the Capulets and the Montagues: the prima donna contralto
I Capuleti ei Montecchi by Bellini is the first "Directory" . In the late 50 is Giulietta Simionato, in-en travesti role of Romeo, to act as a pioneer in the revival of this work (there are two live recordings from a witness). Simionato is a true forerunner of the return of the bel canto contralto, perhaps the first in modern times that he took, probably without historical and aesthetic references in the immediate past nor a specially prepared "bel canto" in this kind of repertoire often emerge winner thanks to his talent is purely vocal (his undeniable technical climbing) and interpretation (think also of his barber, still singing bravely when the work was in hand the sopranos light). We speak then of altos, since he is Romeo's character to this point, somehow the true "first lady", as well as the only authentic part for alto player written by Bellini. As evidence of this should be noted that the party was headed by Judith Grisi, sister of the soprano contralto Julia, and even more important is the fact that the greatest contralto of the time, Malibran, made one of his warhorses.
The work order then to disappear from billboards to the 800 and unless the aforementioned pioneering revivals of the Second World War, will reappear in Italian theaters until 1967 at La Scala. Stellar cast, Abbado on the podium, Juliet is Renata Scotto, Giacomo Aragall Romeo, Tybalt is Luciano Pavarotti. Abbado, however, that both philological was with Ross, there will be tougher on this score, with alterations, mainly cuts and transpositions terrible tone appropriate to adjust the part of Romeo, said he was normally assigned to a contralto, tenor, in a sort of (disrespectful) version modern work that would like the male role entrusted to a man's voice. Fascinating results in terms of drama but definitely open to criticism because, in addition to betraying the score of Bellini, completely subverts the balance between the characters making Juliet, originally supporting actor "pathetic" by writing much less in evidence, the only "false" first lady (as in if the star became INTED Adalgisa in Norma). Version, what is worse, it became good for a decade "tradition." Ricciarelli, for example, another famous Juliet, has to his credit a live officer of the Phoenix 1991, now definitely on the ropes, and a record of 1973, again to Phoenix, here in the state of grace, it is used with the standard version instead of the alto (Lucchetti in this case).
The studio version, and the reference is therefore that of 1975 with the ferratissima Janet Baker in the role of Romeo and Juliet by Beverly Sills beautiful, no longer in their prime years with the voice but yet eloquent. Not then what is known as a model of "Italian hand", but what is interesting just because the caliber of the artists and the fact that virtually leaves the podium Patanè, for the first time, the score intact, make this recording a disk reference. For those wishing to live there is also an officer of the same year with the Sills and the great Tatiana Troyanos, in her repertoire certainly not congenial, but in the grand manner in which it appears. When it comes to bel canto, one can not mention Marilyn Horne finally, another big player in the history of this title as many others. After that nothing relevant other than the reading of 84 that Riccardo Muti, who knows why, did not have the courage (or opportunity) to influence the work in the studio ... there remains an official live with the couple Baltsa, Gruberova, Baltsa with a little 'too' bolsa "(if you grant me the pun) and decidedly uncomfortable, as well as a very martial Muti usual direction. Leaving out the two studio recordings of the end of 1990, it turns out in 2008 the magnificent recording with the Vienna Sinphoniker directed by Luis in the field that sees the two superbellissime contemporary opera: Anna Netrebko and Elina Garanca. The incision has a beautiful sound I must say, and the stars also have vocally if you like, but seems to lack a certain truth to this album, ennessimo mainstream product for 2 rising stars of opera-starsystem. Garanca better to be honest, even if it lacks the aggressive look and the accent right in the footsteps of agility. What about the Netrebko? shows off her nice uniform stamp a bit 'too monotonous, yarn here and there, but never quite the character sketches, which is even flatter than it already is. A hard but not despicable enough so inert, in the long, tedious.
DISCOGRAPHY SUGGESTED
Capulets and Montagues - Simionato, Hurley, Cassily, Gamson (LIVE 1958)
PRO: live historic Simionato
AGAINST: rest of the cast, cuts, live sound
Capulets and Montagues - Baker, Sills, Gedda, Patanè (STUDIO 1975)
PRO full, the stars
AGAINST: Jeddah a bit 'hazy
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