# Round 2 Videos: Suicidio. Dimitrova, Marton, Farrell



## Seattleoperafan (Mar 24, 2013)

Round 2 of Three Rounds








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## ColdGenius (9 mo ago)

Dimitrova. It's beyond my control. 
It doesn't mean that Marton and Farrell worked bad. Marton was the only Gioconda I saw on video, it was a discovery. And Farrell is magnificent here, despite of the cameraman who doesn't love her.


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## damianjb1 (Jan 1, 2016)

Farrell's voice is so much steadier than the other two.


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## Tsaraslondon (Nov 7, 2013)

My vote here goes to Farrell. Her voice is the steadiest and she is better at observing the composer's markings, though she doesn't really suggest the _con disperazione _he asks for. She also manages the tricky _volevan l'ore _better than the others. Her low notes are there, but, in this aria, I prefer a more pronounced chest voice. 

Of the others, I was surprised to prefer Marton, who is possibly helped by the fact that hers is part of a complete performance. She doesn't have Farrell's steadiness, is a bit clumsy in _volevan l'ore _but does sound more desperate.

I didn't really like Dimitrova's performance.


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## Seattleoperafan (Mar 24, 2013)

Farrell sings beautifully here and for her sings with a good deal of emotion. Farrell has a big chest register but only uses it in pop where she uses a whole octave she doesn't use in opera. I think I am the only fan of Dimitrova on this forum. I find her voice so exciting with her 70 MPH vibrato up high and the sheer size of her voice from top to bottom. Marton's voice is in really good shape here but I wish she had brought the fever of her Elektra performances to this aria. She can be an amazing actress in the right part. All of these ladies have the tremendous size of voice needed for the drama in this aria.


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## MAS (Apr 15, 2015)

Is that Lennie on Farrell’s video? Nice to see him! I’m afraid that is all that distinguishes Farrell’s effort. She doesn’t use her whole voice, eschewing the chest for the all-important low phrases in this aria, plus she forgets the words when the line goes high in _“_domando al cielo,” which becomes an “ah” sound. Words are important in an aria,

Dimitrova has sounded better in this aria and has better videos, no doubt. Judging by this one, she is uninvolved - a concert performance needs more imagination than she provided here, though she is unstinting in her generous use of tone and especially the chest. 

Marton definitely has the advantage in having a staged scene, but her voice is hard-driven as was her wont in that stage of her career. She, too, is generous with the expenditure of tone and voice - and chest!” She also does the “ah” trick in the high “domando al cielo,” which surprised me in a live performance. I’ve seen Marton live in this opera and she is never less than committed in performance.

None of these singers are up to the best in this aria. No vote.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Is that Lennie on Farrell’s video? Nice to see him! I’m afraid that is all that distinguishes Farrell’s effort. She doesn’t use her whole voice, eschewing the chest for the all-important low phrases in this aria, plus she forgets the words when the line goes high in _“_domando al cielo,” which becomes an “ah” sound. Words are important in an aria,
> 
> Dimitrova has sounded better in this aria and has better videos, no doubt. Judging by this one, she is uninvolved - a concert performance needs more imagination than she provided here, though she is unstinting in her generous use of tone and especially the chest.
> 
> ...


You'll vote next time LOL.


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## Op.123 (Mar 25, 2013)

Marton is not a singer I like, in her prime she could be okay but really I'm not sure why she was so popular, maybe just because of the voice's size? She is past her prime here anyway. Dimitrova is uninvolved and not perfect enough vocally to make up for it, Farrell is better on both fronts so voted for her, still prefer Traubel's rendition from the first round however.


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## nina foresti (Mar 11, 2014)

I ousted Dimitrova after hearing the last 2. She sounded a bit too mature for me. 
I did not watch any of it -- I only listened which I am really glad I did becausewhen I finally DID look at them after I had made my decision I was annoyed with the facial gyrations of Farrell which would have prejudiced me on her wonderful voice. I also didn't know Lennie was her conductor.I almost chose her. She was very good.
None really had that down deep chest tone so I didn't have to worry about that. 
But the one whose voice attracted me the most was the one who sounded a bit rougher in sound, kind of like I think Callas would have done at certain points,
So I placed my win on Eva Marton. (am I alone again up there?) ;-)


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> I ousted Dimitrova after hearing the last 2. She sounded a bit too mature for me.
> I did not watch any of it -- I only listened which I am really glad I did becausewhen I finally DID look at them after I had made my decision I was annoyed with the facial gyrations of Farrell which would have prejudiced me on her wonderful voice. I also didn't know Lennie was her conductor.I almost chose her. She was very good.
> None really had that down deep chest tone so I didn't have to worry about that.
> But the one whose voice attracted me the most was the one who sounded a bit rougher in sound, kind of like I think Callas would have done at certain points,
> So I placed my win on Eva Marton. (am I alone again up there?) ;-)


There was another recital version with Marton but I know you guys like stage versions if you can get it. I had her Puccini disc from the start of her international career and she never sounded that good later on, although this video found her in good voice.


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## Woodduck (Mar 17, 2014)

I'll take Farrell, both for sheer voice and for an effort to get some light and shade into her phrases. Light and shade, along with any specificity of emotion, are totally absent from Dimitrova's assault, and I was glad when it was over. Marton, somewhat to my surprise, I found actually pretty good, and best of the three at conveying a sense of desperation. Being live onstage no doubt helped her do that. I have the feeling that Farrell needed to live with the music a little longer, and probably perform the role in the theater, to knit together those nicely shaded phrases into a stronger entity, but at least she had thoughts about it, and her voice is simply of a higher caliber than the others.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Is that Lennie on Farrell’s video? Nice to see him! I’m afraid that is all that distinguishes Farrell’s effort. She doesn’t use her whole voice, eschewing the chest for the all-important low phrases in this aria, plus she forgets the words when the line goes high in _“_domando al cielo,” which becomes an “ah” sound. Words are important in an aria,
> 
> Dimitrova has sounded better in this aria and has better videos, no doubt. Judging by this one, she is uninvolved - a concert performance needs more imagination than she provided here, though she is unstinting in her generous use of tone and especially the chest.
> 
> ...





MAS said:


> Is that Lennie on Farrell’s video? Nice to see him! I’m afraid that is all that distinguishes Farrell’s effort. She doesn’t use her whole voice, eschewing the chest for the all-important low phrases in this aria, plus she forgets the words when the line goes high in _“_domando al cielo,” which becomes an “ah” sound. Words are important in an aria,
> 
> Dimitrova has sounded better in this aria and has better videos, no doubt. Judging by this one, she is uninvolved - a concert performance needs more imagination than she provided here, though she is unstinting in her generous use of tone and especially the chest.
> 
> ...


Farrell has a good chest register but saves it for popular music like this low F in Blues in the Night. I don't know why


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