A very attractive timbre, quite an enjoyable vibrato speed, nice limber voice, beautiful pianissimi, love those mini trills and fiorituri, very beautiful. This was thoroughly enjoyable, I'd love to hear this voice in a live setting. I wish there was a little more on the bottom part of her voice, but the voice is definitely developed and the voice is blended all throughout. The very top is slightly uncomfortable and constricted though, would like a little more release and ease there.

 

My comments are basically the same as yours. Though i wish she uses chest at the opening, but she uses real head voice down there, it's very clear, not croony and the vowels aren't muffled. Nice messa di voce and clean attacks, i don't hear a wobble, or a squeezed voice either. It's pleasant and a far improvement than a lot of those who are singing on major stages today!

 

Nice enough, still a bit constricted throughout the range, not totally easy and natural, needs better chest integration, breath support and soft palate control, again pretty much the same criticisms of all decent, young, fresh singers, whether she works on that or doesn't is the question. Also, the tempo is too slow and robs the aria of any character.

 

I thought sections were rushed and I thought sometimes she took pauses that did not have musical logic to me but I never thought that was a particularly slow Caro Nome

 

Lovely girl. A very clear and sweet tone. She must raise her soft palate more, the nasality is holding this beautiful instrument back. I'm glad she isn't trying to be artificially dark. I like how she is trying to integrate the chest, not finished but going in a good direction. One thing she needs very much is better breath control. The appoggio is insufficient for this most difficult of Verdi's early arias. Lots of sopranos will sing the Traviata first act aria without fear, but never this one. This one is much more difficult. Everything is exposed. She has a decent ear for pitch. Breath control needs to be improved in order to take the stress off the throat and not cut short some of the phrases, especially when nervous. Regnava nel silenzio is easier than Caro Nome, she sounds more comfortable. All the same recommendations as above though. I will say the Regnava shows the fullness of tone better.

 

I was absolutely captivated with her charming voice with plenty of musicality and despite others comments of her nervousness, I found her to be exactly the opposite. I thought she seemed at ease, in control, with no pushing and just felt comfortable with herself.
I wish I could have heard her "Gualtier Malde" trill at the end of Caro nome.
I wish her good luck -- she's on her way and I'll bet she makes it because she has a basic voice sound that is very appealing.

 

Loved her!! I thought it was gorgeous singing!! Aside from lots of other positives I thought her tone was nice and full bodied and her approach was accurate without sounding careful. Vocally about the only concern is that in the middle , for a Gilda type voice, I don’t think her vibrato can get any more noticeable than it is right now but right now I still think it’s just fine.

where does she sing?

 

Hi all,
Interesting thoughts!
Both recordings are a year or two old.
I agree about the soft palate use and in the last few months have applied it to the whole range, but especially the lower middle. The top is freer all the way up to high Eb, so I'm confident of it.

I don't think that proper chest voice is appropriate for Caro nome because of the orchestration here, but I use a chest mix on the low Es and use full chest voice in appropriate places in the rest of the role, as I do with Lucia.

I'm glad you like the timbre - I spend a lot of time choosing which harmonics and how much softness in the cord closure to use for each section of the roles.

I'm currently fest at a B house in Germany, and guesting. I've just debuted Lucia at a summer festival in the UK and will sing Gilda for English National Opera this autumn/fall. That will be my fifth go at Gilda, which gets more enjoyable each time. You're welcome to come see it live there in a large theatre

Robyn

 

Robyn:
No matter where you go you will expect to hear certain negative opinions -- it's part of the game -- but if you stick to your plan you will be just fine. You have a good future ahead of you and I hope to be able to see/hear you one day soon.
Toi toi toi!
Nina