# Rebeka vs Lezhneva, aria of Mathilde from Guillaume Tell (Rossini)



## BBSVK (10 mo ago)

Marina Rebeka





Julia Lezhneva


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## Seattleoperafan (Mar 24, 2013)

I thought both were beautifully done. I liked Lezhneva better because she has an unusual and very unique timbre to her voice that is easily recognized. Both showed great skill and sang with great beauty of tone. Thanks for posting. Sorry I ran a contest the same day as yours but I don't feel like deleting it and posting it tomorrow.


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## BBSVK (10 mo ago)

Seattleoperafan said:


> Sorry I ran a contest the same day as yours but I don't feel like deleting it and posting it tomorrow.


You were first, maybe I should have waited or coordinated with you. But I was told it is not a hard fast rule, about one round per day. I had a sudden courage to finally post it, so I didn't want to wait again.


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## ColdGenius (9 mo ago)

Lezhneva! A rare guest here. 
I like Rebeka, she is skilled, as I can see, good in acting and beautiful, that is all to be a star. And she has a more traditional and stable career with an outlook to last, if she has some good luck and avoids a temptation of turning to dramatic soprano. (Unlike her Lezhneva is an established baroque specialist and an active recitalist). 
Lezhneva is the one I like and follow her career with a kind of thrill. She became famous enough and sought-after extremely early and always had a dense schedule of recitals and recordings. Last years she added some opera productions to it. Rossini was her signature at the beginning. Now she sings earlier music, mostly in Italian and German. It's unusual to listen to her in French. She has a huge fandom, but no less implacable critics. I will not be surprised if she is rotten-tomatoed here, but I don't care. After all her live events I attended I just can't vote against her.


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## Seattleoperafan (Mar 24, 2013)

I've added both to contests.


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## BBSVK (10 mo ago)

@ColdGenius what are good examples of arias, where Lezhneva is most valued ? I don't know much baroque singing.


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## Shaughnessy (Dec 31, 2020)

BBSVK said:


> @ColdGenius what are good examples of arias, where Lezhneva is most valued ? I don't know much baroque singing.













*Julia Lezhneva: Alleluia*

Julia Lezhneva (soprano)
Il Giardino Armonico, Giovanni Antonini

*Works*

Handel: Saeviat tellus inter rigores HWV 240
Mozart: Exsultate, jubilate, K165
Porpora: In caelo stele clare fulgescant
Vivaldi: In furore iustissimae irae, RV626
Link to label authorized complete recording - 





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Loading…






www.youtube.com





Try this one - It serves as a good introduction.


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## ColdGenius (9 mo ago)

Agitata da due venti from Vivaldi's _Griselda. _
Un pensiero nemico di pace and Tu di cielo ministro... from _Il trionfo di tempo e di desinganno_ by Handel.
Mozart's _Exculpate, jubilate. _
At the very beginning she became famous performing an aria from Rossini's _La donna del lago._
These are first that come to mind.


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## ColdGenius (9 mo ago)




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## ColdGenius (9 mo ago)

_Siroe, re di Persia _by Hasse. _Carlo Il Calvo _by Porpora. Both productions were released on DVD or broadcasted. She also sang Zerlina. 
I saw live _Polifemo_ by Porpora, a semi-stage production, directed by Max-Emmanuel Cencic. They didn't film it, as I know.


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## Georgieva (7 mo ago)

Julia Lezhneva for me.


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## BBSVK (10 mo ago)

Rebeka gave me an epiphany, which changed this aria from boring to exciting and loved for me. And generally, I am a self proclaimed Rebeka's ardent fan, so it is clear I will vote for her 
Still, I thought I will play the complete game first, as if the contest weren't mine, listen to the full duration of both versions very carefully and look at the libretto, as I do with other singers, so that Rebeka's beauty doesn't disturb me. This process usually gets me closer to the public opinion. But it is possible I will just give up on this and vote, the aria is long like hell  .
Should I cut it in the next round ? But I find the recitative very important. I would cut a second repeat of the song if anything, but that feels like too barbaric


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## ColdGenius (9 mo ago)

BBSVK said:


> Rebeka gave me an epiphany, which changed this aria from boring to exciting and loved for me. And generally, I am a self proclaimed Rebeka's ardent fan so it is clear I will vote for her
> Still, I thought I will play the complete game first, as if the contest weren't mine, listen to the full duration of both versions very carefully and look at the libretto, as I do with other singers, so that Rebeka's beauty doesn't disturb me. This process usually gets me closer to the public opinion. But it is possible I will just give up on this and vote, the aria is long like hell  .
> Should I cut it in the next round ? But the I find the recitative very important. I would cut a second repeat of the song if anything, but that feels like too barbaric


_Guillem Tell _itself is a long opera, and it easily can be boring, especially in wrong hands. Even Rossini made fun of it. On the other hand it was appreciated by young Wagner (it explains much 😁). 
Recitatives are important and repeats are not only to spin out time. Even if lyrics are inelaborate, it's singer's goal to present it interestingly. So, no cuts!


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## ColdGenius (9 mo ago)

I also wait for other contests with Rebeka, despite the fact I didn't vote for her.


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## Aerobat (Dec 31, 2018)

Arrgghh . Two of my favorites from the current generation. In this one, I have to give the vote to Lezhneva - but then this is her speciality. It's close, but Julia _just_ takes this one for me.


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## Shaughnessy (Dec 31, 2020)

Hmmm... Which one looks as if she has talent? -


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## ColdGenius (9 mo ago)

😁 Now we know who voted for Marina.


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## The Conte (May 31, 2015)

Lezhneva's is very prettily done and quite charming. She may also be the technically better of the two. However, I thought Rebekah was more varied in tone and shade and sounded more earnestly plangent.

Rebekah moved me in ways that Lezhneva didn't.

N.


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## solutio (2 mo ago)

Lol, only 22% voting for the best Mathilde in our days. What is the aim of this voting? To find the best singing of an Rossini aria or to support the own preferd soprano or a person or simply a nation...??? If we can learn something new because of a unexpected result of such a voting, its amazing. But if the aim is a simple election between parties, it seems to be useless for me.


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## solutio (2 mo ago)

solutio said:


> Lol, only 22% voting for the best Mathilde in our days. What is the aim of this voting? To find the best singing of an Rossini aria or to support the own preferd soprano or a person or simply a nation...??? If we can learn something new because of a unexpected result of such a voting, its amazing. But if the aim is a simple election between parties, it seems to be useless for me.


Or in the words of Plato: Democracy is the dictatorship of mediocrity...


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## BBSVK (10 mo ago)

solutio said:


> Lol, only 22% voting for the best Mathilde in our days. What is the aim of this voting? To find the best singing of an Rossini aria or to support the own preferd soprano or a person or simply a nation...??? If we can learn something new because of a unexpected result of such a voting, its amazing. But if the aim is a simple election between parties, it seems to be useless for me.


You should look at other contests for a better picture, what the usual commenting looks like. Here, people didn't do much commenting, as you see. They were holding back, because this is the first contest I created myself. They know I was nervous about it, and that I love Rebeka.

I had a similar opinion about the absurdity of the contests as you and didn't participate for some time, while being an active member already. I first took a bait when aria of Dellilah was on contest, because I love that aria and never heard about the singers who were in that round. I was astonished by the variability. Because otherwise, I am the kind of person, who likes something and gets stuck in the loop. So the variability was one thing. Another thing, I am a pure amateur, a biologist, and never understood what people evaluate on singing, so I wondered, how my honest opinion matches others, if I listen carefully. Surprisingly, it quite often does. I never watch the poll results or read comments, before I make my own. If I find others describing my perception, I learn the operatic jargon, that's another factor. This thread is not the best example of it. But at least one member here commented, that Lezhneva has a very beautiful unusual voice color. On repeated listening, yes, there is a very beautiful shining undertone. Last but not least, we are monkeys, the social stuff lures and absorbs us, so we often do root for our favourites, take sides, just as you imagine. I secretly hoped you will vote for Rebeka here  . But since we are monkeys, why don't we use this as a motivation to discover new arias (I did discover some through contests already) and broaden our horizons ?


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## Tsaraslondon (Nov 7, 2013)

I have to say that neither of the two ladies really gave me what I want from the recitative and aria. I don't get any sense of loneliness or longing. 
Rebekha looked beautiful and moves well on stage, but I don't find the voice, lovely though it is, particularly memorable, something I find more and more with today's singers. I also had a problem with the production and the acting, which was altogether too modern for my taste. I'm not sure opera from this period really responds to such naturalistic treatment and for me it just becomes prosaic rather than more relevant. 
Lezhneva has the more interesting voice, I think and in the end I decided to vote for her. Both are good, but I didn't think either was outstanding.


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## BBSVK (10 mo ago)

Tsaraslondon said:


> I don't get any sense of loneliness or longing.


Neither do I 
I fell in love with the aria through the interpretation of Rebeka. Or my perception of it. That forest is not THAT dangerous, maybe it should be, but I am hiker, you know, I love forests. And why loneliness, she will meet Arnold soon. She spotted him in the distance, that's the reason she left her hunting party to begin with. I hope I am not too obnoxious with bringing my personal stuff into the opera forum. I have experienced moments in my life, when I got the sense, that my love will be returned. Still a tiny bit of insecurity, but you suddenly get the idea it will be reciprocated. Why shouldn't she feel like that ? She is beautiful, she is a princess. And she is young


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## Tsaraslondon (Nov 7, 2013)

BBSVK said:


> Neither do I
> I fell in love with the aria through the interpretation of Rebeka. Or my perception of it. That forest is not THAT dangerous, maybe it should be, but I am hiker, you know, I love forests. And why loneliness, she will meet Arnold soon. She spotted him in the distance, that's the reason she left her hunting party to begin with. I hope I am not too obnoxious with bringing my personal stuff into the opera forum. I have experienced moments in my life, when I got the sense, that my love will be returned. Still a tiny bit of insecurity, but you suddenly get the idea it will be reciprocated. Why shouldn't she feel like that ? She is beautiful, she is a princess. And she is young


I didn't say the forest was frightening. In fact it's obviously comforting, but the music has a sort of sighing loneliness and longing that I don't get from either of these ladies and that I do get from Caballé and Callas, for all her vocal problems by this time. I didn't want to bring up the shade of singers past, but I don't think anyone gets as much out of the recitative as Callas does. The words are important of course, but it is the music which dictates the mood. Yes, Mathilde is going to see Arnold soon, but how long has she been waiting? The words might not tell us, but the music does. Why is everything so literal these days?

I'm old now and I've been an opera nut for over 50 years and what I find missing from so many opera performances these days is magic and the power of suggestion. Not everything needs to be spelled out.


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## BBSVK (10 mo ago)

Tsaraslondon said:


> I didn't say the forest was frightening. In fact it's obviously comforting, but the music has a sort of sighing loneliness and longing that I don't get from either of these ladies and that I do get from Caballé and Callas, for all her vocal problems by this time. I didn't want to bring up the shade of singers past, but I don't think anyone gets as much out of the recitative as Callas does. The words are important of course, but it is the music which dictates the mood. Yes, Mathilde is going to see Arnold soon, but how long has she been waiting. The words might not tell us, but the music does. Why is everything so literal these days?
> 
> I'm old now and I've been an opera nut for over 50 years and what I find missing from so many opera performances these days is magic and the power of suggestion. Not everything needs to be spelled out.


I was astonished how the mood of this aria can be different, that was the main motivation I wanted this contest in the first place. To show this contrast. That's why Callas will be in it, as my only exception, because I do not want the Italian version otherwise. I agree, her interpretation cannot be replaced by anyone else.


EDIT:
It is entirely possible, I lell in love with an incorrect interpretation of the aria !
It would not be my first time.
Do you remember my thread about whether Norma does have a Liebestod ? The first version I saw was with Joan Sutherland in Sydney, she seems pretty happy burning with her guy. By this time, I am convinced it is incorrect, but I love both of the opposing interpretations.
Just as I love Rebeka singing "Sombre foret", to return back on topic.
You hear sighing and longing in the music. I do as well, but on the happier side of it. Also, I have a smell synesthesia, when the instrumental introduction to the aria proper begins, the flowers of _Melissa_, or a freshly cut grass. Why would the freshly cut grass be in the forrest ? But never mind 

EDIT 2: I've forgotten to mention, that "Voi che sapete" is the aria of Elisabeth Bennet for me, LOL !


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## ColdGenius (9 mo ago)

A dangerous forest in Central Europe?  Where a last living wolf was seen by Red Riding Hood? Are there any ticks? For me an impression of this aria was "a beautiful princess singing" too.


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## BBSVK (10 mo ago)

ColdGenius said:


> A dangerous forest in Central Europe?  Where a last living wolf was seen by Red Riding Hood? Are there any ticks? For me an impression of this aria was "a beautiful princess singing" too.
> View attachment 177980


In fact, @Tsaraslondon also writes the forrest is not dangerous but comforting.


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## BBSVK (10 mo ago)

BBSVK said:


> I was astonished how the mood of this aria can be different, that was the main motivation I wanted this contest in the first place.


On reflection, why didn't I say so earlier ?


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## ColdGenius (9 mo ago)

Tsaraslondon said:


> ...
> I'm old now and I've been an opera nut for over 50 years and what I find missing from so many opera performances these days is magic and the power of suggestion. Not everything needs to be spelled out.


It's a very exact observation. Great actors are great when they are silent.


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## solutio (2 mo ago)

BBSVK said:


> You should look at other contests for a better picture, what the usual commenting looks like. Here, people didn't do much commenting, as you see. They were holding back, because this is the first contest I created myself. They know I was nervous about it, and that I love Rebeka.
> 
> I had a similar opinion about the absurdity of the contests as you and didn't participate for some time, while being an active member already. I first took a bait when aria of Dellilah was on contest, because I love that aria and never heard about the singers who were in that round. I was astonished by the variability. Because otherwise, I am the kind of person, who likes something and gets stuck in the loop. So the variability was one thing. Another thing, I am a pure amateur, a biologist, and never understood what people evaluate on singing, so I wondered, how my honest opinion matches others, if I listen carefully. Surprisingly, it quite often does. I never watch the poll results or read comments, before I make my own. If I find others describing my perception, I learn the operatic jargon, that's another factor. This thread is not the best example of it. But at least one member here commented, that Lezhneva has a very beautiful unusual voice color. On repeated listening, yes, there is a very beautiful shining undertone. Last but not least, we are monkeys, the social stuff lures and absorbs us, so we often do root for our favourites, take sides, just as you imagine. I secretly hoped you will vote for Rebeka here  . But since we are monkeys, why don't we use this as a motivation to discover new arias (I did discover some through contests already) and broaden our horizons ?


Thanks for your friendly reply. I agree and play the game. We are all monkeys, opera loving monkeys. 🐒🐒🐒


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## solutio (2 mo ago)

Tsaraslondon said:


> Rebekha looked beautiful and moves well on stage, but I don't find the voice, lovely though it is, particularly memorable, something I find more and more with today's singers. I also had a problem with the production and the acting, which was altogether too modern for my taste.


I understand. But please check also Rebeka in Pesaro (2013). Toute autre chose.




(ca. 1:39:00) With video on DVD or on myfidelio.


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## BBSVK (10 mo ago)

solutio said:


> I understand. But please check also Rebeka in Pesaro (2013). Toute autre chose.
> 
> 
> 
> ...


I feel like fore-warning you, some people don't like contemporary singers at all. My understanding is, the teachings of singing has changed lately, which lead to the disappearance of squilo, a ringing undertone that is made by uninhibited singing and a (comparatively) open throat, and which can be measured at 2-4 khz. I hope I am describing it correctly.


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## BBSVK (10 mo ago)

solutio said:


> I understand. But please check also Rebeka in Pesaro (2013). Toute autre chose.
> 
> 
> 
> ...


Nice. Very fast conducting. Does the mood feel very different to you, compared to the contest example ?


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