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CRITICAL RECORDINGS: Bellini and his leading ladies (Part 1)

THE PIRATE AND THE FOREIGN: roles Meric-Lalande

Il Pirata is the first truly remarkable work of Bellini. Although already represented more than once in modern times (there was even a version with Lilies of the last century), the true revival of the work took place at La Scala with Callas, the year 1958. And the company rewarded Callas, Corelli, Bastianini, who will make two years after sparks with Poliuto Donizetti, were to represent the cast perfect, but we can not, unfortunately, to listen to this recording because, it seems, "there's no Pirata" as said by the same Corelli. There is a form of registration in Callas a concert in New York, which shows the first signs of fatigue ... her voice still stratospheric, with the drama in the blood, but Ego and Ferraro are neither nor Corelli Bastianini. If you add to this that the score is, as was customary at the time, heavily cut, Rescigno is honest but not very accustomed to the subtleties, the sound has taken radio 50 years, Maria is not enough to make this legendary recording. The first version is in the studio instead signed by Montserrat Caballe, with her husband and good Cappuccilli. Not really a miracle, but a very good version, especially that on the podium there Gavazzeni, finer and less crackling Rescigno, at least for once let the score almost immune to the mutilation that the master was accustomed.

Caballé Imogene draws a more fragile and tend to be more strictly bel canto (vocal means pandering to her), where she saw Callas in Norma Imogene a sort of ante-litteram (see entry or recitative caballetta final), then purged of the "frills" legacy of the style of Rossini. Callas in fact believed, for his personal vision of romantic bel canto, of having to reduce to a minimum any form of flowering and display of virtuosity in favor of the expression of tragic drama. Vision that he carried on valiantly, which was opposed by the new generation (Sutherland and Caballé) restorer of bel canto in a purely vocal. Leyla Gencer made her only the personal view of callas bel canto, and in this (certainly not for the vocal qualities, very different) can be considered his heir. Those who had greater reason in terms of design there is unknown, since in this particular case the first was the story of Imogene Meric-Lalande, former first lady great Rossini. And the writing is in fact quite tuneful despite Rossini Bellini is already pure. We are not yet so in the realm of "soprano Pasta", but we are also far from the "soprano Colbran. And add to this that the Meric-Lalande was the first Lucrezia Borgia, this role "in the middle" sung in the nineteenth century not only by the dramatic agility but also from the opera as Grisi. No wonder then that the village was great workhorse of Caballé, but also superbly made by Gencer, who gave a reading more tragic but no less relevant. Take away the fact that Scott has never faced the role fully, in the year 1990 our local Aliberti has some 'monopolized this character, going as far as to affect in 1994. Indicated as the neo-callas (and is neither the first nor the last), Mrs. Lucia, along with a couple of middle notes a bit 'tubate, has little of Mary and this is not necessarily a defect, but here it is. Reading it in the studio for me must be avoided. The Aliberti sings often in a kind of register in a low voice, soft and coloraturistico, staking everything on a personal vision of bel canto (which then is not so good), thus sacrificing the dramatic emphasis. Better to be his recordings live. In more recent times is at least worth even mentioning the 2003 Fleming of the Metropolitan, but live recording of a broadcast (ie high quality audio). Renée is not really born bel canto, but fails on several occasions to be credible in the enterprise thanks to a persuasive tone (sometimes too though) and a technique is not indifferent. Like a good American sometimes miss the taste (this is essential in this repertoire) which makes meow like a kitten or roar like a panther with hints discoveries, loaded, breast, with or without doors, half melensaggini and assorted items. Overall, however, is not as deplorable as some critics have decreed.

The Stranger is a work even more undervalued, either because it contains pages of great importance as the Pirate, either because the Callas narrowly missed (at that time and preferred to just the Poliuto already mentioned). Even so there is less to say about the discography of this title. This time the lesson and then makes the Renata Scotto in a live album, a true craftsman in 1968 the revival of this work, Sanzogno on the podium with the best, and good Cioni side. And that is because it is true that the first stranger was still Meric-Lalande, in this style is even more less Rossini and Bellini, which favors the more lyrical voices. We can say that this is a role Lalande "second kind", more pathetic than romantic all'Imogene Il Pirata which already possessed the characteristics of future drama of Verdi's agility. Thus manifest themselves already in the dualism of the characters that female voices are also present in "Pasta soprano." As regards the interpretation of Scott: his legacy is perfect, as well as the phrasing and the keeping of agility. Were it not for another some little cut here and there and, unfortunately, the audio quality by recording modest house. For those who want to hear at this point a good Foreign and good audio quality, the Fleming Board of 1993. Opera in its more strings than the Pirate (for the reasons cited above), addressed the coolest voice conditions. The Fleming is not the Scott, but in this case comes out very well, and help in the overall success of the sound quality good and the whole work. Taciamo Caballé live a little 'too lenient and rough, and on a sheet torn from the cuts, and Aliberti (Pirates of the same speech) that some like a lot but not to the writer. For those who want a treat, as a curiosity, there is also a live Souliotis of the 1971 (other followers callasiana, this one for Mary's own admission), already declining. Just to further emphasize what weight voice, regardless of nature more lyrical or dramatic, should have the Bellini roles for soprano voice.

Zizzu

DISCOGRAPHY SUGGESTED

The Pirate - Callas, Ferraro, Ego, Rescigno (LIVE 1959)

PRO: live Callas historical

v : cuts, the rest of the cast does not always live, live sound

The Pirate - Caballé, Marti, Cappuccilli, Gavazzeni (STUDIO 1970)

PRO edition almost complete, the general level of the cast

AGAINST: Marti, Caballè not always in focus

The Stranger - Scotto, Cioni, Camps, Sanzogno (LIVE 1968)

PRO: Scott's historic live

AGAINST: cuts, live sound

The Stranger - Fleming, Kunde, Le Bron, Queler (LIVE 1993 )

PRO full, very good sound (broadcast), the Fleming

AGAINST: cast does not always equal, Fleming does not always Focus

Average Dress Size Women 2010

STAGE: Aida at the Boboli Gardens

The first review Our blog is dedicated to the AIDA by Giuseppe Verdi, staged in Florence in the historic and picturesque setting of the Boboli Gardens. The states to which I have seen is that of July 9. Puntanti spotlight on this new layout, thanks to the great publicity which had been made to scenery and customs of the Polish sculptor Igor Mitoraj (1944), which is not new to the implementation stage of the opera had already dealt with in the past, Puccini's Manon Lescaut and Tosca at the Puccini Festival in Torre del Lago, which is why we begin to talk before music, decoration stage. Mitoraj has granted several interviews in the past days which claimed to have canceled this show with the patina that is levied on the composition of works such as Aida, often targeted by directors and designers who use them as a tool for showing off their delusions of size, yielding to a taste for easy showmanship.

Mitoraj While talking about all other productions of Aida as "things dusty and old style," Aida says that your not meant to represent Egypt but an overview of the Mediterranean (Egypt, Greece, Rome and a bit 'of Africa, in a few words as he said "our world"). And while these statements may be felt more willing to put the spotlight on their work and ideas rather than wanting to make the service work, which was certainly more difficult and complex, and Giuseppe Verdi Antonio Ghislanzoni, which have their Aida "Egyptian" had to face many hardships before he could represent it. To reinforce my feeling that the that on the poster of the show's name MITORAJ campsites in huge letters, just below those of the author, as if the name and that of Verdi Mitoraj had the same weight in making this show. Commercial transaction is not able to say, but not successful artistic standpoint, at least in the opinion of the writer.

The art of the sculptor is manifested in large heads are often cut diagonally, often broken and placed in any way on stage, in sculptures like those of Greek athletes, and last but not least a horse statue ( non-equestrian) that appears in the scene of his triumph. But let's see these scenes in detail. The first act side was characterized by two bastions of gold that were to represent part of the city walls, on the center stage of the panels painted in gold-copper (similar to canvas) of various sizes placed in a different way each time but more or less always present during the work, the scene of the investiture of the hero (which has historical precedents in composition) the magnificence usual amount to a big head, perhaps representing the god Vulcan, and several fires lit on the stage, now consists only of a small flight of steps from the proscenium was heading towards sculpture in the fund. If in the second act the scene was first made by recycling the same panels above, the scene of the so-called triumph, however, was much more tawdry: center stage, above the bottom, a dome blank at the appropriate time Radames opened showing the inside (which was heading towards them down the king) is surrounded by scaffolding-like cages that served as the Ethiopian prisoners . In the third act we see the stage tilted with the usual inevitable bastions on either side, a few hints of herbs and two heads resting on the river stage also broken. The stage was tilted one of the major flaws of the director and set designer. Amneris and Ramfis arriving on a boat across the river, but the Nile is represented by the same floor of the characters, and the angle makes it even less the idea of \u200b\u200bthe river, however, is supposed to flow as the horizon, then parallel to the line of the proscenium (for some yet another brilliant idea of \u200b\u200bthe designer, for me just a gross inconsistency definitely avoidable). The scene of the fourth act, where Amneris is a prey to remorse and immense love for the hero, was made again with the same gilded panels and the last scene. There was one thing that many will pass unnoticed, but that poses a serious drama than tampering with the original built by Verdi: Act III was linked to the first scene of the fourth without interruption ("The hated rival already escaped me ... ... the priests assemble the grave to him alive! ") after a long interval leads to the final scene of Act IV. The whole image was devised to come in against a need for change of scene, but I think that the director has taken a liberty too upsetting the balance of the book in which the acts were two distinct, each with its own meaning. Also call us traditionalists, but overall the staging gave the wrong impression of being simply a display of sculptural art Mitoraj, the same sin of presumption that the designer complained to past productions, with the aggravating circumstance of historical contextualization.

We come to the costumes, designed by the Mitoraj, which is to say very little, having been without reproach and without praise, always the same, the same from beginning to end for all the characters (perhaps after paying the designer was still very little to invest in the customs, budget issues). Adding that the sartorial style reminded all except Egypt: Aida had on a blue costume that could easily be Medea or Luisa Miller, Amneris was dressed in white pleated (the Greek) with a vaguely Egyptian-style headdress, Radames had a costume worthy of Norma Pollio, Amonasro was as usual a collection of various rags on beige and white, monochrome and Ramfis as long as easy as for the king. The ballets, weakness of the original, although they represent an enhancement, however, should not be considered as if they were made, nor even evidence of simple outline, even if you have hurt because they leave a bad memory, and so it was. The little choreographic imagination (I'm not an expert but you can see, without resorting to the choreography with the memory of the great masters) gave life to a monotonous series of movements that have failed to involve the viewer (very tepid applause.) The dance troupe was formed by boys and especially girls are good looking, with the exception of a dancer (which I would describe as mime) looking awkward on stage, because too much in contrast with the other dancers, to boot older the other, and not just judging by his lack of agility of movement. Appeared in the Dance of the slaves in the second act (where, among other things the children were represented by adults, children participating in brown overalls) and was a role not entirely clear, perhaps a eunuch, with ostentatious effeminacy attitudes, especially in certain passages where she was with one of the other three dancers.

The direction of the work was entrusted to Andrea Swan, whose intention was to represent Aida as a simple ordinary woman, who lives and suffers and which is torn by doubts and anxieties far too big for one soul, the problem is that the gestures and movements reduced to a minimum mass (as well as solo) is not particularly imaginative did not give the idea of \u200b\u200ba great depth, but that in some cases (also with excellent results) came from the singers. The orchestra is something fundamental in the making of, last night I heard an orchestra weak, smeared with the strings and horns of the scene of his triumph. Perhaps the evidence was not sufficient and the conductor, Roberto Tolomelli is not always able to hold together the soloists, choir and orchestra, plus the fact that his work did not point out any particular musical research, in however, a work so rich in orchestral colors. The choir was a mass of items not well mixed but rather too distinct from one another: for example in the scene of the temple of the volcano two choirs, interior and exterior of the priestesses of the priests should get married in the sound flat or pianissimo, but what he felt was a discrepancy between the two, in two words lacked the charm and mysterious night, almost mythical scene. Often, as mentioned above, the choir and orchestra was not at the time there were more races to resume by the choir director, and vice versa.

We come now to the singers. The king and high priest of Melanie Rinaldi and Rosalen were two very similar entries from the stamp (a little 'goats) without the right power especially with regard to the high priest and the right authority for the King was Ignacio Encinas Radames, tenor of the old school (not for age but for style) who studied with Gianni Poggi (former partner of Maria Callas recording of La Gioconda in 1952) and with the great Gino Bechi. The item, which is not bad at all, maybe because just by the criteria of the old school, but has lost a bit 'of the ring and clarity that was originally given, but overall performance was good and the voice was suitable the hot climate of the work, the tone was warm and burnished by the English tenor, one fault at times his voice a little 'back, swallow. Carmelo Corrado Caruso as Amonasro not particularly impressed me, but he sang in a correct and straight, but unfortunately the character is difficult to make, because it has a and this is where much of it is always accompanied by other singers, as often happens then is likely to remain like this in the shade. Amneris was played with great confidence on stage and vocal Serena Pasqualini, an artist who had never had the chance to appreciate live, and I had the opportunity to listen in a terribly difficult role in every aspect. Pasqualini scenically the moves with confidence and authority (dowry that must not fail the character of Amneris), also a director in a not particularly strong, vocally, I appreciated the naturalness of timbre throughout the range, not pushing the notes serious (vice common to many Amneris) and trying a particularly key to felt; a note to his credit and also the fact that the diction was nearly perfect, and this can only be a great honor to be detected. However, a little thing must be said: The voice seemed too young for the character and has been noted particularly in the first scene of Act IV, scene Amneris par excellence, where one could feel fatigue even if minimal, and I hope that for now does not venture into Azucena, Ulrich, Bouillon and the like because of her time and talents will be there for them. The Haunting of Angelo Forte had a voice very natural, very lyrical and it should be noted that the few sentences of this character can be very tricky, he teaches Karajan (he put it: "There are no parts secondary, by supporting actors "so much so that the priestess in her record company is Aida Katia Ricciarelli and the voice from heaven in Don Carlo is Edita Gruberova to mention a few), the priestess Deborah Beronesi had a dark timber and it was sung with dignity.

I deliberately left until last revelation and joy of the whole evening (and many previous evenings): Dimitra Theodossiou, who made his debut in Italy the role of Aida after singing at the Megaron in Athens in May, a role So that will also bring new on tour in Japan. Mrs. Theodossiou, of Greek origin, he studied in Monaco of Bavaria and has set itself to the general public's attention in roles really inaccessible as Odabella, Giselda, Lucrezia Contarini, Lucia, Donizetti's Elizabeth I, Anne Boleyn, and then again in Othello, Amico Fritz, Norma (which today is one of the most authoritative interpreters), Trovatore, Traviata and Aida recently. Among the roles in preparation also Santuzza (which will debut in Germany this summer) and Mary Stuart (in Italy next year), Pirata Imogene in Athens and Elvira in I Puritani. Giving a short reading to acting roles, for directors which has been driven to the theater where he sang and we can say that on paper Dimitra Theodossiou is an excellent and versatile singer, and in reality, we can say it is. The role of Aida is particularly difficult to make credible we must be able to find an accent right, a right color, you should not do too un'Aida sufferer and pathetic because it loses its appeal, but even un'Aida too exuberant and aggressive, which would make futile the opposition with the other character femmile opera, Amneris, the "powerful" par excellence. The difficulty has been greatly exceeded by the lady who Theodossiou impeccably phrased, paying particular attention to the word stage, his illustrious countrymen believed that a fundamental reason to also. As an actress has proved adept at finding a simple and almost timid gesture but became great when accompanied by passion, expressing in a very communication with the singing. A song that was free in moments of lyrical expansion (O blue skies, a duet with Amonasro) and subdued, tenuous in times of extreme psychological oppression (Return Victorious, duets with stars). The ethereal pianissimo and were in serious inroads in the AC and made no apparent effort. To note the overloaded E flat that the Lady of the ensemble has performed at the end of the second act, in an impeccable manner and overlook the significant volume of orchestral and choral music that includes Verdi's orchestration at this point. A sharp and probably not covered by a sheet antifilologico, but the voice work is also a show, and a high note, if well delivered, is a thrill that you do not do without. Un'Aida among other things, dropped well in the intimate setting tends to work, which has been a succession of moods, expressions of human feelings but also mythologized. A debut more than happy that I hope more will follow (I personally hope Vestal, Ballo in Maschera, Adriana Lecouvreur and Wally). The audience consists mainly of tourists (but also by Italians), confusing and unaware of when and how it should be applauded in the theater, are often distracted and intent to the conversation, however, has paid tribute to the warm evening a success if it could appear in some respects disappointing in its tone deliberately pretentious, it is redeemed with points of excellence in singing, in particular through the splendid performance of Mrs. Theodossiou.

07/10/2009 DIDIER