# Who are your favorite opera singers of the 21st century?



## Verdilover (4 mo ago)

We may not have the likes Callas or Pavarotti anymore, but there are still plenty of wonderful opera singers nowadays. Who are your favorite singers of the past 22 years?

Mine include: Sondra Radvanovsky, Dmitri Hvorostovsky, Matthew Polenzani, Natalie Dessay, Eric Owens, Piotr Beczała, Sonya Yoncheva, Marcelo Álvarez, Stephanie Blythe, Željko Lučić, Michael Fabiano, Nadine Sierra, Lisette Oropesa, and Anita Rachvelishvili.


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## Seattleoperafan (Mar 24, 2013)

Verdilover said:


> We may not have the likes Callas or Pavarotti anymore, but there are still plenty of wonderful opera singers nowadays. Who are your favorite singers of the past 22 years?
> 
> Mine include: Sondra Radvanovsky, Dmitri Hvorostovsky, Matthew Polenzani, Natalie Dessay, Eric Owens, Piotr Beczała, Sonya Yoncheva, Marcelo Álvarez, Stephanie Blythe, Željko Lučić, Michael Fabiano, Nadine Sierra, Lisette Oropesa, and Anita Rachvelishvili.


Finally someone who knows and loves Stephanie Blythe!!!! I have been all alone until now!!!


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## BBSVK (10 mo ago)

I am very thankful for this thread. My scope is narrow, buy my favourites include Marina Rebeka, Stefan Pop, Mariella Devia, Elina Garanca, Michele Pertussi, Michael Spyres.


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## Becca (Feb 5, 2015)

Joyce DiDonato, Barbara Hannigan, Alessandro Corbelli, Elīna Garanča, Anna Caterina Antonacci, Gregory Kunde


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## Seattleoperafan (Mar 24, 2013)

Sondra Radvanovsky ( or Ravenously as spellcheck insists), Joyce DiDonato, Stephanie Blythe, Michael Fabiano, Franco Fagioli, Marcelo Alvarez, David Hansen, Jane Eaglen, Larry Brownlee, Michael Spyres, Jonas Kaufmann, Phillipe Sly, Juan Diego Florez, Ewa Podles, Cammarena, Christine Goerke, Jay Hunter Morris ( soooo handsome as Siegfried😘) early Netrebko


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## justekaia (Jan 2, 2022)

Female: Dessay, Hannigan, DiDonato, Devieilhe, Garanca, Antonacci, Lezhneva, Yoncheva, Bartoli, Peretyatko
Male: Spyres, Nigl, Katzameier, Cencic, Florez, Kaufmann, Jaroussky


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## Otis B. Driftwood (4 mo ago)

It should be noted that some of these are based solely on recital albums...

Cecilia Bartoli, Anna Caterina Antonacci, Sandrine Piau, Véronique Gens, Dorothea Röschmann, Miah Persson, Sabine Devieilhe, Jodie Devos, Kate Lindsey, Lisette Oropesa, Piotr Beczala, Christian Gerhaher, Vittorio Grigolo, Jonas Kaufmann


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## Tsaraslondon (Nov 7, 2013)

I'm probably not the person to ask, as most of the singers I enjoy either died or retired by the end of the twentieth century and indeed some of the more recent ones are close to retirement age now. For instance I'm amazed to see that I haven't seen Angela Gheorghiu on stage since 1997 (in *L'Elisir d'Amore*) so I guess I shouldn't include her.

However singers I've enjoyed in the theatre or on the concert platform since 2000 would include Renée Fleming, Joyce DiDonato, David Daniels, Simon Keenlyside, Sabine Devielhe, Javier Camarena and Karita Mattila.

Domingo was still singing as a tenor at the beginning of this century, but I tend to think of him more as a twentieth century artist, which is when he did most of his best work.

So far I've only heard Elsa Dreisig on disc but I do have all of her recital records and she impresses me. I never saw or heard Lorraine Hunt Lieberson live, but I certainly wish I had.

That's about it and I note there are no big Verdi or Wagner voices here. I did hear Sondra Radvanovsky once (in Alfano's *Cyrano de Bererac*) but I can't remember much about it, so she can't have made that much of an impression on me.


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## nina foresti (Mar 11, 2014)

Heard all live
Sopranos: Gheorghiu/Radvanovsky/Oropesa/Fleming/Yoncheva,Davidsen/Sierra/Netrebko(early)/Racette/Dessay
Tenors: Shicoff/Calleja/Beczala/Bernheim/Tetelman/Alagna/Polenzani/Lee/Kaufmann/Villazon/Castronovo
Mezzos:
di Donato/Rachvelishvili/Blythe/Barton/Garanca/Leonard
Baritones:
Hvorostovsky/Finley/Kelsey/Lucic/Keenleyside/Kweicen/Mattei
Basses:
Pape/Abdrazakov/Furlanetto/Van Horn/Releya


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## ColdGenius (9 mo ago)

What a serious question.
Those whom I heard live, of course, without a rating.
Basses: Ferruccio Furlanetto, Stanislav Trofimov, Luca Pisaroni, Renee Pape.
Baritones: Vladislav Sulimsky, Alexey Markov.
Tenors: Pyotr Beczala, Lawrence Brownlee, Charles Castronovo.
Mezzos: Ekaterina Semenchuk, Joyce Di Donato, Cecilia Bartoli, Ann Hallenberg, Elina Garanca, Waltraud Meyer, Olga Borodina, Daniela Barcellona.
Sopranos: Dorothea Roschmann, Patricia Petibon, Sandrine Piau, Tatiana Serjan, Anja Harteros, Elena Pankratova, Diana Damrau, Krassimira Stoyanova, Albina Shaghimuratova, Elena Stikhina. Julia Lezhneva.
Contraltos: Marie-Nicole Lemieux, Sara Mingardo.
Countertenors: Christoph Dumeaux, Philipp Jaroussky.
Those whom I like and would like to hear live:
Vesselina Kazarova, Natalie Stuzmann, Franco Fagioli, Sondra Radvanovsky, Stephanie Blythe, Mariela Devia, Sonia Ganassi, Simon Keenlyside, Fiorenza Cedolins, Anna Prohaska, Sabine Deviellieux, Marianne Crebassa, Dmitry Hvorostovsky.


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## Shaughnessy (Dec 31, 2020)

Sasha Cooke 
Natalie Dessay
Sabine Devieilhe
Jodie Devos
Elīna Garanča
Véronique Gens
Barbara Hannigan
Patricia Petibon
Sandrine Piau
Anna Prohaska
Marina Rebeka


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## BBSVK (10 mo ago)

ColdGenius said:


> Those whom I like and would like to hear live:
> ... Mariela Devia,
> ... Dmitry Hvorostovsky.


Mariella Devia is retired already, or at least I think so.
Hvorostovsky died recently, but you probably know that.


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## Op.123 (Mar 25, 2013)

Reading those who have made it onto these lists really makes it plain the quality of singing today. I quite like Saioa Hernandez and Martin Muehle but even then, they're certainly not top favourites.

It would certainly be more interesting to have a list of those who are good in contemporary works. I like Barbara Hannigan there, Dawn Upshaw, Hunt-Lieberson etc. There are a good number who can make a fair impression in more modern works.


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## Aerobat (Dec 31, 2018)

Splitting into M / F, and in no particular order....

Female: Lisette Oropesa, Elina Garanca, Bartoli, Julia Lezhneva, Marina Rebeka, Sonya Yoncheva, Marianna Pizzolata, Gheorghiu, Dessay, Patricia Petibon, Veselina Kasarova, Eva Mei, Fleming, Nadine Sierra, Waltraud Meier, Isobel Leonard, Diana Damrau, Lise Davidsen, Aida Garfullina. I also must mention Patricia Janeckova, *hopefully* she will recover from her current illness and be able to continue what was looking like a very promising career.

Male: Kaufmann, Florez, Villazon, Hvorotovsky, Brownlee, Alagna, Calleja, Renee Pape, Beczala, Polenzani, Keenlyside, Gerald Finley. I also like young Bryn Terfel, but that might have to count as 20th century, not 21st


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## Tsaraslondon (Nov 7, 2013)

Tsaraslondon said:


> I'm probably not the person to ask, as most of the singers I enjoy either died or retired by the end of the twentieth century and indeed some of the more recent ones are close to retirement age now. For instance I'm amazed to see that I haven't seen Angela Gheorghiu on stage since 1997 (in *L'Elisir d'Amore*) so I guess I shouldn't include her.
> 
> However singers I've enjoyed in the theatre or on the concert platform since 2000 would include Renée Fleming, Joyce DiDonato, David Daniels, Simon Keenlyside, Sabine Devielhe, Javier Camarena and Karita Mattila.
> 
> ...


As and addendum, I should probably have included Kaufmann, but I’ve never heard him live. He was the only singer whose performance I really enjoyed on the Pappano Aida, and even then there are others I prefer on older recordings.


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## ColdGenius (9 mo ago)

BBSVK said:


> Mariella Devia is retired already, or at least I think so.
> Hvorostovsky died recently, but you probably know that.


Of course. I've lost the chance. But I could meet them if I had a vacation in other time or lived in another city.


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## ColdGenius (9 mo ago)

ColdGenius said:


> What a serious question.
> Those whom I heard live, of course, without a rating.
> Basses: Ferruccio Furlanetto, Stanislav Trofimov, Luca Pisaroni, Renee Pape.
> Baritones: Vladislav Sulimsky, Alexey Markov.
> ...


I could add also Maestri, Gheorghiou, Iervolino, a nice mezzo DeShong, Dessay, and early Guleghina as well.
And to the wish-list, I would add Isabel Leonard and Kate Lindsay.
Maybe I'm not fastidious, including so many names. But why not? It was a joy to listen to them all. If I stress the word favorite, the most appropriate would be including here Mariinsky theater soloists, whose shows I attend not just because I live in the same city.


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## Woodduck (Mar 17, 2014)

I suspect that most of the recent singers I've enjoyed are not as recent as my telescoped sense of time (where has it gone?) might lead me to think, and that few of them have done much in the last 22 years. It also seems that of recent singers I do like, most have impressed me only in certain repertoire, and none rank among my very favorite singers of any type; they are favorites only within the designated span of time.

All of those qualifications stated, I've sometimes greatly enjoyed Renee Fleming, Angela Gheorghiu, Joyce DiDonato, Cecilia Bartoli (when she's invisible ), Vesselina Kasarova, Matthew Polenzani (in Mozart), Rolando Villazon, Jonas Kaufmann (as Siegmund and Parsifal), Simon Keenlyside, Bryn Terfel (in song), Gerald Finley and Rene Pape. There are certainly more, but those occur to me quickly.

There are no deep basses, heldenbaritones, dramatic sopranos, or dramatic mezzos or contaltos. In other words, no cast for _Tristan_ or the _Ring._


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## BBSVK (10 mo ago)

I like Rosa Feola and forgot to list her, because she had a break to have a baby. Just saw them both on my facebook.


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## Otis B. Driftwood (4 mo ago)

Woodduck said:


> There are no deep basses, heldenbaritones, dramatic sopranos, or dramatic mezzos or contaltos. In other words, no cast for _Tristan_ or the _Ring._


What about Lise Davidsen? She considers herself to be a dramatic soprano.


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## Woodduck (Mar 17, 2014)

Otis B. Driftwood said:


> What about Lise Davidsen? She considers herself to be a dramatic soprano.


She may be that, though I'm not aware that she's considering Isolde or Brunnhilde in the near future. But this thread asks for our favorite singers. She isn't one of mine, even if I'd rather hear her than other current pretenders to the dramatic soprano throne. So far she doesn't scream or wobble. Fingers crossed!


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## Francasacchi (7 mo ago)

Woodduck said:


> I suspect that most of the recent singers I've enjoyed are not as recent as my telescoped sense of time (where has it gone?) might lead me to think, and that few of them have done much in the last 22 years. It also seems that of recent singers I do like, most have impressed me only in certain repertoire, and none rank among my very favorite singers of any type; they are favorites only within the designated span of time.
> 
> All of those qualifications stated, I've sometimes greatly enjoyed Renee Fleming, Angela Gheorghiu, Joyce DiDonato, Cecilia Bartoli (when she's invisible ), Vesselina Kasarova, Matthew Polenzani (in Mozart), Rolando Villazon, Jonas Kaufmann (as Siegmund and Parsifal), Simon Keenlyside, Bryn Terfel (in song), Gerald Finley and Rene Pape. There are certainly more, but those occur to me quickly.
> 
> There are no deep basses, heldenbaritones, dramatic sopranos, or dramatic mezzos or contaltos. In other words, no cast for _Tristan_ or the _Ring._


Stephanie Blythe


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## BalalaikaBoy (Sep 25, 2014)

Samuel Ramey 
Dolora Zajick
Saioa Hernandez 
Dmitri Hvorostovsky 
Joseph Calleja 
Ewa Podles 

coincidentally....one of each major voice type (except countertenor, but...we don't talk about them).


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## Otis B. Driftwood (4 mo ago)

BalalaikaBoy said:


> coincidentally....one of each major voice type (except countertenor, but...we don't talk about them).


It seems baroque opera is not too popular around here...


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## BalalaikaBoy (Sep 25, 2014)

Otis B. Driftwood said:


> It seems baroque opera is not too popular around here...


I don't have a problem with baroque opera. I have a very big problem with the fake "baroque style" technique that most modern singers use when performing it.


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## Otis B. Driftwood (4 mo ago)

BalalaikaBoy said:


> I don't have a problem with baroque opera. I have a very big problem with the fake "baroque style" technique that most modern singers use when performing it.


Fake baroque style? I'm afraid I don't understand.


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## Becca (Feb 5, 2015)

Baroque composers did not write for counter-tenors


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## Tsaraslondon (Nov 7, 2013)

Becca said:


> Baroque composers did not write for counter-tenors


Not quite true. Handel did write roles for countertenor, though these were usually not major roles. They were also certainly used in liturgical music.


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## IgorS (Jan 7, 2018)

Saioa Hernandez and this is, unfortunately, the only name on my list for this century.


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## Op.123 (Mar 25, 2013)

Otis B. Driftwood said:


> Fake baroque style? I'm afraid I don't understand.


Small constricted technique, either due to defects or an attempt to sound light and delicate. Strange, aspirated ornamentation. Lack of lower register. These things are all problems elsewhere too but are especially obvious in recordings of Baroque Opera. It's funny that so many of these recordings attempt to be HIP and as authentic as possible with the orchestral parts but take no effort to expand this to vocal performances.


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## Andjar (Aug 28, 2020)

Sopranos: Asmik Grigorian, Ermonela Jaho, Lise Davidsen, Ekaterina Semenchuk,Eva Maria Westbroek, Angela Gheorghiu (she was the best in the 90's for me).

Tenors: Jonnas Kaufmann, Piotr Beczala, Marco Berti, Joseph Caleja, Russell Thomas.

Bass/Baritones: Lucic, Terfel, Hvorostovsky,Abdrazakov,Vaneev,Petean,Ataneli.


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## Shaughnessy (Dec 31, 2020)

Otis B. Driftwood said:


> Fake baroque style? I'm afraid I don't understand.


Watch and you'll understand... I cued it right up for you - 

In Italian, this vocal technique is known as "Chiacchiericcio dello scoiattolo" - "chipmunk chattering"


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## Woodduck (Mar 17, 2014)

Shaughnessy said:


> Watch and you'll understand... I cued it right up for you -
> 
> In Italian, this vocal technique is known as "Chiacchiericcio dello scoiattolo" - "chipmunk chattering"


I've never seen anyone else's mouth do that. Singers resort to various physical contortions that make them inadvertantly funny, but Genaux gets some sort of prize for originality.


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## ALT (Mar 1, 2021)

And then there is Cecilia Bartoli.
(The joke is on the general public that thinks this is singing, never mind good singing, or that finds her antics and expressions delightful or amusing — she is, of course, laughing her way to the bank.)


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## Shaughnessy (Dec 31, 2020)

Woodduck said:


> I've never seen anyone else's mouth do that. Singers resort to various physical contortions that make them inadvertantly funny, but Genaux gets some sort of prize for originality.


I cued the video up to the point where I wanted to demonstrate the technique that she used but at the beginning of the video - which is taken from a French television program - the announcer uses the phrase - "_artiste unique_"- which is something of an understatement.

If you click on this "Spoiler" - (I don't want to post too may videos within the thread) - you'll see one of the most nightmarish versions of the Flower Duet that you will ever see - I have to warn you though, that once you watch it, it will haunt you forever -

"Subtlety" is not one of the tools carried in the toolbox of Simone Kermes - although you have to give her credit for making Vivica Genaux appear to have almost Sutherland-like restraint in comparison.

I just checked the spoiler and you'll have to click on "Watch on YouTube" to see the video - They won't allow a direct view.



Spoiler: Simon Kermes and Vivica Genaux - Flower Duet - Caution - Watch at your own peril - Once seen, it cannot be unseen...


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## Op.123 (Mar 25, 2013)

Shaughnessy said:


> I cued the video up to the point where I wanted to demonstrate the technique that she used but at the beginning of the video - which is taken from a French television program - the announcer uses the phrase - "_artiste unique_"- which is something of an understatement.
> 
> If you click on this "Spoiler" - (I don't want to post too may videos within the thread) - you'll see one of the most nightmarish versions of the Flower Duet that you will ever see - I have to warn you though, that once you watch it, it will haunt you forever -
> 
> ...


Christ almighty...


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## ColdGenius (9 mo ago)

Well, I expected something more macabric (is there such a word?), both from singing and stage presence. 
Kermes wears a dazzling wig. Geneaux eschewed a competition for the best dress.


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## Shaughnessy (Dec 31, 2020)

Op.123 said:


> Christ almighty...


You ain't see nuthin' yet - Try this one - again with Simone Kermes - Every artist needs to make choices as to how they're going to express what they're singing - How to change lyrics into words that mean something and are sung rather than spoken. But at some point in her training, why didn't someone - anyone - pull her off to the side and say - "Seriously, Simone, what the feck are you doing? - Knock it off"

She may be a genuinely wonderful person - kind-hearted and good-natured - Gives her spare change to panhandlers and doesn't care that they're not actually going to buy food even though they claimed that they were starving and hadn't eaten in a week - they're just going to buy a bottle and drink it right up - She may be the kind of person who carries around a package of cigarettes even though she doesn't smoke on the oft chance that she may run into someone who may want to "bum a smoke" and she'll be right there and even let you keep the book of matches.

Here's a review that I was able to pull -

"More importantly, I realized that Kermes has a gift that very few singers have: When she is singing it is impossible to ignore her—she grabs your attention. Since then, I’ve enjoyed all of her discs of Baroque music; her energy, her enthusiasm, her attention to text, her fearlessness, the gorgeous pianissimo, the lunges into chest voice when called for and/or for emphasis, her brilliant sense of rhythm, her spot-on fiorature, staccato, and scale work—all make her very special. She glistens."
- Robert Levine - Classics Today



Spoiler: Simone Kermes - Not for the faint of heart...


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## Tsaraslondon (Nov 7, 2013)

Shaughnessy said:


> You ain't see nuthin' yet - Try this one - again with Simone Kermes - Every artist needs to make choices as to how they're going to express what they're singing - How to change lyrics into words that mean something and are sung rather than spoken. But at some point in her training, why didn't someone - anyone - pull her off to the side and say - "Seriously, Simone, what the feck are you doing? - Knock it off"
> 
> Here's a review that I was able to pull -
> 
> ...


Quite dreadful. She gives Florence Foster Jenkins a run for her money.


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## Op.123 (Mar 25, 2013)

Shaughnessy said:


> You ain't see nuthin' yet - Try this one - again with Simone Kermes - Every artist needs to make choices as to how they're going to express what they're singing - How to change lyrics into words that mean something and are sung rather than spoken. But at some point in her training, why didn't someone - anyone - pull her off to the side and say - "Seriously, Simone, what the feck are you doing? - Knock it off"
> 
> She may be a genuinely wonderful person - kind-hearted and good-natured - Gives her spare change to panhandlers and doesn't care that they're not actually going to buy food even though they claimed that they were starving and hadn't eaten in a week - they're just going to buy a bottle and drink it right up - She may be the kind of person who carries around a package of cigarettes even though she doesn't smoke on the oft chance that she may run into someone who may want to "bum a smoke" and she'll be right there and even let you keep the book of matches.
> 
> ...


I find classicstoday either write fairly agreeable reviews or reviews which are so far off the mark it's scarcely believable that they've listened to anything resembling music before.


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## Hoffmann (Jun 10, 2013)

Tsaraslondon said:


> I'm probably not the person to ask, as most of the singers I enjoy either died or retired by the end of the twentieth century and indeed some of the more recent ones are close to retirement age now. For instance I'm amazed to see that I haven't seen Angela Gheorghiu on stage since 1997 (in *L'Elisir d'Amore*) so I guess I shouldn't include her.
> 
> However singers I've enjoyed in the theatre or on the concert platform since 2000 would include Renée Fleming, Joyce DiDonato, David Daniels, Simon Keenlyside, Sabine Devielhe, Javier Camarena and Karita Mattila.
> 
> ...


As far as big Wagner voices go, I would add Nina Stemme and Stephan Gould. Gould's stunning and effortless Tristan (several years ago at Deutsche Oper) were both a sight and sounds to behold. Stemme's Brünnhilde - and Elektra similarly were gorgeous.

Of course Joyce DiDonato, who brought a gorgeous *Ariodante *to the Kennedy Center several years ago and is every bit as charming and glorious in recital as in stage performances.

I have, alas, continuously been thwarted in my attempts to see Jonas Kaufmann as I was the late Dmitri Hovorostovsky.


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## Shaughnessy (Dec 31, 2020)

Op.123 said:


> I find classicstoday either write fairly agreeable reviews or reviews which are so far off the mark it's scarcely believable that they've listened to anything resembling music before.













I did find a review from Gramophone in regards to a recitals album that Simone Kermes released -

"This kind of internal crossover of repertoire started with conductors – I’m a Baroque specialist but, hey, why don’t I do _Götterdämmerung_? – and is now spreading to singers. A few can do it – Patricia Petibon has handled it well, although she’s never saddled herself with a large slab of new material foreign to her all at one go.

The French soprano’s Queen of the Night ‘Der Hölle Rache’ impresses – but Simone Kermes’s sounds like Papagena (and a light Papagena) has suddenly decided to take over her enemy’s music.

So this recital is disappointing. Kermes is a lovely singer and one could imagine some of this material working in concert but not for keeps on record. What can she bring to this repertoire? As you would expect, she’s good at ‘the runs’ and the high notes. However, she simply doesn’t have the weight or dark colour to frighten us (as the Queen of the Night) or inspire us (let alone her Druid congregation) in the iconic Norma aria.

Ditto for _I Masnadieri_ and _Semiramide_. One is only aware of a fine musician tackling an interesting repertoire – not too many recitals can boast numbers from _Betly_, _Adelson e Salvini _or any Mercadante – with care (and interest) for the first time. Also, it’s still not enough of an everyday occurrence to hear arias from this period with historically informed accompaniments, although the conductor’s and orchestra’s work here is careful rather than sparkling. The final Monteverdi item is heavenly, both in itself and in reminding us how strong Kermes is on home turf.

I've included the recordings mentioned above -



Spoiler: Simone Kermes - Die Zauberflöte, K. 620: Der Hölle Rache kocht in meinem Herzen













Spoiler: Simone Kermes - Norma: Casta Diva













Spoiler: Simone Kermes - Tu del mio Carlo al seno (Arie der Amalia) (from "I Masnadieri")













Spoiler: Simone Kermes - Bel raggio lusinghiero - Dolce pensiero (Arie der Semiramide)












She sounds better without the distraction of the visuals - How valid the Gramophone review is would be a decision that needs to be made by others.

If anyone is really interested - This is the link to the label-authorized complete release -



https://www.youtube.com/playlist?list=OLAK5uy_lpNt8h8ksI2nbQNYUforMDMCGS4UrD2XM


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## Francasacchi (7 mo ago)

Shaughnessy said:


> You ain't see nuthin' yet - Try this one - again with Simone Kermes - Every artist needs to make choices as to how they're going to express what they're singing - How to change lyrics into words that mean something and are sung rather than spoken. But at some point in her training, why didn't someone - anyone - pull her off to the side and say - "Seriously, Simone, what the feck are you doing? - Knock it off"
> 
> She may be a genuinely wonderful person - kind-hearted and good-natured - Gives her spare change to panhandlers and doesn't care that they're not actually going to buy food even though they claimed that they were starving and hadn't eaten in a week - they're just going to buy a bottle and drink it right up - She may be the kind of person who carries around a package of cigarettes even though she doesn't smoke on the oft chance that she may run into someone who may want to "bum a smoke" and she'll be right there and even let you keep the book of matches.
> 
> ...


I feel seasick. And, how on earth can one support the diaphragm with all those contortions? It's more like she is screaming and "dancing."


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## Woodduck (Mar 17, 2014)

I first heard Simone Kermes singing some Vivaldi on a CD many years ago. I was fairly impressed, and so the stuff we've been seeing here lately shocks me. Similarly, I've heard Cecilia Bartoli do some fine singing over the years and am appalled by the increasingly bizarre way she's used her natural gifts. I'm absolutely certain that Vivaldi and other Baroque composers would be astonished by what these and other self-appointed "HIP" specialists are doing to their music.

But why wouldn't we expect classical music to share in the degenerate state of the arts and the general loss of standards and values in the post-post-modernist world?


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## Otis B. Driftwood (4 mo ago)

ALT said:


> And then there is Cecilia Bartoli.
> (The joke is on the general public that thinks this is singing, never mind good singing, or that finds her antics and expressions delightful or amusing — she is, of course, laughing her way to the bank.)


I'm aware she can elicit some strong reactions, but I disagree about her being a bad singer. 
Here is the video that turned me into a fan;


Spoiler: Cecilia Bartoli - Live in Italy (1998)


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## Seattleoperafan (Mar 24, 2013)

Francasacchi said:


> Stephanie Blythe


She sang lots of Rossini and Handel which kept her voice healthy but I preferred her in Verdi and Wagner where you can really hear the size and magnificence of her voice. Her Amneris was one of the great opera events of my life. Her voice was positively wall shaking and always so beautiful. I applaud her creative embrace of her voice becoming tenor and her voice is still beautiful and does not seem damaged to me. It is an almost unheard of situation for a singer to deal with. It is so nice to find someone else on the board who likes her as I was her only torch bearer that I knew of. None of her best stuff is available on Youtube, which is so sad to me. It is all Baroque and Bel Canto stuff pretty much. The only Verdi is Falstaff.


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## Seattleoperafan (Mar 24, 2013)

There are some fine singers in this century who would be great to hear and see live, but few have the instantly recognizable signature sound that reach out to you on disc. DiDonato is a supreme example of a great live singer who fizzles for me in recordings. There are some recording artists in this era who do manage to bring a signature sound but few I would listen along with singers from the 20th century.... maybe Fagioli, Eaglen or Podles.


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## BBSVK (10 mo ago)

When I hear sharp breathing on the recording, is it always a bad technique, or can it be a badly placed microphone ? It is not about the baroque singing discussed above, just a general question.


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## Woodduck (Mar 17, 2014)

BBSVK said:


> When I hear sharp breathing on the recording, is it always a bad technique, or can it be a badly placed microphone ? It is not about the baroque singing discussed above, just a general question.


It's more a matter of style and musicianship than of technique. Some singers inhale more audibly than others (I gather Hvorostovsky was one, though I haven't noticed it). In general we shouldn't hear it, except perhaps as an effect in moments of great vehemence or some specific emotion. Caruso could breathe audibly in moments of passion. Aspiration - the audible exhalation of breath in moving from one note to another - is a bad habit (though, again, it may have expressive uses at times) and may indicate a technical deficiency if the singer can't sing coloratura without inserting "h" between the notes.


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## Tsaraslondon (Nov 7, 2013)

Hoffmann said:


> As far as big Wagner voices go, I would add Nina Stemme and Stephan Gould. Gould's stunning and effortless Tristan (several years ago at Deutsche Oper) were both a sight and sounds to behold. Stemme's Brünnhilde - and Elektra similarly were gorgeous.
> 
> Of course Joyce DiDonato, who brought a gorgeous *Ariodante *to the Kennedy Center several years ago and is every bit as charming and glorious in recital as in stage performances.
> 
> I have, alas, continuously been thwarted in my attempts to see Jonas Kaufmann as I was the late Dmitri Hovorostovsky.


I'm afraid I don't know Stephan Gould and I don't much like what I've heard of Stemme. The thread being about one's _favourite_ 21st century singers meant that neither of them were included on my list.

DiDonato was on my list. Hvorostovsky wasn't but probably should have been. I did hear him once live, but only in concert.


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## Op.123 (Mar 25, 2013)

BBSVK said:


> When I hear sharp breathing on the recording, is it always a bad technique, or can it be a badly placed microphone ? It is not about the baroque singing discussed above, just a general question.


You shouldn't hear them unless it is an artistic choice at a certain moment, for example Callas's audible breath after the climax in her 1953 vissi d'arte. Being able to hear breaths at a low level can be due to poor mic placement but when the breaths are louder than the singing that's just poor technique through and through.


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## Woodduck (Mar 17, 2014)

Tsaraslondon said:


> I'm afraid I don't know Stephan Gould and I don't much like what I've heard of Stemme. The thread being about one's _favourite_ 21st century singers meant that neither of them were included on my list.
> 
> DiDonato was on my list. Hvorostovsky wasn't but probably should have been. I did hear him once live, but only in concert.


Like Lise Davidsen, Stemme was a promising potential dramatic soprano when she started out. Now, having sung the heaviest roles for years, she's one of the wobblers. Davidsen should be careful to avoid the same fate. Though I'm not really a fan (for reasons we've discussed), her voice seems firm throughout its range, and if she can keep it that way while maturing as an artist she may be able to move into the heavy roles eventually.


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## ColdGenius (9 mo ago)

Woodduck said:


> Like Lise Davidsen, Stemme was a promising potential dramatic soprano when she started out. Now, having sung the heaviest roles for years, she's one of the wobblers. Davidsen should be careful to avoid the same fate. Though I'm not really a fan (for reasons we've discussed), her voice seems firm throughout its range, and if she can keep it that way while maturing as an artist she may be able to move into the heavy roles eventually.


Isn't it inevitable, wobbling early or late? Professional longevity in singers is rather an exclusion. One voice doesn't copy another, nobody's carrier could be repeated. It doesn't console, but it's true.


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## Tsaraslondon (Nov 7, 2013)

ColdGenius said:


> Isn't it inevitable, wobbling early or late? Professional longevity in singers is rather an exclusion. One voice doesn't copy another, nobody's carrier could be repeated. It doesn't console, but it's true.


I'd say not. LIsten to the final recordings of Kirsten Flagstad. There is no trace of wobble or loss of firmness. The same is true of Nilsson. Wobble is not inevitable, though it's getting much harder to avoid it these days.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I'd say not. LIsten to the final recordings of Kirsten Flagstad. There is no trace of wobble or loss of firmness. The same is true of Nilsson. Wobble is not inevitable, though it's getting much harder to avoid it these days.





ColdGenius said:


> Isn't it inevitable, wobbling early or late? Professional longevity in singers is rather an exclusion. One voice doesn't copy another, nobody's carrier could be repeated. It doesn't console, but it's true.


Fleming was not wobbling in her 60's and Dorothy Kirsten sounded 30. Pavarotti was another one without a wobble and Sutherland's high notes to me were better in her 50's and early 60's than earlier- and much bigger.


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## ColdGenius (9 mo ago)

Tsaraslondon said:


> I'd say not. LIsten to the final recordings of Kirsten Flagstad. There is no trace of wobble or loss of firmness. The same is true of Nilsson. Wobble is not inevitable, though it's getting much harder to avoid it these days.


Two great singers of hundreds. They were lucky or knew some scary secret, which those hundreds didn't know.


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## Tsaraslondon (Nov 7, 2013)

ColdGenius said:


> Two great singers of hundreds. They were lucky or knew some scary secret, which those hundreds didn't know.


Actually it's true of quite a few singers from previous generations. We keep coming across them in the competitions. Many of today's singers are wobbling or have excessive vibrato even in early to middle career.


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## Woodduck (Mar 17, 2014)

ColdGenius said:


> Two great singers of hundreds. They were lucky or knew some scary secret, which those hundreds didn't know.


Just a quick sampling of famous sopranos who sang the heaviest repertoire (Isolde, Brunnhilde, Elektra) and never developed a wobble or any other technical problem through their fifties and sometimes sixties: Lilli Lehmann, Johanna Gadski, Frida Leider, Kirsten Flagstad, Marjorie Lawrence, Helen Traubel, Birgit Nilsson.


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## ColdGenius (9 mo ago)

Woodduck said:


> Just a quick sampling of famous sopranos who sang the heaviest repertoire (Isolde, Brunnhilde, Elektra) and never developed a wobble or any other technical problem through their fifties and sometimes sixties: Lilli Lehmann, Johanna Gadski, Frida Leider, Kirsten Flagstad, Marjorie Lawrence, Helen Traubel, Birgit Nilsson.


Well, a little more than two. But is it possible nowadays? Birgit Nilsson is the youngest of them. I am too incompetent and ignorant in the subject to make conclusions, but the main thing we can see is that a very long preservation of the voice is an infrequent phenomenon, which becomes even more rare now. 
The modern state of singing and teaching is constantly discussed on the forum. But also the rhythm of the work has changed: too many shows, flights, too little time for preparation, too much inappropriate repertoire and finally it's too late to change anything.


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## BBSVK (10 mo ago)

ColdGenius said:


> Well, a little more than two. But is it possible nowadays? Birgit Nilsson is the youngest of them. I am too incompetent and ignorant in the subject to make conclusions, but the main thing we can see is that a very long preservation of the voice is an infrequent phenomenon, which becomes even more rare now.
> The modern state of singing and teaching is constantly discussed on the forum. But also the rhythm of the work has changed: too many shows, flights, too little time for preparation, too much inappropriate repertoire and finally it's too late to change anything.


As I follow some singers on facebook, the ammount of flying they do would knock me out. I kind of hope this thing will change, it really doesn't seem like a sustainable normal to me.


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## nina foresti (Mar 11, 2014)

Oh my dears. To me genetics plays a role as well in staving off the wobbles. My mother, a soprano, sang without a trace of wobble until she was 100. She died at 101 and 1/2. 
I am close to 90 and still have no wobble at all. I cannot hit those high notes however anymore but I still have my trill.


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## Dmitriyevich (Dec 3, 2021)

Rene Fleming, Angela Gheorghiu, Asmik Grigorian


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## PaulFranz (May 7, 2019)

Rubén Amoretti. Can't think of another...I guess Alagna, who straddled the centuries but was best in the previous one.


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## nina foresti (Mar 11, 2014)

nina foresti said:


> Heard all live
> Sopranos: Gheorghiu/Radvanovsky/Oropesa/Fleming/Yoncheva,Davidsen/Sierra/Netrebko(early)/Racette/Dessay
> Tenors: Shicoff/Calleja/Beczala/Bernheim/Tetelman/Alagna/Polenzani/Lee/Kaufmann/Villazon/Castronovo
> Mezzos:
> ...


How dare I not include Alagna! I adore him. I even enjoy Grigolo. And today's new crop of tenors, Tetelman and Bernheim.


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## ScottK (Dec 23, 2021)

nina foresti said:


> How dare I not include Alagna! I adore him. I even enjoy Grigolo. And today's new crop of tenors, Tetelman and Bernheim.


I haven't had Grigolo cross my attention for quite awhile. Grigolo is a WONDERFUL singer! He can be a space cadet but he can bring it too!


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## BBSVK (10 mo ago)

ScottK said:


> I haven't had Grigolo cross my attention for quite awhile. Grigolo is a WONDERFUL singer! He can be a space cadet but he can bring it too!


What does space cadet mean ?


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## ScottK (Dec 23, 2021)

BBSVK said:


> What does space cadet mean ?


Every thought about explaining it ends up with more slang??? Flighty.... Seems like he’s thinking about other things.....NOT in the moment.., Here’s the main reason I say it… There was an event honoring Albanese and Bergonzi after they passed. he was the special guest and before singing briefly he spoke for about two minutes while looking up at Bergonzi’s picture. When he was done Speaking, I had no idea what he was speaking about nor if it was even about Carlo Bergonzi . But the English was good enough that I understood every word! And without a conductor there to rule him… My word what he did to that Ave Maria!


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## Seattleoperafan (Mar 24, 2013)

ScottK said:


> Every thought about explaining it ends up with more slang??? Flighty.... Seems like he’s thinking about other things.....NOT in the moment.., Here’s the main reason I say it… There was an event honoring Albanese and Bergonzi after they passed. he was the special guest and before singing briefly he spoke for about two minutes while looking up at Bergonzi’s picture. When he was done Speaking, I had no idea what he was speaking about nor if it was even about Carlo Bergonzi . But the English was good enough that I understood every word! And without a conductor there to rule him… My word what he did to that Ave Maria!


I've mentioned this before but Larry Brownlee had one of the best recitals I've ever seen because he spoke between arias and was a brilliant speaker. I had never before seen a recitalist speak. I had to speak myself today in a talent show where I live. It was the coldest crowd I ever spoke to and it was a lot of work. Normally I am a very relaxed conversational speaker but today I was not my best. It was a fun event with talented folk though.


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## BBSVK (10 mo ago)

Seattleoperafan said:


> I've mentioned this before but Larry Brownlee had one of the best recitals I've ever seen because he spoke between arias and was a brilliant speaker. I had never before seen a recitalist speak. I had to speak myself today in a talent show where I live. It was the coldest crowd I ever spoke to and it was a lot of work. Normally I am a very relaxed conversational speaker but today I was not my best. It was a fun event with talented folk though.


Was that the thing you mentioned before, regarding Julia Child ?


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## ScottK (Dec 23, 2021)

Seattleoperafan said:


> I've mentioned this before but Larry Brownlee had one of the best recitals I've ever seen because he spoke between arias and was a brilliant speaker. I had never before seen a recitalist speak. I had to speak myself today in a talent show where I live. It was the coldest crowd I ever spoke to and it was a lot of work. Normally I am a very relaxed conversational speaker but today I was not my best. It was a fun event with talented folk though.


I would not imagine you having any trouble in front of a crowd! Don't forget that Julia Child post!


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## Seattleoperafan (Mar 24, 2013)

BBSVK said:


> Was that the thing you mentioned before, regarding Julia Child ?


I did a speech in my community talent show today on why we should eat insects and during the speech I impersonated Julia Child who described what insects tasted like. I did okay but it was a very difficult crowd and I went first and they weren't warmed up at all. I can't complain as I have so much luck with over 400 followers and over 100k views of my Youtube talks.You win some you lose some.


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## toasino (Jan 3, 2022)

Verdilover said:


> We may not have the likes Callas or Pavarotti anymore, but there are still plenty of wonderful opera singers nowadays. Who are your favorite singers of the past 22 years?
> 
> Mine include: Sondra Radvanovsky, Dmitri Hvorostovsky, Matthew Polenzani, Natalie Dessay, Eric Owens, Piotr Beczała, Sonya Yoncheva, Marcelo Álvarez, Stephanie Blythe, Željko Lučić, Michael Fabiano, Nadine Sierra, Lisette Oropesa, and Anita Rachvelishvili.


My favorite soprano is Anna Netrebko, I do think Sondra is a great singer, her voice just does not really appeal to me. The ones mentioned are all excellent, though I would add Ludovic Tezier and Elina Garanca


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