During the month of December is being performed at the Teatro Real de Madrid a work at twenty catapulted to fame at a young Italian composer. This composer was Gioachino Rossini . The work in question: Tancredi.
someone had the bright idea to represent the two most popular versions of the work-Venice and Ferrara, with all its variations for ciñiéndose not only the end-happy vs tragic. And for more clarity the idea was topped with encircle both as another version of a competent cast Rossini-Barcellona, \u200b\u200bCiofi and Sledge vs Podles, Cantarero and Zapata. This makes these functions in the Real Tancredi have achieved a level of interest among fans of Belcanto in general and Rossini in particular.
Well then, who signed this post has had the opportunity to attend features of both versions, but as the star of the recording of today will be the Ferrara version I focus on it. Before continuing, I'll refer to this entry for everything related to arguments, autopréstamos, versions and other family, but not before showing my particular wish that some day we see on stage so curious the Milanese version with all changes it implies.
I offer recording function up to day 18 of this month, broadcast live by Radio Clásica.
The entire cast is as follows:
Tancredi: Ewa Podles
Amenaide: Mariola Cantarero
argyria: José Manuel Zapata
Orbazzano: Giovanni Battista Parodi
Isaura: Marina Rodriguez-Cusi
Roggiero: Marisa Martins
Madrid Symphony Orchestra Chorus of the Teatro Real de Madrid · Riccardo Frizza
We have an incredibly cohesive function in their vocals. Ewa Podles is the only true contralto there, which alone can give us Tancredi really a "contralto", forgive the word I just invented. This results in an unusual extent, resounding bass and amazing stylistic ability. Tancredi is a perfect reference and stage presence, shown live and live by a server. To let the hands clapping. Mariola Cantarero Amenaide is a delight. Perfect vocal and interpretive level, filling beautifully in the duets with Podles. Give as a dramatic lesson, without knowing the meaning of "cool". It misses a little more "fireworks" in his second aria from Act II, but makes up for his performance throughout the entire score. José Manuel Zapata wears a stunning argyria, giving - at last! - A dramatic ambivalence Argyria the aria "Chi sei mia figlia Pensa, so prone by other tenors to be simply sung but not interpreted. It is a pity that the Ferrara version omits the big scene "Ah, according invan io tento" Act II: Zapata might have had another chance to shine. And it is that this is a Rossini tenor at one hundred percent (and over, of beautiful timbre). Rossini must be very happy to have you among his legion tenorística. Giovanni Battista Parodi for its part is quite rude and crude as Orbazzano not convinced. Marina Rodriguez-Cusi sang Isaura good in this role (better than what I heard in the role of day 9). well as Roggiero Marisa Martins. And very well Riccardo Frizza in front of the formations of the Real.
addition to the opera I'm going to leave the interviews also José Luis Pérez de Arteaga performed Riccardo Frizza, Mariola Cantarero, and José Manuel Zapata. It is not putting me picky, but it is noteworthy that a speaker learns Classic Radio live and live to sing in a fortnight Zapata Almaviva in New York, Mariola Cantarero NO Amenaide debut at the Royal Opera or Manuel García "Il califfo di Bagdad" will come out soon on CD. Do not assume that because their work should be aware of? I leave the question in the air.
For what said, that here are the links. The recording has good sound and is edited and fragmented into tracks, as usual:
CD1 CD2
Interviews
Very enjoyable function, by God.
someone had the bright idea to represent the two most popular versions of the work-Venice and Ferrara, with all its variations for ciñiéndose not only the end-happy vs tragic. And for more clarity the idea was topped with encircle both as another version of a competent cast Rossini-Barcellona, \u200b\u200bCiofi and Sledge vs Podles, Cantarero and Zapata. This makes these functions in the Real Tancredi have achieved a level of interest among fans of Belcanto in general and Rossini in particular.
Well then, who signed this post has had the opportunity to attend features of both versions, but as the star of the recording of today will be the Ferrara version I focus on it. Before continuing, I'll refer to this entry for everything related to arguments, autopréstamos, versions and other family, but not before showing my particular wish that some day we see on stage so curious the Milanese version with all changes it implies.
I offer recording function up to day 18 of this month, broadcast live by Radio Clásica.
The entire cast is as follows:
Tancredi: Ewa Podles
Amenaide: Mariola Cantarero
argyria: José Manuel Zapata
Orbazzano: Giovanni Battista Parodi
Isaura: Marina Rodriguez-Cusi
Roggiero: Marisa Martins
Madrid Symphony Orchestra Chorus of the Teatro Real de Madrid · Riccardo Frizza
We have an incredibly cohesive function in their vocals. Ewa Podles is the only true contralto there, which alone can give us Tancredi really a "contralto", forgive the word I just invented. This results in an unusual extent, resounding bass and amazing stylistic ability. Tancredi is a perfect reference and stage presence, shown live and live by a server. To let the hands clapping. Mariola Cantarero Amenaide is a delight. Perfect vocal and interpretive level, filling beautifully in the duets with Podles. Give as a dramatic lesson, without knowing the meaning of "cool". It misses a little more "fireworks" in his second aria from Act II, but makes up for his performance throughout the entire score. José Manuel Zapata wears a stunning argyria, giving - at last! - A dramatic ambivalence Argyria the aria "Chi sei mia figlia Pensa, so prone by other tenors to be simply sung but not interpreted. It is a pity that the Ferrara version omits the big scene "Ah, according invan io tento" Act II: Zapata might have had another chance to shine. And it is that this is a Rossini tenor at one hundred percent (and over, of beautiful timbre). Rossini must be very happy to have you among his legion tenorística. Giovanni Battista Parodi for its part is quite rude and crude as Orbazzano not convinced. Marina Rodriguez-Cusi sang Isaura good in this role (better than what I heard in the role of day 9). well as Roggiero Marisa Martins. And very well Riccardo Frizza in front of the formations of the Real.
addition to the opera I'm going to leave the interviews also José Luis Pérez de Arteaga performed Riccardo Frizza, Mariola Cantarero, and José Manuel Zapata. It is not putting me picky, but it is noteworthy that a speaker learns Classic Radio live and live to sing in a fortnight Zapata Almaviva in New York, Mariola Cantarero NO Amenaide debut at the Royal Opera or Manuel García "Il califfo di Bagdad" will come out soon on CD. Do not assume that because their work should be aware of? I leave the question in the air.
For what said, that here are the links. The recording has good sound and is edited and fragmented into tracks, as usual:
CD1 CD2
Interviews
Very enjoyable function, by God.
0 comments:
Post a Comment