Discografia. Bellini: La Sonnambula - Cecilia Bartoli/Juan Diego Flórez/Orchestra La Scintilla/Alessandro De Marchi, 2008 Decca; Donizetti Bellini, Arie da opere.![]() ![]() Today's 1. 2 Greatest Opera Singers Ren. A beautiful woman with a wonderful sound, compelling artistry and innate musicality.” Maree Ryan. Famed for her beauty of tone and personal charm, American soprano Ren. Offstage, she is a national icon, inspiring perfume and desserts and even guest- starring on Sesame Street. Fleming’s big break came in 1. Metropolitan Opera Auditions and subsequently made her Houston Grand Opera debut as the Countess Almaviva, a role which would become a mainstay of her career. Debuts with other major American and European houses followed, and Fleming soon established herself as a major star. Fleming’s opulent timbre lends itself particularly well to the lyrical heroines of Richard Strauss: she has enjoyed rapturous acclaim as his Marschallin, Arabella and Countess Madeleine, and recorded the title role of his lesser- known opera Daphne. Fans of Fleming may declare themselves prepared to bask forever in the sheer loveliness of her sound, but it seems the soprano herself is more restless. Her increasingly adventurous career combines warhorses with rarities: the Metropolitan Opera recently staged Rossini’s rarely heard Armida for her. ![]() Lately, Fleming has moved into genre- defying territory on record, including a collection of songs by artists as unexpected as Mars Volta and Leonard Cohen. With a career of such endurance and artistic integrity under her belt, she has surely earned the right to live a little dangerously. Best on Disc Mozart Arias. Ren. Decca 4. 66. Luscious and lachrymose, Fleming makes Dvor. And she does crazy so well!” Emma Matthews. Natalie Dessay is an odd creature, a coloratura soprano who has become as famous for her dramatic acuity as for her high- flying pyrotechnics, imbuing some of the repertoire’s frilliest showcases with a depth even their composers probably didn’t envisage. She’s prone to inflammatory statements about the primacy of theatre over mere vocal decoration – risky statements, perhaps, but Dessay has the virtuosic, if occasionally idiosyncratic, talent to back them up. Dessay rose to fame as a proponent of two fiendish cornerstones of the coloratura repertoire, Mozart’s Queen of the Night and Strauss’s Zerbinetta (Ariadne auf Naxos), flying fearlessly into the stratosphere while determinedly unearthing new dramatic subtleties in both roles. She is also among her generation’s finest interpreters of Lucia di Lammermoor, bringing a raw fragility to the role while maintaining the technique to assail every roulade and trill of Donizetti’s score. Opera and Musical Theatre Reviews. Opera Review: Richard Jones's production of Il trittico opens the Royal Opera season A couple of weeks ago, a business-like email. Ticketac, la billetterie théâtre, spectacles et one-man-shows à prix réduit.Depuis 10 ans, Ticketac a fait économiser en moyenne 10 Both on stage and on disc, Dessay seems inclined not so much to dig out obscurities as to revolutionise the mainstream repertoire. She stood firmly behind Mary Zimmerman’s controversially modernised La sonnambula at the Met, for instance, and her kooky comic gifts have lately made a revelation of Donizetti’s La fille du r. If her repertoire choices are mostly conservative, however, her interpretations are anything but. Always interesting, occasionally polarizing, she stands out as one of the opera world’s most vital forces. ![]() Best on Disc French Opera Arias. Natalie Dessay, sop; Choeur Les El. Netrebko, who regularly turns up on the pages of Vogue and Vanity Fair, rose to fame in style. It was a triumphant Salzburg Festival debut in 2. Donna Anna in Mozart’s Don Giovanni that led her to be known as “das Wunder von Salzburg”. To this day, her fame is greatest in the German- speaking world. When not performing with the great opera companies of Western Europe and the US, she frequently returns to the Kirov Opera at the Mariinsky Theatre in. ![]() Natalie Dessay est une cantatrice française, née à Lyon le 19 avril 1965. Soprano spécialisée dans les rôles de colorature, elle est connue pour ses talents de. The first of the "Three Queens" operas by Donizetti tells of Anne Boleyn's disastrous marriage to Henry VIII. Anna Netrebko plays the doomed queen, Ildar Abdrazakov. St. Petersburg to collaborate with her mentor Valery Gergiev. There is also a certain low- rent glamour to Netrebko which makes her perfect for the title roles in Manon and La traviata. In an LA production of Manon this quality was exploited to the full, as Netrebko was made to dress in skimpy underwear and pole- dance like a porn starlet. Her sex appeal makes the soprano a marketer’s dream, and she sells records in figures that make pop singers gasp. Perhaps the supreme testament to her popular fame is her inclusion in the TIME 1. If any soprano of today could be called a superstar – and might actually desire that label – it is Netrebko. Best on Disc. Souvenirs. Anna Netrebko, sop; Prague Philharmonia/Villaume. DG 4. 77. 74. 51. These short pieces by everyone from Dvor. Her most satisfying solo disc. Puccini La boh. Eccentric, fearless and exceptionally passionate, she occupies a unique position in the operatic scene. She is an opera singer better known for her esoteric recordings than her stage performances; a mezzo soprano who now sings mostly soprano roles; and a musical – not to mention commercial – force to be reckoned with. Rising to prominence at an unusually early age, Bartoli won global recognition at a point where most mezzos are still slogging through conservatoria. More remarkably still, having risen so quickly to the top, she has established herself as a trailblazing operatic adventuress, unearthing long lost jewels of baroque and Romantic opera and turning them into improbable chart- toppers. With the clout now to sing and do exactly what she pleases, Bartoli has practically abandoned opera performance in favour of her recording projects and attendant concerts – a move which might seem more self- indulgent were her dedication to the music not so effusively apparent. Bartoli’s singing can be as unorthodox, and as audience- dividing, as her career path, able to inspire intense devotion and vehement criticism. Her messa di voce is exquisite, her phrasing lyrical and sensitive; but her coloratura, while fiendishly precise, is berated by some for resembling machine- gun fire, and her frenetic physicality is arguably as prone to irritate as it is to enchant. The commitment, depth and sincerity of her singing, though, must surely be admired. Best on Disc. Rossini Heroines Cecilia Bartoli, ms; Orchestra and Chorus of La Fenice/Marin. Decca 4. 36. 07. 52. Almost 2. 0 years after its release, Bartoli’s stunning Rossini is still the one to beat. The Vivaldi Album. Cecilia Bartoli, ms; Il Giardino Armonico/Antonini. Decca 4. 66. 56. 92. One of Bartoli’s first and finest excursions into obscure repertoire: a whirlwind of revelatory virtuosity. Best on Stage Elina Garanca “Garanca’s Cenerentola for The Met blew me away. Such easy coloratura!” Amelia Farrugia. This Latvian- born singer ticks all the boxes for a world- class mezzo of today – ravishing physical beauty, a bell- like purity of tone and a voice able to navigate all the cascades of bel canto. The suitability of her voice colour for that repertoire was noted by her first singing teacher in Latvia, whose advice rang true when, in 1. Garanca performed the role of Giovanna Seymour in Donizetti’s Anna Bolena. It was a watershed. Opera houses in Western Europe pricked up their ears, and Elina was whisked off to the Frankfurt Opera in 2. The Barber of Seville as a Rosina who can not only sing the part, but looks it. Vienna State Opera and Helsinki Opera subsequently invited her to sing in their Barber: then her career snowballed – appearances on an album by fellow Russian- speaker Anna Netrebko, a turn as Dorabella at the Paris Op. This year has been spent mainly in a victory lap of solo recitals around Europe after the release of her last album Bel Canto. But later in 2. 01. Carmen at New York’s Metropolitan Opera. That’s just how versatile Garanca is: she can switch from the vocal calisthenics of Romeo to the gushings of Carmen without pausing for air. Bellini I Capuleti e i Montecchi. Anna Netrebko, sop; Elina Garanca, ms; Vienna Symphony/Luisi. DG 4. 77 8. 03. 1The noble metal in the mezzo’s voice is a perfect foil for Netrebko’s creamy tone. This CD put Garanca in the big league. Bel Canto. FTC di Bologna/Abbado. DG 4. 77 7. 46. 0Garanca teamed up with scholar Luca Gorla to choose these forgotten gems of the bel canto repertoire. Best on Stage Joyce Di. Donato “Di. Donato is an unbelievably generous singer, who shares the joy of her talent with the audience in every role.” Steven Murdoch. There is a moment that encapsulates all that is charming about American mezzo Joyce Di. Donato. In a performance of Il barbiere di Siviglia at Covent Garden in 2. Di. Donato slipped onstage and broke her right fibula (someone must have wished her to “break a leg”). Rather than call a lawyer to sue the Royal Opera, she finished the first act hobbling. For act two, Di. Donato donned a pair of crutches. But it doesn’t end there: she sang the five remaining scheduled performances in a wheelchair – with all the joie de vivre that has made her a darling of the stage. In a world of opera divas with big voices and bigger egos, a robust, workaday attitude to the profession is rare. Di. Donato’s lack of affectation is usually ascribed to her upbringing as the sixth of seven children in a working- class Irish family in Prairie Village, Kansas (her surname is a relic from her first marriage). Now a doyenne of grand opera, Di. Donato has not lost a certain small- town earthiness, which makes her the mezzo of choice for male roles such as Cherubino. She is also a fearless vocal technician, handling the thorniest Rossini parts – the title role of La Cenerentola and Elena in La Donna del Lago – with stupendous ease. With a radiant stage personality and the most rarefied vocal gifts, Joyce Di. Donato is a mezzo it's hard not to like. Rossini: Colbran, the Muse Joyce Di. Donato, ms; Orchestradell’ Accademia Nazionale di Santa Cecilia/Muller Virgin Classics 6. Rossini’s wife and muse Isabella Colbran is given a lavish tribute by the spirited Di. Donato. Rossini Il Barbiere di Siviglia. Joyce Didonato, ms; Juan Diego Florez, ten; Pietro Spagnoli, bar; Ferruccio Furlanetto, bass; Orchestra and Chorus of the Royal Opera House/Pappano. Virgin Classics 6. A performance that is already legendary: Di. Donato sings Rosina with flawless technique despite a broken leg. Best on Stage Juan Diego Fl. Avant Scene Opera : moteur de recherche. Paiement s. 6. 24. Paris Cedex 0. 2 T. Les commandes seront exp. Livraison en 2- 3 jours en France metropolitaine. Vente sur place : 1. Tiquetonne 7. 50. Paris 9h- 1. 3h - 1. SPECIAL ETUDIANTS 2. La donna del lago - Wikipedia. La donna del lago (The Lady of the Lake) is an opera composed by Gioachino Rossini with a libretto by Andrea Leone Tottola (whose verses are described as . Scott's basic story has been noted as coming from . Others in German, French and English followed. In modern times, performances have been given fairly frequently. Composition history. After being obliged to leave Pesaro hurriedly in May 1. Rossini returned to Naples in early June with no projects in the offing, except to become involved with overseeing a new production of his La gazza ladra there. Also, a commission from Milan's La Scala for an opera, which would become Bianca e Falliero, had been offered and was planned for December of that year. Suddenly, the Italian composer Gaspare Spontini withdrew from a commitment to write two operas for the Naples house that season, thus leaving a huge gap. Rossini was quickly asked to write an opera for a September premiere; rather than use an existing libretto, the house insisted upon a wholly new opera and he accepted the challenge. On hearing about the poem from Batton, Rossini asked for a copy and within a few days informed Batton he was so delighted with it he would compose an opera based on it. He then immediately called upon the Naples- based librettist Andrea Leone Tottola (who is described as . The published translations acquired international popularity and set off a craze for idealising and romanticizing the Scottish Highlands. The young Walter Scott was also greatly influenced by them. In his preface, the librettist summed it up by stating: It is, in fact, no easy task to simplify the many beauties and many moments of interest of a poem in order to arrive at the regular conduct of a drama and to observe the strict laws of the stage. It therefore became unavoidable that I should make some arbitrary changes in the original .. Azevedo, in his 1. La donna remained in the San Carlo's repertoire for 1. Petersburg and many South American houses saw productions up to 1. Trieste. Rossini declined, because the company had never performed La donna. Pillet therefore began collaborating with the composer Louis Niedermeyer and librettist Gustave Va. Ten years later, it was presented at the 1. Camden Festival in London, with Kiri Te Kanawa in the lead role. In 1. 98. 1, after an absence from America of almost 1. Houston Grand Opera, starring Frederica von Stade, Marilyn Horne, and Rockwell Blake, and conducted by Claudio Scimone. In 1. 98. 1, the Rossini Opera Festival at Pesaro presented the first staging of H. Colin Slim's new critical edition starring Lella Cuberli and Philip Langridge. The same production was revived in 1. Katia Ricciarelli, Lucia Valentini Terrani and Samuel Ramey. A variety of European and American companies - about 2. Th. Anna Caterina Antonacci starred in a concert performance in the Concertgebouw, Amsterdam, on 2. March 1. 99. 2. Elena was sung by Ruth Ann Swenson, Malcolm by Stephanie Blythe and Rodrigo by Bruce Fowler (tenor). The production by Lu. The production, by John Fulljames, was conducted by Michele Mariotti. It was the last en travesti opera he would write for Naples, as tenors were becoming the preferred voice for heroic roles. Amongst the rebels were Douglas (Elena's father), Rodrigo (to whom she has been betrothed) and Malcolm (whom she loves). The King is in the habit of going about his lands disguised as Uberto. Seeing Elena he instantly falls in love with her, but she repels his advances stating that he is confusing hospitality and friendship for romantic interest. In the meantime he has realised that she is related to his enemies. The clans gather to overthrow the king, and Rodrigo and Douglas discover Elena's secret love for Malcolm. She tries to keep the peace, but the call to arms diverts the soldiers. The battle does not go well, and Rodrigo is killed. Again the king in disguise encounters Elena and gives her a ring to take to the king if she is ever in trouble. She decides to use it and goes to Stirling Castle where she finds that both Malcolm and Douglas are prisoners. She pleads their cases, and the king magnanimously pardons them and blesses the union, now unimpeded by Rodrigo, between Elena and Malcolm. Place: Scotland. Time: First half of the sixteenth century. Scene 1: The shores of Loch Katrine, with the Ben Ledi mountains in the background. Elena appears in a boat on the lake and sings of her longing for her true love, Malcolm (Cavatina: Oh mattutini albori. At the edge of the lake, Elena hears the sound of horns and vainly hopes that Malcolm will be among the hunters. However, King James - who has disguised himself as . She offers him shelter and James accepts, and the two cross the lake towards Elena's home (Duettino: Scendi nel piccol legno / . As they sail off, the men in his entourage arrive, searching for the disguised King (Chorus: Uberto! Frustrated, they agree to widen the search and pray for guidance in finding their leader. Scene 2: Douglas's home. Arriving at her home, Elena explains her simple life. But Uberto/King James sees insignias of his ancestors and learns that Elena's father is Douglas, the King's tutor, who has since become a rebel exiled from the court, a decision which Uberto in an aside says the King regrets. Elena's friends arrive and sing of her betrothal by her father to Rodrigo, chief of the Highlanders, a Scots tribe opposed to King James. Uberto/James becomes jealous. However, he suspects that Elena is not in love with Rodrigo (Duet: Le mie barbare vicende / . Directly, he asks if there is someone she loves, and learns this was only a brief episode in her past. Encouraged, he prepares to leave Elena's house (Duet: Cielo! All leave as Elena goes inside. Malcolm arrives, having decided to join the Highlanders (Mura felici, ove il mio ben si aggira! After so long I will see her again! Alone, he recalls fond memories of Elena: (Aria: Elena! Then he swears he will take her away from the strongest man or die in the attempt. Unseen, Malcolm then watches Elena and her father discussing her upcoming marriage to Rodrigo. She is reluctant, but Douglas orders her to obey his command: (Aria: Taci, lo voglio, e basti / ! It is my wish.. Show me that you're a daughter worthy of her father. As he leaves, trumpets announce Rodrigo; Douglas orders Elena to follow him. Malcolm, who has overheard the conversation, approaches Elena and they pledge their undying devotion to each other (Duettino: Vivere io non sapr. Together they leave. Scene 3. The Highland warriors urge one another to fight (Chorus: Qual rapido torrente / . He pledges to lead them to victory but, aside, expresses anxiety to see his future bride: (Cavatina: Eccomi a voi, miei prodi / . His soldiers assure him he will win the hand of the woman he loves, as well as military victory. Douglas enters and he and Rodrigo greet one another, the latter fervently expressing his desire to see Elena. Acclaimed by the assembled crowd for her beauty, Elena enters. Rodrigo approaches, declaring his love: (Aria: Quanto a quest'alma amante / . Concerned that she does not appear to respond, Douglas assures Rodrigo that she is restrained by modesty. Father, daughter and suitor each express their hopes, concerns and fears: (Trio: Di opposti affetti un vortice / . Elena tries to hide her emotions, but Douglas immediately understands where her heart lies. At the same time, Rodrigo offers friendship to Malcolm and introduces Elena as his bride- to- be; but he, too, perceives a connection between Malcolm and Elena. In a quartet accompanied by the chorus of soldiers and women, each expresses his or her conflicting emotions: (Rodrigo: Crudele sospetto, Che me agiti il petto / ! Anger and resentment Tear my heart apart! The Bards (Coro dei Bardi) enter and sing Gi. As Rodrigo, Malcolm and the Highland warriors prepare to depart for battle the everyone joins in singing Su.. All leave for battle. Scene 1: A thick wood with a cave. In the woods, Uberto/King James has come to find Elena, hoping to save her from the coming battles (Cavatina: Oh fiamma soave, che l’alma mi accendi! Show compassion To a faithful lover. Meanwhile, Elena asks Serano to find her father, whom she expects to see before he goes off to fight; Serano leaves. Uberto/King James then approaches Elena and declares his love, but she tells him she loves Malcolm: (Duet, leading to a trio: Elena and Uberto: Alla ragion deh rieda / ! Nevertheless, Uberto gives Elena a ring he says the King gave him, and emphasizes that it will see her through any danger. He prepares to leave, but Rodrigo steps forward, having overheard their exchange: (Duet: Qual pena in me gi. This becomes a trio with Rodrigo's: Misere mie pupille! Elena pleads with Rodrigo's men, and Rodrigo decides to duel with Uberto himself. The two exit; Elena, trying in vain to calm them, follows. Scene 2: The interior of the cave. Malcolm enters, looking for Elena, but finds only Albina. Serano joins them, explaining that Elena has gone in search of her father, Douglas, who is on a peace mission to the King's palace. Despondent at losing Elena, Malcolm seeks his own death: (Aria: Ah! Let me perish; death now Would be a relief for my ills. But if she comes to me she will bring eternal happiness to my life. However, he is confronted by the arriving clansmen who announce that Rodrigo has been slain and the Highlanders face certain defeat. Malcolm leaves for the palace, determined to rescue Elena even if it means his life. Scene 3: A room in the King's palace. Douglas begs his former student King James for forgiveness, not for himself but for his daughter and those who helped him on the field of battle. The King refuses, and orders him imprisoned. As Douglas is led away, the King is saddened by having to act so severely. Meanwhile, Elena has gained entry to the palace by showing her ring from . Suddenly, in the next room, she hears the voice of ! D’Elena i vaghi rai mostrarmi. Why show me Elena's fair eyes? Elena, puzzled by the courtiers' behaviour towards .
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