contre]

I prefer Fagioli's interpretation but there's one thing I can't stand about his singing: pronounciation. As for Lucia Cirillo's version I can actually understand what she's singing (or at least it's clearer, LOL, it's still opera seria)

[@xdranzer0004]

Fagioli would make a good hype man, but that’s probably all there is. The rest is wasted potential coupled with ugliness and forcing, constrcited singing. Jarrousky was correct about this new school of more lyrical Countertenors when he was interviewed about Artaserse. However, next to the actually good singers (Sabata, Cencic, Mynenko…) you have people like Fagioli and Orlinski who clearly don’t understand what it means to make a natural, relaxed sound. Same thing for Mineccia whom I actually prefer to the latter two. Well, at least they don’t sound like Ferri-Benedetti either, but we can do better than that.

[@philitesta2495]

Great version, intense and precise. Brava!!!!

[@roberkonstig]

Antes de nada, deseo felicitar a thebaroque por tan estupenda elección para sus sesenta y seis arias favoritas. Esta aria de Vinci me resulta particularmente agradable y estimulante. Para mi gusto, la interpretación de la señora Cirillo es simplemente magnífica, muy superior a las otras que se pueden encontrar en You Tube. Me encanta su voz, tiene una cualidad que me cuesta definir, pero que a mis oídos la hace única. La única pega que se me viene a la mente es que, tratándose de una grabación de estudio, no sé cuán buena será su prestación en directo, sobre el escenario. Por alguna razón, me hace pensar en las extraordinarias Mingado e Invernizzi, que en grabaciones de estudio son maravillosas, pero que en directo pierden bastante.

[@roberkonstig]

Por error, he escrito Mingado, cuando me refería a la gran Sara Mingardo.

[@writetogus]

Has visto la interpretacion de Franco Fagioli?

[@kaloarepo288]

She really nails this amazing aria.Astonishing!

[@Eerau]

Love this interpretation of this magnificent aria

[@rvrss7192]

Listening right after Franco Fagioli - this singing seems so relaxed and easy that even some minor loss of precision is still acceptable.

[@VeganWithAraygun]

"minor loss of precision"? 🥱,🤣...yeah right. Wai..whuh..wwwWait a minute!🧐 Come to think of it, maybe that's true. I could do it better than her, and I can't sing, period. I'm the best, moh betta than the best... only I can fix this folks🤗

[@rvrss7192]

@@VeganWithAraygun I'm glad you can do it better, what a regret I rather can't, but I can still HEAR the difference, as well.

[@VeganWithAraygun]

​​​@@rvrss7192 🙏🏼🤪 Whatever...it was my poor attempt at a paradoxical nonsensicalism plus it's better to agree or disagree agreeably with our given artistic preferences than it would be to waging food fights or war.🎼🤸✔️🎉 Yippee!!

[@giuseppepucci4852]

Bellissima esecuzione ❤️

[@h.donkersloot9965]

Beautiful voice performance,

[@trapananda9414]

excelente, gracias por subir,,,saludos de chile.-

[@giancart]

Splendida donna e splendida cantante

[@marcopaganelli6059]

che bella versione il viso di questa BRAVISSIMA RAGAZZA somiglia anche a quello di Vivica Genau bello come l aurea proportio conduce a queste similitudini vocali

[@eugenioartioli9767]

I Fagioli se li mangia a colazione!

[@VeganWithAraygun]

This is an astonishing work by Leonardo Vinci ( not George Frederick Handel, as the channel creator's first credit suggests) Lucia's incredible voice is good strong medicine; healing and totally exhilarating. Lucia is fabulous. Her rendition is powerful and smooth, without sounding forced, contrived like the falsetto of a overreaching male countertenor. or overbearing. I'm not against countertenors or others in the same vocal range... but I have yet to hear this work as "natural sounding"(?) or pleasingly plump and sweeter than Lucia's. Unlike other interpretations, Lucilia knows When to, and more importantly, When Not to use vibrato.

[@janwilson9485]

wonderful!

[@domenicobrescia-italia2282]

Lucia Cirillo is the best in Leonardo Vinci!

[@giuseppedimarco8358]

Brava! Bellissima!

[@giovannirimini3837]

Grande!!! Grazie!!!

[@enriquepardo50]

Esta aria pertenece a la ópera Artajerjes (Artaserse) de Leonardo Vinci. Los créditos la asignan erróneamente a Catone de Handel.

[@FranciscoFernandezD]

Lee primero y aprende inglés e historia de la ópera barroca (como por ejemplo lo que es Un pasticcio), en la descripción reza: "George Frideric Handel: Catone in Utica* *Pasticcio, aria composed by Leonardo Vinci for his opera "Artaserse"

[@danielrodriguez9630]

Lucia como no escucharte?

[@partituravid]

Interesting how everyone knows the score to the hemidemisemiquaver....but the "description" can't even give the composer, work, or date. Seems a specialized, insular community that's very specific about certain details

[@c.g.marseille4510]

most beautiful

[@christianlefebvre6475]

Interprétation plus simple que celle de Fagioli. J'aime beaucoup.

[@mickebon]

❤💐

[@lifeisgood3087]

Mervelleuse. Meraviigliosa. Flawless. Esplendida.

[@litus1969]

Una dicción muy clara. Cristalina. El aria es de una gran dificultad en la respiración y para ser de estudio ya le trae problemas.... Quizás no imprime la bravura de esta aria. Aún y así es una excelente cantante

[@FranciscoFernandezD]

La grabación es en vivo, no de estudio.

[@MiChi-ef7bc]

Potete dire tutto ciò che vi pare suo falsettisti... Ci sono, esistono e hanno tutto il diritto di cantare e fare arte. Personalmente, le emozioni che mi dà Fagioli, nella stessa aria, non le provo con la Cirillo. Sembrano, addirittura, due arie diverse.

[@helenearetz7596]

Belle énergie !

[@gerardjagroo]

This was brilliant actually, better than Khulman rendition, it's pearly! Still Fagioli is my favourite :-)

[@giuseppemarchesini2405]

Stupenda interpretazione. La voce femminile consente di raggiungere limiti di bellezza mai raggiunti.

[@brunodonderi9869]

Brava Lucia Cirillo, che bella voce naturale....altro che certi falsettisti delle balle che credono di cantare l'Artaserse di Vinci. Grazie del post, così posso godermi anch'io questa bella aria cantata da un vero mezzosoprano e non da qualche mezzosoprano o contralto tarocco.

[@andreacrisci7769]

La trovo anche io squisita, ma sopratutto non si sentano passaggi di registro grotteschi e assurdi !

[@brunodonderi9869]

+Andrea Crisci. Sempre d'accordo, vero.... quei brutti passaggi di registro di cui parli capitano solo ai contralti tarocchi. Lucia Cirillo è UN ORIGINALE e non uno dei tanti sottoprodotti vocali che possono piacere solo a chi ha l'udito corrotto

[@andreacrisci7769]

bruno donderi come non essere d'accordo, sottoprodotti di mode assurde, ma purtroppo ci dobbiamo accontentare di qelle poche volte che danno la possibilità a queste meravigliose voci di cantare .

[@brunodonderi9869]

+Andrea. Coraggio!!! anche le mode cretine sono destinate a passare, anche se sono piuttosto pessimista al riguardo perché è oramai dalla fine degli anni Settanta che va avanti questa stronzata dei falsettisti. Ma, come dici, accontentiamoci del poco che passa il convento sperando che presto a qualcuno torni il buon senso

[@writetogus]

I falsettisti sono gli originali

[@svetlanasolonikova9221]

Интерпретация Лючии Чирилло прекрасна. Но после Франко Фаджиоли исполнению Лючии для меня не хватает силы и сложности. Хотя голос ее прекрасен.

[@VeganWithAraygun]

In your opinion. I feel exactly the opposite, or shall I say, IMHO I think FF's interpretation is forced, banal & with too much unnecessary feigned vibrato. Uggh!.. but that's OK. It's a great world if we can disagree with our artistic preferences without overheating hostilities.

[@megenberg8]

@@VeganWithAraygun hers is feminine and genteel, and so lovely. his is dramatic and very rousing, and that is definitely perfect for this number on stage! Franco does it awesome and is completely astonishing. his energy is strong and intense and one actually senses the lyrics realistically, just as though you are in a dream of great lucidity. love his focus and intensity.

[@donvito1974]

bravissima!!

[@leodepuydt308]

Vinci: The Carrara marble from which Pergolesi carved his Michelango-like eternal musical statues, as the historical evidence amply demonstrates (see elsewhere at compositions by Vinci). Leo Depuydt (Brown University)

[@jacobcarpenter3744]

Franco Fagioli and Simone Kermes are, thus far, best at this challenging aria for Giovanni Carestini. My only problem with the former is that his diction is slightly metallic. I do applaud Ms. Cirillo's try, at least.

[@tonyvillamotte4339]

Yeah, Handel in his right mind would never have composed something like this. He'd say his cook Fritz could compose an aria better than that, so he'd save his composer mojo for writing something great and swipe this aria from a "galant" Neapolitan-style hack and stick it in where it fit the action best (hoping nobody in the audience had heard it down in Italy during their recent grand tour, though if they had, they probably wouldn't have booed the music anyway - who could say Handel hadn't composed this aria whereupon Vinci had stolen it???).

[@tenor-haute-contre]

Handel is mostly influenced by Gasparini, Scarlatti and certainly his Londonese colleagues Bononcini and Ariosti. It's funny to know that he practically infused England with that style and will remain there for a long time, whilst the galant Neapolitan one popularized by Feo, Leo, Vinci, Hasse and co. coexists and triumphs in Italy (despite occasional performances of Galuppi, Perez, Lampugnani, &c...)

[@BorsosGabor2023]

F.F.❤...

[@mengkaotseng8105]

i feel she has a sweeter sound than fagioli's mxncb

[@DukeofDarkCorners]

Interesting: I assumed this track would be from the Ipata recording of "Catone", but it's not, is it? Ms Cirillo's ornamentation of the da capo is perceptibly different here from that she uses in the version on the complete set. Any idea of the background to this track? Is it a different take from the Ipata session, or a different recording altogether? Who are the conductor and ensemble?

[@carloipata8773]

Dear Michael, this is the live recording of the Halle performance we did in june 2016

[@DukeofDarkCorners]

@@carloipata8773 Thanks so much for responding. Ms Cirillo's performance of this aria is excellent and sung with great panache, both in this recording and on the album set, and it's satisfying to know where this one originated!

[@moeharvard]

Lucia is the very best !!!!!! She is better than Fagioli and Jarrousky

[@Guitarorpheo]

Very well done but knowing Fagioli's version and the score so well, I do hear discrepancies.

[@dianastella]

Some shortcuts indeed...

[@eduardogarc624]

Eduardogarc62 Me gusta mucho más la interpretación de Franco Fagioli

[@67pamina]

Preferisco Fagioli... Però è molto brava.

[@81canterino]

Cirillo fai la donna on il castrato

[@jcui5007]

But Fagioli is unique!

[@moniquemalaurie9713]

Je trouve qu'elle chante très bien... Avec les (Fagioli) haricots je me fais la soupe!

[@writetogus]

Attention Mesdames: ne pas melanger la cuisine avec la musique

[@christianlefebvre6475]

J'aime bien ton humour.👍😁

[@irinameshkova2832]

Франко лучше:))

[@davidsatterfield6981]

Having heard Fagioli's various incarnations, I went look for any other take on this flawless aria. I came across Ms Ipata. What a disappointment. Sorry but she doesn't even get it. While a good bit slower than Fagioli's various versions she still fails. Sorry but it really does sound a bit like a first run through without having even practicing. Thin with no depth In her voice and any pretense of even trying.

[@Miakois]

Sorry but you obviously can’t distinguish a natural, relaxed voice from an unnatural squeezed one. Her singing is superior to Fagioli. Regarding him, listen to this recording of Russel Oberlin kzbin.info/www/bejne/Y4DUlaWoq81kntE. THAT is how a countertenor is supposed to sound like. Natural full voice not Fagioli’s constricted screaming. People really should listen more to pre WW2 recordings of old singers. People these days have no idea what the actual historically correct singing is supposed to sound like and then end up venerating bad singers like Fagioli. Operatic singing is supposed to sound natural and not be screamy or squeezed. Listen to old recordings of Oberlin, Gigli, Tetrazzini… Fagioli sounds like a hoarse second grade soprano and would be booed out of theatre hundred years ago.

[@xdranzer0004]

Yeah…. Nah… would have to disagree as a person who approved of falsettists. I never get people’s obsession with Franco Fagioli unintelligible singing, over exaggeratied facial expressions and constricted screeching. Lucia Ciriillo might not be as « active » as you may want, but at least she’s got a natural sound. And I’m not saying that Falsettists can’t sing this aria well. It’s for Carestini who was in fact more a Mezzo rather than a Soprano, so most professional Countertenors should have no issues tackling this. In fact, I’d say that Fagioli was the least good singer in the Artaserse revival. Mynenko, Cencic and Valer Sabadus are miles better than him. Jarrousky may even be able to sing this better than Fagioli despite having a more feeble and less bravoura voice. Screaming and forcing are not how you should be singing. Singing should be natural and easy sounding, no matter your voice type. I’ve heard both terrible and good singing from all voice types, no matter the repertoire. Fagioli is one example that I don’t recommend, same thing for the pretty boy Orlinski (both have got beautiful voices and potential, like lots of people, however, their technical means are either lacking or full of flaws).

[@EstelleJRM]

Dare I say almost better than Franco Fagioli who was amazing live in Versailles two yaers ago. She is just superb

[@brunodonderi9869]

+Estelle. There is no comparison Lucia Cirillo is a true wonderful mezzo...Fagioli is only a pitiful fake

[@padrepatta5535]

And you are just a jerk

[@brunodonderi9869]

+padre patta. I feel very proud indeed when a jerk says to me I am a jerk

[@padrepatta5535]

But you are a jerk, and a big one. Your statement on Fagioli is the proof.

[@brunodonderi9869]

Even if I'm a jerk, I'm yet capable of distinguishing an authentic mezzo from a fake

[@sposatoroberto1315]

Franco Fagioli superiore

[@elsaenzo]

Oui oui suis d'accord avec vous

[@brunodonderi9869]

Un par di balle!!!

[@eugenioartioli9767]

Ma neanche lontanamente. E comunque non è una gara