#Isabella Colbran

[lesser-known-composers]

Isabella Colbran (1785–1845) - Sei canzoncine ou petits airs italiens (1805) : No. 1. Povero cor tu palpiti

Artist: Maria Chiara Pizzoli, soprano

Artist: Marianne Gubri, harp

[tonisemitoni]

Domenico Donzelli per un giorno a casa sua

Il bel Museo della Musica di Bologna è racchiuso nel cinquecentesco, magnifico, Palazzo Sanguinetti, ultima famiglia a cui esso appartenne, a metà di Strada Maggiore. Palazzo Sanguinetti La famiglia Sanguinetti, acquistò questo edificio nel 1870 dal famoso tenore Domenico Donzelli, conteso dai più celebri operisti della prima metà dell’800 quali Rossini, Bellini e Donizetti, e dagli impresari dei…

[opera-ghosts]

The importance of Hariclea Darclée in the operatic pantheon can't be stressed enough. Far more than just being the Maria Callas or Anna Netrebko of the verismo era Darclée was the last of the legendary role creators in line that ran from the castratos and contraltos of Händel’s day through Isabella Colbran (Rossini), Maria Malibran, Giulia Grisi, Giuditta Pasta and Pauline Viardot-Garcia (Bellini, Donizetti, Meyerbeer) and Cornélie Falcon (grand opéra) to Gemma Bellincioni in Cavalleria rusticana and Fedora. Darclée created Catalani’s La Wally, Mascagni’s Iris and I Rantzau, Carlos Gomes’s Odalêa, Mancinelli’s Ero e Leandro and Puccini’s Tosca. She was responsible for the local creations of works ranging from Don Giovanni to Meistersinger, Tannhäuser, Lohengrin, Manon, Le Cid, Cavalleria rusticana and even Glinka’s Vie pour le tsar in Paris, Nice, Monte Carlo, Milan, Naples, Barcelona, Madrid, Porto, Buenos Aires, Montevideo, Rosario or Rio de Janeiro. Puccini had wanted Darclée to create Manon Lescaut but could not afford her at the time! She appeared in the first Scala run of both Cavalleria rusticana and Manon Lescaut though. And yet Darclée ended up practically forgotten outside Romania, because her legendary operatic recordings, including creator's records of Tosca and Iris, were lost for posterity when the Berlin Odeon/Fonotipia factories were bombed during World War II.

Darclée was undoubtedly the most famous soprano of the 1890s and the last of the great creators, but following the Tosca premiere in 1900, the operatic world changed in an unprecedented manner. Recordings soon became predominant in spreading and preserving one’s fame. In the process Covent Garden London and the Metropolitan opera House New York became the prime opera theatres of the world. For reasons explained in the book Darclée never performed in either. With her recordings lost for posterity she turned from legend to mystery. All questions regarding her life and career are answered in ‘Vissi d’arte, vissi d’amore, the Life & Times of the First Tosca, Hariclea Darclée’. Seghers: ‘The biography restores Hariclea to her rightful place in the top ranks of the operatic pantheon. That is good news for Darclée, but also for Romania, since she still is the national soprano heroine there to date.’

[largolife]

What a good day to remember that women composers are so talented :)

In light of all the news about the death of that creep conductor who got fired from the met, here is a list of very accomplished women who’ve made much more beautiful classical music to think about instead.

Rosa Giancinta Badalla

Amy Beach

Florence Price

Ethel Smyth

Irene Kitchings

Fanny Hensel

Modesta Bor

Barbara Strozzi

Yvette Souviron

‘Gisela Hernández

Lili Boulanger

Francesca Caccini

Isabella Colbran

Louise Reichardt

Maria Szymanowska

Maria Malibran

Pauline Viradot Garcia

Clara Schumann

Hildegard von Bingen

Cécile Chaminade

Nadia Boulanger

Louise Farrenc

Julia Perry

Missy Mazoli

I have the opportunity to sing many of these names on my senior recital this semester which is entirely filled with songs written exclusively by women, and it’s important to me to shed some light on important women of history among artistic spaces. Even if classical music isn’t your thing, take a listen to some of these names anyway, you’ll be surprised by how moving and impactful their music can be.

Though there are a few women of color and even a Jewish woman on this list, as I continue to discover music history, I will add to it! I’d like to boost the art of more queer women, as well. So, feel free to add your own favorite women composers too, don’t let the important contributions of women be forgotten!

[operaweekly]

Cecilia Bartoli singing “Non più mesta” from Rossini’s La Cenerentola with the Metropolitan Opera in 1997

Today’s #Woman Crush Wednesday goes to none other than La Cenerentola herself, Angelina!

Angelina is another one of my favorite characters in opera because of the way that she defied characteristic norms of her voice type in opera. By that, I mean I love that this character is so good and so pure and voiced for contralto--an uncommon voice part that, much like the mezzo, was primarily reserved for “witches, bitches, and britches.”

Angelina has not a single cruel bone in her body--doing everything she is told not just because she has to, but because she wants to. Despite the ill treatment she receives from her step-father and step-sisters, she still truly loves them--proven by the fact that she proclaims they must be forgiven and welcomed as friends at the end of the opera.

That, and I feel that Angelina has some pretty slept on arias. I don’t know about y’all, but I feel like “Non più mesta” would go over much better in an audition room than “Una voce poco fa.” (Don’t get me wrong--I love Rosina’s aria. But I’ve seen it performed time and time again.)

Part of me will always wonder what it might have been like to hear Isabella Colbran perform this role.

[joaquimblog]

ROF 2022: OTELLO

Enea Scala (Otello) i Antonino Siragusa (Iago). Fotogrtafia gentilesa del ROF (Facebook) Quan els designis celestials van decidir ajuntar al Nàpols de principis del segle XIX al compositor Rossini, a l’empresari Barbaja i a Isabella Colbran, l’insigne soprano del moment al capdavant d’una companyia de cant disponible als teatres de la cort que comptava amb noms tan il·lustres com Andrea Nozzari,…

[joansutherlandfan]

Did you know? #otd Isabella Angela Colbran was born (Feb 2, 1785, Madrid, Spain - Oct 7, 1845, Bologna, Italy). She was a soprano, considered one of the best singers in Europe, attracted Rossini's attention, whom later married. Rossini wrote many roles specifically for her voice - Elisabetta (Elisabetta, Regina d'Inghilterra; 1815), Desdemona (Otello; 1816), Armida (Armida; 1817), Elena (La Donna del Lago; 1819).... and the last collaboration Semiramide (Semiramide; 1823). She retired one year later and in 1837 divorced. Colbran's voice was described as 'sweet, mellow' with a rich middle register. Her vocal range extended from F#3 to E6, with *sometimes* a F6. Master of trills, staccato, legato, ascending/descending scales and octave leaps.

·

Here Joan sings excerpts from 'Bel raggio and Dolce pensiero'. (The opera premiered at Teatro La Fenice in Venice on 3 February 1823).

·

#Dramatic #Coloratura #Soprano #Dame #JoanSutherland · #LaStupenda #LaStupendissima #Diva #PrimaDonna · #Opera #ClassicalMusic #BelCanto · #Composer #GioachinoRossini #Semiramide #1960s · #Concert #Recital #OperaHouse #Stage #SydneyOperaHouse #ROH #LaScala · #OperaLover #OperaSinger #InstaOpera

https://www.instagram.com/tv/CZfkI_XPaWc/?utm_medium=share_sheet

[elcinelateleymickyandonie]

MARTA TORÉN.

Filmography

1957 The Open Door

1956 Torment of love

1955 Golden vein

1954 The Shadow

1954 The Ricordi House Isabella Colbran

1954 Maddalena

1953 Puccini

1952 The Man Who Saw Trains Pass or The Paris Express

1952 Destination: Budapest

1951 Sirocco

1950 Mysterious Submarine

1950 Spy hunt

1950 Deported

1950 One-way street Laura

1949 Sword in the desert

1949 Illegal entry

1948 Rogue Regiment

1948 Casbah

1946 Eviga länkar

1946 Johansson och Vestman

1943 Train Change

1942 drive tonight

1942 Rospiggar.

Créditos: Tomado de Wikipedia

https://es.wikipedia.org/wiki/M%C3%A4rta_Tor%C3%A9n

#HONDURASQUEDATEENCASA

#ELCINELATELEYMICKYANDONIE

[fashionbooksmilano]

Les Grandes Dames

Due secoli di donne celebri

a cura di Rossana Bossaglia

Charta, Milano 1996, 144 pagine, 200 ill. b/n e colori,  ISBN 978-8881580422

euro 28,00

email if you want to buy booksinprogressmilano@yahoo.it

Catalogo della mostra (Milano, palazzo della Ragione, 6-31 ottobre 1995)

La mostra dedicata alla "Grande Dame" e ai personaggi femminili più significativi dal 700 al nostro secolo presso Palazzo della Ragione Milano. L'esposizione è stata voluta da Philippe Daverio, ex Assessore alla Cultura del Comune di Milano, a cura di Rossana Bossaglia ideata da Marina Deserti.

Barbe Nicole Ponsardin Clicquot, Isabella Colbran, Regina Vittoria, Sarah Bernhardt, Regina Margherita, Eleonora Duse, Annie Vivanti, Isadora Duncan, Luisa Casati, Margherita Sarfatti, Elizabeth Arden, Karen Blixen, Sonia Delaunay, Louise Nevelson, Greta Garbo, Josephine Baker, Sonia Henie, Maria Callas

orders to:     booksinprogressmilano@yahoo.it

ordini a:        booksinprogressmilano@yahoo.it

twitter:@fashionbooksmi

instagram:         fashionbooksmilano,  designbooksmilano

[lesser-known-composers]

Isabella Colbran (1785–1845)

[opera-ghosts]

February 3. 1823 the Opera „Semiramide“ from Gioachino Rossini premiered in Teatro La Fenice with Isabella Colbran (1784-1845). Rossini write this Opera for her. She was the first wife from him. Take a closer look on the biography of this great spanish Soprano.

On this postcard we see her on a great painting.

[todayclassical]

February 02 in Music History

1594 Death of Italian composer Giovanni Pierluigi Palestrina in Rome at age 68. 

1669 Birth of French composer and organist Louis Marchand, in Lyons.  1673 Death of German composer Kaspar Forster, at age 56 in Oliva. 

1687 FP of Pallavicino's La Gierusalemme Liberata at the Hoftheater in Dresden.

1714 Birth of German organist and composer Gottfried August Homilius in Rosenthal. 

1727 FP of J. S. Bach's Sacred Cantata No. 52 Ich habe genug on the Feast of the Purification, was part of Bach's third annual Sacred Cantata cycle in Leipzig.

1731 FP of Handel's opera Porus, King of India which ran for sixteen performances.

1748 Birth of German composer Christian Gottfried Thomas.

1750 Death of German composer Johann Graf, at age 65.

1762 Birth of castrato Girolamo Crescentini in Urbino. 

1770 Birth of bass Giuseppe Naldi in Bologna. 

1773 Birth of composer Vincenc Tomas Vaclav Tucek.

1779 Death of German composer Georg Philipp Kress, at age 59.

1780 Birth of American composer Ananias Davisson

1785 Birth of mezzo-soprano Isabella Colbran in Madrid.

1789 Death of French composer and organist Armand-Louis Couperin, at 63.

1790 Birth of tenor Domenico Donzelli in Bergamo. 

1794 Death of soprano Marie Fel.

1795 FP of Joseph Haydn's Symphony No. 102 in B.

1804 Birth of composer Leopold Eugen Mechura.

1817 Birth of composer Jose Maria de la Purificación Ventura.

1822 Death of French composer and violinist Jean-Baptiste Davaux, at age 79 in Paris.  1827 Death of composer Johann Nepomuk Kalcher, at age 62. 1837 Birth of German-Bavarian conductor and composer Max Zenger in Munich.  1840 Birth of French composer Louis Bourgault-Ducoudray.  1844 Birth of Dutch composer and Haarlem music school director, Leander Schlegel, in Oegstgeest.

1847 Birth of pianist and composer Jules Francois Blasini, in Curacaos. 1850 Birth of composer Makar Grigori Yekmalyan.

1869 Birth of baritone Jean Perier in Paris. 

1873 Birth of Austrian operetta composer Leopold Fall in Olmütz. 1875 Birth of Austrian-American violinist Fritz Kreisler in Vienna. 

1875 Death of bass Luigi Agnesi. 

1877 Birth of tenor Frantisek Krampera in Prague.  

1882 Birth of soprano Evgeniya Bronskaya in St Petersburg.  

1882 Death of Italian composer Fabio Campana, at age 63. 1883 Birth of Russian composer Mikhail Fabianovich Gnesin in Rostov on Don.  1883 Birth of Mexican composer Candelario Huízar in Jerez, Zacatecas, Mexico. 

1887 Death of tenor Georg Unger. 

1888 Birth of English pianist Irene Scharrer in London. 

1890 FP of Antonin Dvorák's Symphony No. 8, Op. 88, in Prague. Composer conducting. 

1893 Birth of soprano Jeanne Dusseau in Glasgow. 

1900 FP of Gustave Charpentiers opera Louise at the Opéra-Comique in Paris.

1900 Birth of soprano Anni Frind in Nixdorf, Czech.

1901 Birth of Russian-American violinist Jascha Heifetz in Vilnius. 

1901 Birth of German baritone Gerhard Hüsch in Hanover. 

1902 Death of composer Emanuil Mandlov, at age 42. 1904 Birth of composer Jose Enrique Pedreira. 1908 Birth of Slovenian composer Pavel Sivic in Slovenia. 

1908 Birth of Italian composer Renzo Rossellini.

1909 Death of German composer Johann Georg Herzog, at age 86. 1911 Birth of French organist and composer Jean-Jacques Grunenwald. 

1914 Birth of tenor Donat Antonovich Donatov in Pietrovich.  

1919 Birth of Swiss soprano Lisa Della Casa in Berne. 

1919 Death of composer Xavier Henry Napoleon Leroux, at age 55. 

1920 FP of Igor Stravinsky's ballet, The Song of the Nightingale at the Paris Opéra with choreography by Massine. 

1921 FP of Luis Bretan's opera Luceafarul 'The Evening Star', in Cluj, Romania. 

1923 Death of baritone Robert Leonhardt. 

1926 FP of Henry Cowell's String Quartet No. 1 Quartett Pedantic at Aeolian Hall by the Ralph Henkle String Quartet in NYC.

1921 Death of composer Luigi Mancinelli, at 72.

1925 Birth of composer Michel Paul Philippot.

1927 Birth of composer Richard Vance Maxfield in Seattle, WA. 

1928 Death of English composer Frederick Iliffe in Oxford.

1929 Birth of composer Reiner Bredeemeyer.

1929 Birth of tenor Waldemar Kmentt in Vienna.

1930 Birth of bass Reiner Suss in Chemnitz. 

1930 Birth of American composer Herbert Bielawa.

1933 Birth of baritone Patrick McGuigan in Dublin. 

1934 Birth of mezzo-soprano Maura Moreira in Brazil. 

1937 Birth of American soprano Martina Arroyo in NYC.  1941 Birth of French-American composer Serge Tcherepnin near Paris. 1944 Birth of English conductor Andrew Frank Davis in Ashbridge. 1944 Birth of American pianist Ursula Oppens in NYC. 1951 Birth of American composer Andrew Gelt in Albuquerque, NM.

1952 Death of German composer Gustav Strube, at age 85. 1954 Death of composer Theodor Rogalski, at age 52. 1956 Death of mezzo-soprano Marie Klanova-Panznerova. 

1960 Birth of American composer Harold Colin Cowherd.

1960 Death of composer Jeno Huszka, at age 84. 1961 Death of composer Adolf Vogl, at age 87. 1965 Death of composer Richard Wurz, at age 79. 1968 Birth of English composer Simon Wickham-Smith in Rustington.

1969 Death of MET Opera tenor Giovanni Martinelli at age 83.  1970 Death of composer Jaroslav Vogel, at age 76.

1971 Death of soprano and coach Franziska Martiensson-Lohmann. 

1974 Death of Belgian composer Jean Absil in Brussels at age 80. 1976 Death of composer Maurice Jacobson, at age 80. 1977 FP of Ned Rorem's A Quaker Reader for organ, in NYC.

1979 Birth of composer Marcus Hoffman.

1981 Death of soprano Xenia Belmas. 

1984 Death of soprano Margherita Perras.

1985 Death of bass Marco Stefanoni.

1986 Death of coach Margaret Krauss. 1987 Death of English composer and conductor Spike Partick Hughes.

1988 Death of British pianist Solomon Cutner.

1993 FP of Liebermann's Quintet for Piano & Strings, Peter Orth, piano; the Franciscan Quartet. 1993 Death of baritone Gino Bechi.

2000 Death of tenor Marcel Vercammen. 

2002 FP of Philip Glass' Symphony No. 6. American Composers Orchestra conducted by Dennis Russell Davies at Carnegie Hall in NYC.

2003 Death of American composer Lou Harrison at age 85 in Lafayette, Indiana.

[tmnotizie]

PESARO – I gioielli della Fondazione Rossini in mostra a Casa Rossini: sabato 11 agosto – alle 17 – inaugura la mostra ‘di nicchia’ con cui la Fondazione arricchisce lo spazio della casa natale del Maestro, ogni anno in occasione del Rossini Opera Festival. Per l’edizione 2018, si fa luce su due opere di cui si celebra il bicentenario proprio quest’anno: Mosè in Egitto / Ricciardo e Zoraide; entrambe composte nel 1818, entrambe per Napoli, entrambe coronate da grande successo, entrambe con Isabella Colbran – poi prima signora Rossini – come protagonista.

L’esposizione parte – non a caso – nel giorno del via del ROF (proprio con Ricciardo e Zoraide) e farà scoprire al pubblico lati nascosti di Rossini e delle sue composizioni. Saranno esposti due preziosi autografi di proprietà della Fondazione che aiutano a comprendere i meccanismi della geniale bottega rossiniana; e poi spartiti d’epoca, un delizioso teatrino in miniatura, ritratti e bozzetti relativi alle prime rappresentazioni. Il tutto armoniosamente allestito nella sede museale cittadina già meta di tanti turisti e appassionati in ogni stagione dell’anno.

L’evento è promosso da Fondazione Rossini, Comune di Pesaro/Assessorato alla Bellezza e Sistema Museo; è curato da Catia Amati e Maria Chiara Mazzi e si avvale della collaborazione di noti collezionisti di cimeli rossiniani come Sergio Ragni e Luigi Cuoco. La mostra sarà aperta fino al 18 novembre, per coprire il periodo dell’anno più ricco di appuntamenti rossiniani in occasione del 150° della morte del compositore (13 novembre 1868).

MOSЀ IN EGITTO / RICCIARDO E ZORAIDE  1818 – 2018

Casa Rossini 11 agosto-18 novembre 2018

inaugurazione sabato 11 agosto ore 17

orario fino al 23 agosto (Rossini Opera Festival) tutti i giorni 10-19.30

24 agosto-30 settembre martedì-domenica e festivi 10-13, 16-19.30

1 ottobre-18 novembre martedì-giovedì 10-13, venerdì-domenica e festivi 10-13 e 15.30-18.30

ingresso con biglietto Mostra “Rossini 150” (comprende il circuito Pesaro Musei e le sedi di mostra di Urbino e Fano): intero 12 euro, ridotto A 8 euro, ridotto B 6 euro, gratuito fino a 18 anni.

info 0721 387357 | pesaro@sistemamuseo.it www.pesaromusei.it

[joansutherlandfan]

Remembering the Italian composer Gioachino Rossini (Feb 29, 1792 - Nov 13, 1868). One of the precursors of bel canto style. · Joan sings 'Bel raggio lusinghier... Dolce pensiero', a very well known aria from Semiramide (1823). Did you know that Rossini wrote the title role for the dramatic soprano Isabella Colbran (1785 - 1845) no one less than his wife? Her voice was described as 'sweet, mellow' with a rich middle register. Her vocal range extended from F#3 to E6, with *sometimes* a F6. Master of trills, staccato, legato, ascending/descending scales and octave leaps. (Did I described Joan or....?!) · #ClassicalMusic #Opera #OperaSinger #OperaHouse #InstaOpera #OperaLover #Concert #Recital #BelCanto #Baroque #Stage #Costume #Aria #Composer #GioachinoRossini #Semiramide #Portrait #Dramatic #Coloratura #Soprano #Dame #JoanSutherland #LaStupenda #Diva #PrimaDonna #Legend #1960s https://www.instagram.com/p/CHjYW99BREp/?igshid=olq76kl5gn8q

[joaquimblog]

Angela Meade (Semiramide) MET ‘- Fotografia Ken Howard

Javier Camarena (Idreno) a Semiramide MET ‘- Fotografia Ken Howard

Elizabeth DeShong (Arsace)Semiramide) MET ‘- Fotografia Ken Howard

Ildar Abdrazakov (Assur) Semiramide al MET 2018

Semiramide(Rossini) Producció de John Copley MET 2018 Fotografia Ken Howard

Dissabte passat vam tenir lloc una nova representació de la temporada del MET al cinema, amb un títol cabdal del opus rossinià i un cim del romanticisme operístic, Semiramide la darrera òpera de Rossini estranada a Itàlia, que recupera una producció de John Copley estrenada al 1990 com una mena de revival de les produccions del segle XIX, amb una escenografia gegantina i un vestuari impossible de Michael Stennett que no afavoreix a cap dels personatges, que ja és mèrit, eh? Tots els dissenys ridiculitzen de manera sagnant als cantants, especialment a Meade que té un físic molt potent i que els dissenys encara el potencien més. .

Semiramide és una òpera llarguíssima, el testament italià de Rossini, ja que a partir d’aleshores tot el que va escriure ja va ser per a París. Una òpera encara per a Isabella Colbran tot i que l’esposa de Rossini ja havia passat els millors anys de la seva enlluernadora carrera i per tant el compositor va tenir molta cura en no forçar el registre agut de la part, quelcom que després la majoria de sopranos que l’han interpretat, segurament enduts per les “variacions” que les sopranos lleugeres van imposar a mesura que la història va anar adulterant les partitures a plaer de les dives de torn.

A banda que la primera vegada que es va representar al MET, l’any 1892 la protagonista va ser la Patti en una única representació el 22 de març, en la segona representació  quasi dos anys més tard va ser Nelly Melba qui va protagonitzar la reina de Babilònia en la temporada 1894/1895. L’òpera no es tornaria a representar fins l’estrena de la producció de Copley l’any 1990 que ara s’ha reposat i van ser les sopranos Lella Cuberli, June Anderson i Christine Weidinger qui van defensar aquest exigent rol en les següents temporades 1992, 1993.

Dividida en dos actes, originalment el primer tenia una durada de dues hores i mitja, mentre que en el segon la durada era de dues hores, suposo que aquestes durades reflectides en la biografia de Rossini incloïen les mutacions escèniques dels diferents quadres. Sigui com sigui en la reedició de la producció del MET, enguany dirigida per un solvent Maurizio Benini l’òpera s’ha retallat en els recitatius i a banda d’un ritme viu que ha caracteritzat la seva direcció, l’òpera s’ha vist reduïda en un primer acte de 110 minuts i un segon de 100 i malgrat aquesta reducció segurament no acceptable, la versió se’m va fer llarga, tot i ser una òpera que adoro.

Què va passar? Doncs senzillament el cast no va assolir les expectatives que jo hi havia posat i això en una òpera amb una posada en escena estàtica i sense cap treball dramàtic acaba sent letal. La producció hauria d’ajudar i en canvi per anacrònica, plana i immobilista acaba sent un llast que fa impossible que s’enlairés. Quedava doncs l’aposta musical i vocal per fer que possible el miracle. Benini no és Chailly, ni el genial Zedda que va deixar una lliçó de com cal dirigir aquest monument al Teatro Real l’any 2004 en una producció provinent de Pesaro que també varem veure al Liceu. I per suposat que en el cast tampoc es trobava el bo i millor, malgrat que serà difícil trobar en el passat, en el present i segurament en el futur un Idreno amb la qualitat de Javier Camarena.

Tot això em passa perquè he escoltat l’Arsace de la Horne o l’Assur de Samuel Ramey? Doncs perquè enganyar-nos, segurament si. Els tinc massa presents com per deixar-nos endur per la correcció d’Elizabeth DeShong i Ildar Abdrazakov, ambdós cantants de bona línia i estil però lluny del virtuosisme que Camarena si que desborda en una actuació memorable, ells estan bé però no impacten, noi emocionen, no trasbalsan coim els seus il·lustres predecessors en l’estrena d’aquesta producció..

Angela Meade és una soprano quasi dramàtica d’agilitat que ben bé podria tenir la tessitura original del rol, però ella crec que va confondre Rossini amb Verdi i malgrat fer coses molt subtils i boniques, en altres deixava anar un temperament més proper al verisme que no pas al romanticisme tardà del Rossini més belcantista. En el seu cant hi manca subtilesa i refinament, elegància en el fraseig i grandesa. La veu és molt interessant i rica de colors, matisos i un amplissim registre que li permet fer un parell o tres de sobreaguts que la Colbran a l’estrena no podia fer ni pintats a l’oli, ja que en aquell moment no sobrepassava el Si. En aquest sentit i malgrat que no sembla a priori  la veu més idònia, la recent Semiramide de Joyce DiDonato a Munich i Londres  si que té tot això que Meade amb una veu més brillant i generosa, no aporta al rol. No hi ha el refinament, el lirisme i el “fascino” estilístic i vocal que aporta DiDonato, per no parlar del miracle Caballé a Aix-en-Provence.

DeShong no és Horne, obvi, però tampoc és Barcellona. El seu Arsace és correcta, sense màcula però massa anònim, sense la contundència de registre que els grans rols de transvestits escrits per a Rossini demanen.La jove cantant nord-americana té l’estil però no la contundència vocal i el sentit èpic del cant heroic de les contralts dramàtiques, una vocalitat que com els dinosaures es va extingir amb l’aparició de les mezzosopranos.

Aquest és el quart Assur que l’he vist a Ildar Abdrazakov després del ROF del 2003, Teatro Real i Gran Teatre del Liceu i segur que aquest quart és el que menys m’ha interessat. La veu sembla que hagi perdut consistència en la zona més greu, però el cantant se’n surt prou bé, hi ha agilitat i sentit dramàtic en el fraseig, però és clar, no estem parlant de Samuel Ramey,. un baix que fins que no va aparèixer el món no va conèixer en època moderna les possibilitats vocals dels baixos rossinians

Si en canvi que podem dir que el Idreno de Camarena és el millor que he sentit, incloent Juan Diego Flórez. La imponent demostració tècnica i l’explosió de recursos el fa admirable. La veu és plena, clara i solar, el registre molt homogeni, els aguts ferms, l’agilitat enlluernadora, el cant legato és esclatant i el domini vocal en la sempre complicada zona del passaggio és tan admirable com definitiu. Quan escoltes Camarena no pateixes i so saps si admirar més la bellesa de la línia de cant o el domini natural d’un estil endimoniat.

La resta de rols no tenen gaire importància,

El baix baríton Ryan Speedo Green fa un Oroe contundent, mentre que la tan anomenada Azema i a qui Rossini no va donar ni una ària de sorbetto, va estar molt ben defensada per Sarah Shafer.

Poc imponent Jeremy Galyon com a espectre de Nino i correcte Kang Wang en el petit rol de Mitrane.

Possiblement es podia fer una millor Semiramide, sent com és una òpera tan grandiosa, però també haurem d’acceptar que serà molt complicat tornar a escoltar un “Bella immago degli dei” ciom el que cantaven Horne i Ramey.

Gioachino Rossini SEMIRAMIDE òpera en 2 actes llibret de Gaetano Rossi

Semiramide…………..Angela Meade Arsace………………Elizabeth DeShong Assur……………….Ildar Abdrazakov Azema……………….Sarah Shafer Idreno………………Javier Camarena Oroe………………..Ryan Speedo Green Nino’s Ghost…………Jeremy Galyon Mitrane……………..Kang Wang

Chorus and Orchester Metropolitan Opera House Direcció musical…………..Maurizio Benini

Direcció d’escena…………..John Copley Escenografia…………John Conklin Disseny de vestuari……..Michael Stennett Disseny de llums……..John Froelich

Metropolitan Opera House, New York 10 de març de 2018

MET 2018/2019: SEMIRAMIDE (MEADE-DESHONG-ABDRAZAKOV-CAMARENA;COPLEY-BENINI) Dissabte passat vam tenir lloc una nova representació de la temporada del MET al cinema, amb un títol cabdal del opus rossinià i un cim del romanticisme operístic,