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Playlist of Vesselina Kasarova

  • Vesselina Kasarova: Una voce poco fa. G. Rossini


    Mezzo: Vesselina Kasarova, en el papel de Rosina.

    El barbero de Sevilla.
    Zurich, 2001.
    Coro y Orquesta de la Ópera de Zurich.
    Director: Nello Santi.
    Director de escena: Grischa Asagaroff.

    Este vídeo tiene finalidades educativas explicadas en pero si alguien con derecho considera vulnerada su autoría, no tiene más que decirlo y lo retiro.

  • Vesselina KASAROVA - Master class, Basel


    Vesselina KASAROVA (Mezzo-soprano) [1965]
    Master class
    Basel, November 2011
    Broadcast: December 1, 2011 (BR-Klassik-TV, Click Clack)

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  • Vesselina Kasarova: Massenet - Werther | Berlin Opera Night


    At the Deutsche Oper Berlin, 8 November 2003
    Berlin Opera Night for the benefit of the German Aids Foundation

    Vesselina Kasarova - mezzo-soprano
    Deutsche Oper Berlin Orchestra
    Kent Nagano - conductor

    Jules Massenet - Werther Werther! Qui m'aurait dit - Des cris joveux

    Click here to watch the full Berlin Opera Night's Gala:
    Click here to watch the Berlin Opera Night's Gala 2011:
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    A glittering Opera Night featuring an exclusive cast of today's most exciting singers performing a programme from opera highlights by Mozart, Puccini, Massenet, Wagner, Leoncavallo and Strauss, accompanied by the Deutsche Oper Berlin conducted by Kent Nagano.

  • Vesselina Kasarova - Mon coeur souvre а ta voix, Saint-Saens Samson & Dalila


    Vesselina Kasarova - The first LIVE in Moscow (excerpts from TV concert)
    Mon coeur s'ouvre а ta voix aria from Saint-Saens opera Samson & Dalila

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  • Vesselina Kasarova - Kavatine Rosina


    Il Barbiere di Siviglia - Gioacchino Rossini (1792-1868).

    The official Vesselina Kasarova Website provides information on the Bulgarian mezzo-soprano.

    Das MDR Sinfonieorchester
    Daniel Nazareth

  • Vesselina Kasarova masterclass


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  • CARMEN/ Habanera Vesselina Kasarova


    Die Habanera gesungen von Vesselina Kasarova beim
    !SING DAY of SONG in Gelsenkirchen
    Bochumer Symphoniker u. Steven Sloane
    und ca. 60.000 Sänger/innen (Chöre u. Publikum)
    und ...... ;-) ich....
    Fantastisches Ereignis! Danke dafür!

  • Vesselina Kasarovas humorous playfull delivery of Offenbachs Trills


    Disclaimer - I own nothing

  • Vesselina Kasarova - Sapho - Ô ma lyre immortelle


    Sapho's recitative and aria from the eponymous opera by Charles Gounod. The poetess, abandoned by her lover Phaon, sings her last hopeless aria and leaps from the cliff into the sea.

    Frau Kasarova's interpretation is totally heartbreaking. This aria is available on her RCA Red Seal CD French Opera Arias.

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  • Parto, ma tu, ben mio


    Parto, ma tu, ben mio from Mozarts La Clemenza de Tito. Vesselina Kasarova (Sesto) and Dorothea Röschmann (Vitellia) with Nikolaus Harnoncourt conducting. Wiener Philharmoniker and the Konszertvereinigung Wiener Staatsopernchor. Recorded live at the Felsenreitschule, Salzburg, August 2003. Buy it on TDK.

  • Vesselina Kasarova - Semiramide - Ah, quel giorno... Oh, come da quel di


    Moscow 9.09.2011

  • Kasarova sings Cenerentolas rondo


    Mezzosopran Vesselina Kasarova sings Cenerentola's final rondo, 'Nacqui all'affanno'. Wiener Staatsoper Gala. 1991 or 92.

  • Vesselina Kasarova, Schwetzinger Festspiele 2005


    1. händel alcina: mi lusinga il dolce affetto
    2. händel solomon, overture
    3. händel alcina: sta nell'ircana
    4. mozart la clemenza di dito, parto parto, ma tu ben mio
    5. rossini tancredi, o patria.. di tanti palpiti
    6. gluck orphée et euridyce, amour, viens rendre à mon âme
    7. händel ariodante, scherza infida
    8. mozart la clemenza di tito, deh per questo istante solo
    9. händel alcina, verdi prati
    10.rossini tancredi, Perchè turbar la calma

  • V.Kasarova Rossini Tancredi Di tanti palpiti


    V.Kasarova performed Rossini Tancredi Di tanti palpiti (rehearsal in Moscow)



    Leer nota:
    Vesselina Kasarova canta Voi che sapete, arietta de Cherubino, de Las Bodas de Fígaro, de W. A. Mozart, acompañada por la Camerata Bern. Teatro Colón, Buenos Aires, Argentina. 9 de abril de 2013

  • Vesselina Kasarova, amour, viens rendre à mon âme


  • Vesselina KASAROVA - TV Interview


    Vesselina KASAROVA (Mezzo-soprano) [1965]
    AESCHBACHER Kurt (Journalist)
    TV interview on the occasion of the release of her book Ich singe mit Leib und Seele
    Broadcast: May 3, 2012 (Swiss SF channel, AESCHBACHER's show)

  • Vesselina Kasarova sings Gorgeously Penelopes Lament


    Disclaimer - I own nothing

  • Vesselina Kasarova - Samson et Dalila - Mon coeur souvre a ta voix


    Samson - Jose Cura
    Deutsche Oper Berlin 15.05.2011

  • Vesselina Kasarova - La belle Hélène - Aria ”Amours divins!” - Offenbach


    アリア 「神聖な恋」
    1997 / Zurich / Harnoncourt

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  • Vesselina Kasarova - The Maid of Orleans - Jeanne dArcs aria


    Vesselina Kasarova - The first LIVE in Moscow (excerpts from TV concert) P.Tchaikovsky Mad of Orleans - Jane D'Arc aria

  • Una voce poco fa - Vesselina Kasarova - Il barbiere di Siviglia/Staatsoper Wien 2013


    L'aria di Rosina Una voce poco fa dall'opera di Gioacchino Rossini Il Barbiere di Siviglia.
    Registrazione live del 18 marzo 2013 presso la Staatsoper di Wien.

  • Vesselina Kasarova singing LÎle inconnue from Les Nuits dÉté


    Bulgarian mezzo-soprano Vesselina Kasarova (b.1965) singing L'Île inconnue from Les Nuits d'Été by Hector Berlioz
    - Pinchas Steinberg, conductor
    - ORF-Symphonieorchester

  • Vesselina Kasarova - Jai perdu mon Eurydice


    The famous lamentation aria of Orpheus from Gluck's Orphée et Eurydice, performed by marvellous Vesselina Kasarova.

    If you, like me, think Kasarova is Orpheus incarnate, buy the Studio Farao DVD from Munich. It's a mesmerizing performance.

  • Vesselina Kasarova, the Miracle of Contralto Coloratura


    Disclaimer - I own nothing

  • Il ritorno dUlisse in patria - Kasarova - Di misera regina


    Penelope's lamentation from Claudio Monteverdi's 'Il ritorno d'Ulisse in patria' (The Return of Ulysses to His Homeland), based on 'The Odyssey' by Homer. Penelope, who has been waiting for her husband for 20 years already, laments her cruel fate and her loneliness.

    A fragment of the Zurich Opera performance conducted by Nicholaus Harnoncourt. The full video is available on the Arthaus Musik DVD.

  • KASAROVA - HAENDEL Verdi prati - Helsinki concert Part 5/5


    Perform: Baroque concert in Helsinki [Part 3/5]
    June 6, 2012 (Finland, Helsinki, Music Center)

    Vesselina KASAROVA (Mezzo-soprano) [1965]
    Yordan KAMDZHALOV (Conductor)
    Helsingin Barokkiorkesteri

    HAENDEL Georg Friedrich (1685 - 1759)
    Alcina (Opera in III atti HAENDEL-WERKE-VERZEICHNIS 34)

    Atto II, Scena XI: Aria Verdi prati, selve amene (Ruggiero)

    Created in April, 16 1735, London (Covent Garden)
    Librettist: A. MARCHI after the ARIOSTE's poem Orlando furioso (1516)


    Verdi prati, selve amene,
    Perderete la beltà.
    Vaghi fior, correnti rivi,
    La vaghezza, la bellezza
    Presto in voi si cangerà.
    Verdi prati, selve a mene,
    Perderete la beltà.
    E cangiato il vago oggetto
    All'orror del primo aspetto,
    Tutto in voi ritornerà.
    Verdi prati, selve amene,
    Perderete la beltà.

  • First vlog! - The day in Groningen - Rehearsal with Vesselina Kasarova - Some fun!


    My trip to Holland, some talk and fun with Vesselina Kasarova. You can also see a little part of our rehearsal in the little hall of De Oosterpoort, Groningen, with Monteverdi-Orff Lamento d'Arianna

    The recital was on the 6.April 2017

    Monteverdi-Orff Lamento d'Arianna
    Haydn. Arianna a Naxos

    Berlioz. Le nuit d'ete

  • Vesselina Kasarova


    Bulgarian Mezzo Soprano

  • Vesselina Kasarova goes full Baritonal in her astonishing Ruggiero


    Disclaimer - I own nothing

  • Vesselina Kasarova - Samson et Dalila - Printemps qui commence


    Deutsche Oper Berlin 15.05.2011

  • Vesselina Kasarova - Sento brillar nel sen


  • Vesselina Kasarova, Pensa alla patria, teatro alla Scala 2003


    Rossini, Gioacchino LItaliana In Algeri
    Vesselina Kasarova: Isabella
    Teatro alla Scala, 08 March 2003, live, radio broadcast
    Corrado Rovaris, conductor
    photo: Zürich 2008, photo credit: unknown

    when asked if she sings, say, Rossini in a long, smooth, legato line or an embellished or disjointed staccato she talks of characterisation rather than vocal technique. You must have a character in mind when you phrase Rossini. You are not trying to show off with lots of ornaments or clever runs. Yes, Rossini invites the singer to use imagination but that is not the same as showing off.
    Excerpt from Classic CD, Februar 1997, Seite 32 - 34, Neil Evans .

  • Vesselina KASAROVA - TV Interview


    Vesselina KASAROVA (Mezzo-soprano) [1965]
    TV Interview
    Broadcast: October 17, 2011 (BR channel, Abendschau)

  • Vesselina Kasarova - Day mi, Bozhe, krila lebedovi


    The world-renowned Bulgarian mezzo-soprano Vesselina Kasarova and the chorus The Cosmic Voices of Bulgaria perform the Bulgarian traditional song Day mi, Bozhe, krila lebedovi (Give me, oh God, the wings of a swan), arranged by Krassimir Kyurchiyski.

    Visuals: Rhodopi and Rila Mountains, Rila Monastery, Bulgaria; Church of Ascension in Moscow and Church of Intercession upon Nerl River in Bogolyubovo, Russia.

    If this song stirs your imagination, there is a whole CD of hauntingly beautiful Bulgarian melodies sung in Kasarova's marvellous voice: RCA Red Seal Bulgarian Soul.

    Замечательная болгарская меццо-сопрано Веселина Кацарова и хор Космические голоса Болгарии исполняют народную болгарскую песню Дай ми, Боже, крила лебедови. Композиция является частью сборника Веселины Bulgarian Soul. Фото - Родопы, Рила, Рильский монастырь в Болгарии, а также храм Вознесения в Коломенском и церковь Покрова-на-Нерли в Боголюбово.

  • Vesselina Kasarova 1991 - Rossini: Il Barbiere di Siviglia


    26 years old Vesselina Kasarova 1991 - Rossini: Il Barbiere di Siviglia Una voce poco fa Geneva Opera House

    Early life and education

    Vesselina Kasarova (pronounced ka-TSA-ro-va) was born in the central Bulgarian town of Stara Zagora in July 1965. Under the communist regime that supported the arts, she studied Russian as a second language and began her music education in early childhood, taking her first piano lesson when she was only 4 years old. She gave her first stage performance as a 16 yrs old pianist performing Mozart sonatas in 1981 in her home town. As she studied piano and worked as accompanist at recitals, Kasarova became drawn to the voice as musical instrument.

    After earning her concert pianist diploma in 1987, Kasarova switched to study singing under the watchful eyes of Ressa Koleva at Sofia's Music Academy. A stroke of luck, since Madame Koleva protected her from the prevailing Verdi singing culture that might have ruined her voice early and steering her toward Mozart and Rossini instead. She gave her first singing performance in Stara Zagora singing Habanera from Bizet's Carmen. The prodigious Bulgarian also performed at Sofia National Opera while still a student. She performed the part of Rosina in the Barber of Seville for her graduation exam.

    [edit] Singing career

    In 1988, while still a student, a demo tape recording of her performance was given to the renown conductor Herbert von Karajan, who, upon hearing it, asked her to sing for him at the Vienna State Opera. Though Karajan died a week later, upon hearing this engaging singer his successor offered her 2 annual contracts starting in 1991.

    Vesselina Kasarova graduated from the Conservatoire of Sofia in 1989; spending her 2 years gap engaged by the Zurich Opera. There she soon became a favorite with audiences appreciative of her intense characterization of all the roles she plays, her expressive clarinet-ish voice, and virtuosic vocal agility. Her first role being two minor parts (2nd Norn and Wellgunde) in Wagner's Götterdämmerung. In the same year she won first prize in the Neue Stimmen (New Voices) international singing competition in Gütersloh, Germany, sponsored by Bertelsmann, owner of BMG Classics. In 1991, she made her debut at the Salzburg Festival singing 2 concerts in commemoration of Mozart's 200th death anniversary and as Annio in Mozart's La Clemenza di Tito under Sir Colin Davis. In that same year she left Zurich to fulfill her contract at the Vienna State Opera debuting in the role of Rosina in Rossini's The Barber of Seville, and remained with company for 2 years. There she married her Swiss husband.

  • Vesselina Kasarova; Von ewiger Liebe; Johannes Brahms


    Vesselina Kasarova--Mezzo-soprano
    Friedrich Haider--Piano

  • Jonas Kaufmann: Carmen - Trailer


    DVD - Amazon:

    In 2008 the Opernhaus Zurich staged this magnificent production starring virtuoso tenor Jonas Kaufmann as Don José and the Bulgarian Vesselina Kasarova as the flirtatious prima-donna of the title role.

    Mezzo-soprano Kasarova is dazzling as the tough-as-nails, beautifully unsentimental heroine – think classic Sophia Loren meets West Side Story. Kaufmann, in the guise of a Spanish police officer, brilliantly portrays the blustering but naive Don José as a modern contrast of hard-edged machismo and out-of-his-depths vulnerability.

    This production of Carmen enthralled audiences with the visceral physical quality of the performances, enhanced by a single panoramic set for all four acts that is stripped of the traditional Spanish styling.

    Kaufmann superbly presents Don José as awkward, socially inept and doomed for disillusionment. Kasarova’s Carmen commands attention with a soft and sensual exterior that hides her ruthless and sinister heart in plain view.

  • Krassimira Stoyanova / Vesselina Kasarova - Aida - Fu la sorte dellarmi a tuoi funesta


    Musikverein - Wien 30.04.2012

  • Vesselina Kasarova, orphée et eurydice, extract2


    orphée: vesselina kasarova

  • Vesselina Kasarova, Händel Or la tromba in suon festante


  • Mignons Aria - Connais-tu le pays / Vesselina Kasarova


    Ambroise Thomasのオペラ《ミニョン》より ミニョンのロマンス


    Do you know the country where the orange flowers bloom?
    The land of golden fruit and crimson roses,
    Where the breeze is fresh and the birds fly in the light,
    Where in any season bees are seen foraging,
    Where radiant smiles are a blessing from God,
    An eternal spring under a deep blue sky!

    Alas! Why can I not follow you
    To this happy shore, here the fates have exiled me!
    There it is! This is where I want to live,
    Love, love and die!

    Do you know the house is there waiting for me?
    The room with gold paneling, where men of marble
    Call me at night, holding my arms?
    And the courtyard where they dance in the shade of a large tree?
    And the transparent lake where on the water slide
    thousands of birds like weightless boats!

    Alas! Why can I not follow you
    To this happy shore, here the fates have exiled me!

    There it is! This is where I want to live,
    Love, love and die!

  • Vesselina Kasarova; Venga pur, minacci e frema; Mitridate, rè di Ponto; Wolfgang Amadeus Mozart


    Vesselina Kasarova--Mezzo-soprano
    Sir Colin Davis--Conductor
    Staatskapelle Dresden

  • Vesselina Kasarova


    Kent Nagano, der Bayerische Generalmusikdirektor eröffnete am Freitag 18. Mai 2007 den ersten Münchner «Ball der Künste». Der von der Bayerischen Staatsoper initiierte Schwarz-Weiß-Ball im Haus der Kunst an der Münchner Prinzregentenstraße soll an die Tradition der legendären Münchner Künstlerbälle anknüpfen.

    Neben dem Bayerischen Staatsorchester unter Naganos Leitung waren mit dabei: das Bayerische Staatsballett, die SWR-Bigband, Jazz-Legende Coco Schumann, Bryan Ferry sowie die Opernstars Vesselina Kasarova - die hier Habanera von Carmen singt.


  • Vesselina Kasarova; Ah, scotasi...Smanie implacabli; Così fan tutte; W.A. Mozart


    Vesselina Kasarova--Mezzo-soprano
    Sir Colin Davis--Conductor
    Staatskapelle Dresden

  • Vesselina Kasarova - I Capuleti -- Ascolta


    I Capuleti e i Montecchi (Bellini - 1830)
    Acte I, Scene 1 - Rossini ornamented version of Romeo's entrance aria.
    Vesselina Kasarova (mezzo-soprano).

    Se Romèo t'uccise un figlio,
    In battaglia a lui diè morte :
    Incolparne dêi la sorte :
    Ei ne se pianse, e piange ancor :
    Incolparne dêi la sorte, ecc.
    Deh ! ti placa, e un altro figlio
    Troverai nel mio signor,
    Altro figlio, ecc.

    Ostinati e tal sarà.
    La tremenda ultrice spada
    A brandir Romeo s'appresta,
    E qual folgore funesta
    Mille morti apporterà.
    Ma v'accusi al ciel irato
    Tanto sangue invan versato ;
    E su voi ricada il sangue
    Che alla patria costerà

  • Vesselina Kasarova; Auf dem Wasser zu singen; Franz Schubert


    Vesselina Kasarova--Mezzo-soprano
    Friedrich Haider--Piano

  • Tchaikovsky: Pique Dame : Polinas Aria. Vesselina Kasarova


    Vesselina Kasarova as Polina in Tchaikovsky's Pique Dame (The Queen of Spades)
    Conductor Seiji Ozawa
    Stage Director: Kurt Horres
    Vienna, 1992

  • Vesselina Kasarova - Carmen - Chanson



    Carmen, Acte Deuxième, Scène Première: Chanson

    Wien Staatsoper
    28 February 2009

    Genia Kühmeier, Micaela
    Ileana Tonca, Frasquita
    Cura, D'Arcangelo

    Fisch, conductor

    Many thanks to brodsky96 !!! for reminding me and for honouring VK, although his clip is not visible here in Bulgaria.

  • Gioachino Rossini - Semiramide - Ah! quel giorno ognor rammento


    The role of Arsace in Rossini's Semiramide features several striking pieces among which his opening cavatina is certainly a crown jewel and well-worth of a compilation.

    As the piece is quite long, I'm providing only one full rendition, complete with the preceding prelude and recitative. The prelude is unusual in the fact that it features several discernible symbols, rather than one central motive: the melody seems to be an invocation of Arsace's conflicting emotions, beginning as a gentle march (happiness of returning to his homeland), it quickly goes into a more minor mood (possibly, in combination with the chilling high trills for the strings in the second section, foreboding Arsace's imminent future); after a short transition, the strings are suddenly contrasted the high-playing flutes and clarinets possibly to note Arsace's entrance and amazement at the temple of Baal; the horns, an omnipresent instrument, are, of course, there to symbolize the military nature of Arsace's character. The recitative is dramatically built with several striking sections: for example, the rising orchestral and vocal line, as Arsace feels terror at being in the presence of god. But, to be fair, the recitative merely serves to introduce Arsace and his place in the plot, with rather slim dramatics. The cavatina is built around the traditional structure of cantabile - cabaletta but it's an arresting example of Rossini's beautiful writing. Moreover, the cantabile actually uses several of the ideas already hinted in the prelude. What's more the opening is actually employs a three-piece structure, rather than a repeat of the same melody: first, a gentle andante as Arsace begins to remember his first meeting with Azema; then, a gradualy rising and exciting section as Arsace becomes more and more agitated, remembering his lover's poor state; finally, an almost silent and breathless arioso as the warrior remembers Azema's first look. What's interesting is that the cantabile uses a very spare musical background, amounting to a bass line and several additional effects (sustained string and horn lines), making the soloist particularly vulnerable. Moreover, the cantabile almost amounts to a contrasting concerto for the voice, similar to Mercadante's flute concertos. The cabaletta is set apart from the rest of the aria by a more alive tempo which breaks the dreaminess of the cantabile. A point of interest: Semiramide is, perhaps, Rossini's most cabaletta-centered opera, as it is in the cabaletta where the main emotions are presented, with the cantabile being a preparation for the outpour of feelings. Arsace's cabaletta is one of the best of its' kind: virtuostic, dramatically viable, interesting harmonically and exciting at the same time.

    While Arsace's aria is brilliant, one can't over-look the fact that it is sung about a woman who should have been given a more interesting role but is left with a recitative-part: Azema. Her vocal and dramatical unimportance turns the conflict between Arsace, Assur and Idreno (five of thirteen pieces are sung because of Azema) completely meaningless; moreover, Arsace doesn't even have a duet with his love to further prove his emotions. This imbalance is so strong that I sometimes feel that a couple of insertions aimed at expanding Azema would have been most welcome. But then Semiramide is more about music than drama :). Anyway, getting back to the compilation.

    I've always wanted to do a compilation on this piece, one of my favorite of all Rossini arias. I have several renditions of the aria, but I'm going to limit the whole upload to just five:

    4) Vesselina Kasarova on Rossini arias and duets under Arthur Fagen (1999).

    Kasarova poses a real problem for me. She is completely committed to the character but probably a bit to much, there just are limits to word-painting. Moreover, her voice is feminine and she has to darken it considerably in places. It is a good voice with excellent control but it just doesn't work for Arsace, in my opinion. The ornaments are not intrusive but they are simply given to fulfill the need for additional ornamentation, not particularly highlighting the character or the singer. The orchestra's abilities are again limited. Not one of my favorite renditions, all in all, though certainly not the worst I had the pleasure of hearing :). Enjoy :)!



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