Ebe Stignani & Maria Callas - Mira, o Norma a tuoi ginocchi ... - TopicsExpress



          

Ebe Stignani & Maria Callas - Mira, o Norma a tuoi ginocchi ... Ah! Perché, perché la mia costanza ... Cedi, deh! Cedi! ... Sì, fino allore estreme Duet Adalgisa-Norma - Noma II Act - Vincenzo Bellini (1801-1835). LIVE at Royal Covent Garden - London - UK - November 8, 1952. Maria Callas Norma Ebe Stignani Adalgisa LIVE at Royal Covent Garden Opera Theater - 1952. Orchestra of The Royal Opera House Covent Garden M.° Vittorio Gui Conductor. Both female protagonists of the premiere of Norma were classified as sopranos: Giulia Grisi, who was given the part of Adalgisa (and four years later she also created the character of Elvira in I Puritani), was the prototype of the new angelic soprano romantic prints, with a clear timbre, able to support very acute textures; Giuditta Pasta, who had the role of the protagonist, was originally classified as an alto, but, while keeping in repertoire roles as Tancredi or Cenerentola, she was then moved decisively towards the soprano register: in fact you could consider Giuditta Pasta, like Isabella Colbran or Maria Malibran, a mezzo acute, able to converge without problems on roles for soprano centralizzante. In the following decades, however, the registry of mezzosoprano, unknown as such in the Baroque and Classic period, went gaining its marked and increasing autonomy, and formed the habit to give mezzosoprano voices roles originally written for second soprano, like, in the present case, the character of Adalgisa. There was a contradiction, in terms of Romantic musical and dramatic stylemes: on one hand, the color of a virginal young priestess was assigned to the register of burnished mezzosopranos, usually evocative of sensuality and voluptuousness; on the other hand, the role mature and psychologically mottled of Norma remained prerogative of the soprano, a part, this of Norma, moreover characterized by a greater downward extension. The new trend towards the use of two sopranos still had its peak in the 80s with the recording of Norma by two of the greatest singers of the century, both already great Normas in theater and disco: Joan Sutherland and Montserrat Caballé, who, however advanced in years, in 1984 will establish an interpretation very respectable, the one as a strenuously belcantistica Druidess, the other as a new and liricissima Adalgisa, perhaps the closest to recall the model of the pearly Grisi. https://youtube/watch?v=VWBV_nSFIak
Posted on: Mon, 05 Jan 2015 12:43:58 +0000

Trending Topics



Recently Viewed Topics




© 2015