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Following rather than coercing the path of the voice’s development, Roberts continues to exhibit the shrewd judgment that has enabled her to navigate the perils of a career as a singer and among singers.Recorded in 2001, the present disc is the work of a major artist as well as an exceptionally capable and prepared vocalist.Supported in all of the performances on this disc by the elegant, rhythmically alert playing of pianist (and acclaimed organist) Christian Schmitt-Engelstadt, the rare pianist who faithfully observes Wagner’s marking of ‘sehr sart und weich’ at the start of ‘Der Engel,’ Roberts likewise honors the composer’s instruction of ‘Sehr ruhig bewegt.’ The second Lied, ‘Stehe Still,’ also bears a mandate of ‘Bewegt,’ and soprano and pianist discharge this beautifully.In the passage beginning with ‘Wesen in Wesen sich wieder findet,’ in which Wagner requested that the vocal line be sung ‘Sehr ruhig und mäßig,’ Roberts manages the piano ascents to the top of the stave dulcetly.Shining amidst these exemplars of nurtured talent and continuously-honed technique is the career of American dramatic soprano Brenda Roberts.Renowned as the youngest singer to brave the demands of any of the three incarnations of Brünnhilde in Richard Wagner’s Der Ring des Nibelungen at the composer’s own Bayreuther Festspiele, her voice bears few of the scars of the sort of imprudence that such a distinction suggests.
Her singing of the frenzied vocal line of ‘Guten Morgen, ’s ist Sankt Valentinstag’ conveys the girlish bawdiness of the text, her top A projected with an apt demonstration of the vigor with which Ophelia hurls her words at Claudius in Hamlet.
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Roberts and Schmitt-Engelstadt unerringly blend the piano vocal line with the pianissimo accompaniment, and the soprano again impresses with the accuracy of her pitches, not least in the A? The Drei Lieder der Ophelia are settings of passages from Shakespeare’s Hamlet, and they suggest that Ophelia might have been as engaging a Strauss operatic heroine as Salome, Elektra, Ariadne, and the Marschallin.
Roberts and Schmitt-Engelstadt perform the first of the Ophelia-Lieder, ‘Wie erkenn’ ich mein Treulieb vor andern nun,’ idiomatically, Roberts’s integration of the climactic top G?