(singing in Italian)
(applause)
- Amazing, take it, take it, take it.
And you too.
Well, we're already in the action.
This is fantastic.
You really pulled us into the action.
And as you were making this
also wonderful with our orchestra here,
I was thinking, your intensity is the right one.
Now it does translate into a little bit
of everything being a little mmmh, right?
Which is normal, okay?
And you certainly don't wanna sing this like,
heh, okay, yeah, detached.
But there are some very interesting shadings in that duet,
especially, of course in the recits,
but I think we should go right from the fuggi,
and first do, and if we have time
we can, back more in the recit,
and trust more of the dynamics of Mozart.
Which means that, of course he doesn't write in your lines,
and some of them you did,
and I was like, well that's great.
For example,
But as it happens very often,
you establish a color, and that is not only you,
it's every singer.
It's not only singers, it's
instrumentalists, conductors, we all do the same.
We establish a color, it's very good.
It lasts two notes and then we're out of the color.
So actually, just let us take time
to get into these shades.
So let's detail it.
So I was thinking we should,
the facore and the fuggi, I love,
by the way, that was a great timing between these.
So we should maybe do this again, yeah that's good.
Okay, yeah, so the timing is good.
Take it like, I feel that this fuggi,
because you do such a great "F,"
it goes very much with the reaction like,
you don't understand what I'm talking about.
So it's like, FFOHH,
instead of just Fuh.
And don't worry, the conductor will get you,
because you have this great,
your body language will give it to me.
So, same place?
Jinhee, right?
Okay.
Very nice.
See, you don't need, you have such a great voice Felicia.
You don't need to give it all the time to us.
Like, we get it.
So you pull us
(laughter)
What?
- It's just funny.
- Really?
- Yeah.
- Okay, no but it's true,
sometimes it's just like, yeah,
I feel that we, because we're in a world
where everything comes at us,
like, it's there, it's loud enough, it's good, it's direct,
we forget that the experiment,
or the experience I should say,
in an opera house or in music that we do,
in theater, is also about pulling the people,
drawing them to us, instead of just like,
paff, we're gonna give it to you.
And we have bigger halls in America and da da da da.
Yeah, it has nothing to do with this.
I think it's just a question of concept.
So it's basically not to sing softer, it's more
You know? Inside.
Okay, so I just want to check one little thing here.
Sorry, I need to check back with the score,
but I'm pretty sure I know the fuggi.
Yeah, no that's good.
Okay, let me, 'cause I vaguely conduct now.
But you still do your thing.
I'm just the usual thing in the pit.
So, same place.
Mezzo forte now.
Yeah, yeah.
So, I love the way you feel it.
Charles, right?
Love the way you feel it, but the
da da dee da da da da da da,
this is, it's the second violins who do this,
you know, and this is your turmoil inside.
Your line in this moment is very lyrical.
So if you try to put too much into that,
the to ba de di di di da,
you're almost in conflict with the orchestra.
So it's more you try to reassure, in a way, you know?
So, guaardaa, instead of guarda.
Okay, so right from the centi.
Let's give one bar before centi, okay?
Yeah, beautiful.
I'm sorry to interrupt the orchestra.
But this is what we do, conductors,
we talk too much and we interrupt the orchestra.
You do it so well, this appoggiatura.
Same for you actually Charles,
but Felicia, I've noted that you do, le penne.
So actually you give it the pain,
because this appoggiatura is all about the pain.
Whenever we get this it's like the salt to just mmhh.
If you elongate the note after,
it almost kills the effect, it's just,
it neutralizes the effect, right?
So, I loved your line, and this,
I mean you sound great in this, and it's not
- Cool, thanks.
- Can you still hear him?
Duh, yeah, okay.
Okay, so here, one of the genius moments of Mozart
is that the three bars of Jinhee
are actually your thought in padre.
So now I feel that you're not necessarily,
you're listening to her, I can see it, which is beautiful,
but you're not using it as much.
You should maybe want to, il padre, la.
So it's a body thing but it's more like
the kind of breathing you will take
to get a different lascia.
So, da da dee da da da dee.
Now take it, take it.
Yeah, now, can you do even more?
Okay, now I went off voice.
I'm not asking you to go off the voice, you know,
but just more this forte piano.
And then mezzo forte.
Because now it sounds diminuendo and normal piano.
And all those details will make sense of how
the figure, the father and the lover and the husband
and the nervous, reassuring.
I mean it's such a complex character,
and Don Ottavio, I still feel, is underestimated.
Right? Okay, good.
Yeah, okay.
No but it's true.
They say, oh he's weak.
No, he isn't, but it's just,
what do you do with this situation?
So it's all, of course, you know,
it's predictable I would say this.
It's all in the music.
But it's true, it's true.
So let's just exaggerate that for the moment.
So, il padre, right on il padre.
Now take it and slow breath.
Bravo.
Love this.
Now, legato.
Thank you, beautiful.
Now, just want to underline what you just did,
which you followed the ya-da, ya-da.
It's very important that little sigh,
because at the beginning we're more di-ya, di-ya.
The articulations here.
Let's continue.
Okay, so, in a recit like this,
of course, I appreciate that you wanna follow me.
But I'm actually more, we have always to remember
that these were written, designed
precisely not to need a conductor.
Nowadays, unfortunately, we sort of
pretend to make ourselves indispensable.
We can elaborate about that later.
I'm really not flattering to my profession, am I?
But actually, I'm here just to facilitate
what you will make as a statement.
And I hear that you have it here completely.
Like, to pull it back so that the maestos all make sense.
So now you are sort of doubting.
I just go with you, dum pa pa pum pum pum.
Then Jinhee doesn't need me, doesn't need anyone, right?
So, same.
Good, good.
I love the spacing.
Just a little more intention.
It was more, noooo, my note is nice.
I sound gooood.
Sorry, that's a, no.
See, he agrees.
You do sound good though, both of you.
Let's just do from there.
Yeah.
Yeah.
You know, these phrase offs, really important.
It's one of my pet peeves, unfortunately,
but I'm happy you react to this, because da da,
and the next one is the worst, in opera,
all the history of every opera.
Not too much but, right? Okay.
So let's do de do de doo.
And keep it open though.
Yeah, that's it.
And not too fast.
Good, good, good good good.
But now, you really can do this.
You have it in your voice and it's fantastic.
If it starts to sound pum pum pum pum,
it doesn't have the same breathless feeling.
So, right on this.
Okay, yeah, maybe that's a better place.
That's a better place.
I think you're very, you give it all.
I would be scared.
Brunhilda just said, no but what I mean,
it was not a reference to your voice, which could be,
but actually, it is very strong.
If you are not to do any embellishment on this,
hold it.
This you can give.
It's like, okay.
I think there needs, like oh, do I wanna go there?
Yes I want, so good for you.
So yum pum pum.
Good.
And stay piano.
And keep the color.
Up, up, up.
Can you do it more legato?
- Sure.
- Otherwise everything is rhythmical.
Beautiful Felicia.
Because then you give a chance to your colleague.
Otherwise that note is just like in the theater, waaah.
And then, we see the tenor, but you know.
And it's, again, it's not because you sound less,
so that we understand, right?
You have actually really perfectly matched voices.
It's just it's, yeah.
So just from a, let's do
And really in the, hah, hah.
Yeah, wonderful.
(applause)
Wonderful.
Superb, superb, really.
Superb.
And you too, superb.
Take it, take it, take it.
Great.
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