Une histoire pour vous.

A story for you

is what I have right here:

"Two loved ones

Whose souls are in love ...

They were always together

as if they were only one,

your fragile hearts

they give many reasons ...

One hard as stone,

Another soft like a cloud

and in both beings

love for the other prevails.

Their eyes always looked,

never separated

and especially their mouths

never stopped kissing ...

It's a story that practically

It will never, never end "

but the other person said:

"Of course it's your story with your beloved wife!"

They loved you ...

They loved you so much

that gave you peace

but with your pride

you do things without looking.

They loved you so much

that their actions were to love

and you were so happy for them

that you could not stand.

They loved you so much

that you want to reward them,

you want to return everything

without looking back.

Their love will always take you

to be the best part of you,

to be yourself

until the day of your end.

Their love never ends

as well as this song,

and my love for them

It will never come to an end.

Nun mi tema.

"Nadie me teme"

Ese es el lema

de esta poderosa aria

Y la muerte es el poema.

"Nadie debería temerme,

Porque ya no puedo hacer más daño ".

Es lo que dice otello

habiendo sido engañado

"Es por mi señora,

Que la hice irme

¡LO HIZO IR!

Para siempre ahora mismo. "

Tan profundo, trágico,

Muy sincero, tocado

Es el fragmento de esta escena.

Como la hermosa música.

"Nadie debería temerme

Porque voy a ir ahora

¡ADIÓS!

Iré con mi señora ”

Tan poderoso e imponente,

Como la ópera en la que se encuentra,

De esta bella aria

Escribiré mucho más.

Amore rosso.

Red love,

Live love

For that being

That makes me feel this affair.

Red love

that you see everywhere,

Clear love

who is with me every moment.

Red love,

Passionate love

That is buried

in my heart by side and side.

Crazed love,

Outraged love

For your blinded love

and well hidden.

Love returned,

Never finished,

That will always be there

as a great lover.

The most difficult arias for soprano for a girl like me.

If before I said that arias for tenor scared me to the point that when I wanted to sing damaged my voice, the soprano seriously almost left me speechless and with serious injuries in the throat hahaha. Although most of the time I was glad that they had left most of the best arias for female voices of great power; the great composers relied heavily on the ladies for their delicacy, commitment and dedication to each character through their powerful, fragile, delicate but prominent voice.

Next we will see the great examples of these words...

•  Der holle rache (Die Zauberflöte, W.A. MOZART).

As I said once in this blog "The most complicated Aria for light soprano" for an excellent mastery of variations of tone, speed, language (I always say that if there is a difficult language to sing it is German), a good start it means that it will be a great interpretation, ease with verses and short words but, most of all, the fluid and fast handling of the famous staccatos.

In the psychological part the voice must manage to control and / or handle the anger of the queen of the night to Pamina (the other personage). I say that the whole opera is focused or centered in this Aria, that adds a touch more of the interpreter's passion towards the character. Everything makes, for me, the Aria more complicated, demanding and with the greatest difficulty for a soprano.

• Liebestod (Tristan und Isolde, Richard Wagner).

Contrary to Mozart, Wagner shows us a much slower movement in music. Slow movements of the Aria make the interpreter can handle the voice but soon after we see or hear a somewhat radical note rise; As it is an opera with a duration of 4 hours, they make the voice come somewhat tired and the singer must prepare for an Aria that will require much more than what she gave on stage.

As a melancholic Aria (Isolde had already lost her beloved in this part of the opera) the voice must be heard with really high-low notes by the sadness, emotion, discouragement and disturbance of the character's soul. With a really varied interpretation (as I said high-low notes) the Liebestod is very complex and tolerant to the voice of the dramatic soprano.

Follia amorevole.

Locura Amorosa,

Corazón desordenado,

Alma extasiada,

Amor descontrolado.

Locura amorosa,

pasión desenfrenada,

Ojos desorbitados

de una enamorada.

Locura Amorosa

que nunca terminará,

Hermosa cordura

que mi corazón tolerará.

No diré adiós

a mi profundo apego,

nunca será la despedida

y siempre será mi consuelo.

Nunca "hasta la vista"

mi frenética adoración,

Nunca "adiós"

mi enloquecido amor.

Das Böse

The evil in you,

Evil in me

Are clear samples

Of a dark without end.

Evil

It does not tell me anything

More that there is light

And endless darkness.

Evil shows us

That we can be the worst

But as there is good

We always want to be the best.

Evil I do not want to show,

I do not want to hide it

Because I do not want to show

What there is not in me in reality.

We are all good

And sometimes bad,

What it shows us

That we are human beings.