Serena Williams return winners vs. Maria Sharapova on multiple surfaces.
(via akilb)
(Source: sexylenko, via maria-kirilenko)
(Source: memorysong)
French coloratura Soprano Natalie Dessay singing the sweet, magical aria ‘Tornami a vagheggiar’, Morgana’s aria from Handel’s opera Alcina.
Thought it’d be interesting to actually highlight Dessay when she could’ve accurately been described as an operatic artist and superb coloratura vocalist. The breadth of vocal precision and yes-even musicianship are so palpable here. The beautifully pointed arpeggios, the ease and graceful attack of staccato, the limpid, florid glissando, all show a volume of musical perception without revealing a gaping, wobbling hole in the middle of her voice. An element to her singing that has completely eroded.
The ornamentations are exceptionally imagined and crafted. She weaves them so immaculately into the melody, and they are both tasteful and executed with such control, unlike the shrieking, nightmarish interpolations she would likely include if she were to sing this role now.
It’s almost like a completely different singer.
(Source: federerblog)
George Frideric Handel- ‘Water Music, Suite No. 2’.
No one composed with the regal floridness that Handel did.
American dramatic Soprano Jessye Norma and Italian lyric Soprano Mirella Freni singing the beautiful duetto ‘Sull’aria- Che soave zeffiretto’ from Mozart’s opera Le Nozze di Figaro.
A remarkable display of vocal synergy. Norman’s usually dark, shadowy instrument applies itself with such rich, lyric facility to combine with Freni’s delightful, soft timbre and delicate phrasing.
A duet made for the sheer intimacy of singing.
Joni Mitchell- River. Royal Albert Hall, 1970.
One of the most simple melodic explorations of pure sorrow.
