are three members that make up that I come to be known as the triumvirate of bel canto. Gioachino Rossini, the first one, shown continuously on the blog. Gaetano Donizetti also has strong presence of the hand of some of his most unusual. But lo and behold, the third member of this musical triumvirate has not yet appeared in the blog. So far, it breaks Vincenzo Bellini La Gazzetta next to which is his main work: Standard .
Bellini is a key to understanding the Belcanto. However it will not hurt to show a small biography of the composer to frame it historically and artistically at the time. Born into a musical family in Catania on March 3, 1801 and son of the organist Rosario Bellini, received his first music lessons from his father and grandfather, Vincenzo Tobia Bellini. Bellini was a child prodigy and legend has it that at eighteen months was able to sing an air of Valentino Fioravanti, who began studying music theory at the two-year-old piano to three and five was able to play freely. His first composition dates from his six years. With a grant that was provided by the Duke of San Martino joined San Sebastian College in Naples, where he studied harmony with Giovanni Furno, Giacomo Tritto counterpoint and composition with the renowned Nicola Zingarelli. He composed sacred music (motets, masses, etc.), Chamber and symphonic music, but opera is the music genre that gave him fame. Virtuosos composed for bel canto, lyric expression that requires great precision and vocal agility. Tried to minimize differences between the parties classic sung and recited - arias and recitatives - keeping dramatic tension. The premiere of his first opera, Adelson e Salvini, was produced in 1825. Domenico Barbaja, director of the San Carlo opera house in Naples and La Scala in Milan, was interested in her, charging several plays later. He died in Puteaux the September 23, 1835, truncated and his career.
star of today's work was premiered at La Scala in Milan on 26 December 1831. Felice Romani was commissioned to write the script, based on the tragedy and L. Soumet Belmontet "Norma ou l'infanticide." The centerpiece of the work is, without doubt, the very famous "Casta Diva" where classical gravity come together with a very passionate romantic expression, and this is one of the great soprano roles in the repertoire. The great bel canto sopranos were concerned, and rightly so, to give life to the unfortunate priestess, whether they call Maria Callas, Montserrat Caballé, Joan Sutherland, Leyla Gencer, etc. We
below are the plot of the opera, developed in Gaul during the year 50 BC Courtesy Intermezzo.
to the sacred oak procession reaches the Gallic village, followed by the Druids, is headed by its chief, Oroveso, father of Norma. All ask the gods to grant them victory over the Romans and their withdrawal from the country. Enter now Pollione and Flavio, Roman officials. Pollione, which has maintained illicit relations with Norma, Druid high priestess, and with whom she has two children, says she loves a young virgin of the temple, Adalgisa. Pollione Standard senses revenge, while in the distance, you hear the ritual chants of the Druids.
Romans are removed and become the Druids, who welcome Norma, which prophetically announces the fall of Rome. Then cut a branch of mistletoe sacred and directs his prayer to the moon: "Casta diva", accompanied by Oroveso and people. As an aside, it expresses the love that is felt by Pollione. Then the stage is empty. Enter now
Adalgisa and invokes the protection of the gods. Pollione and the courts appears. Adalgisa doubt at first, but finally declared that she loves the Roman official.
Standard, now in his home with his children, revealed their confusing and painful feelings. And ask Clotilda, her confidant, to hide the children when you get Adalgisa. This is followed by a duet between Norma and Adalgisa. Adalgisa's confession raises the standard understanding, as both broke the vow of chastity. But when asked Norma lover's name, Adalgisa says: "Here comes", pointing to Pollione, which is approaching. The mutual disappointment of the two women broke out passionately. Finally the distance is heard the sound shield Norma sacred calls to speak to his people, so the voices of the three soloists chorus is added far from the Druids, creating a breathtaking final act.
Second act. It is night. Standard is a knife in his hands and looks at the sleeping children, in their painful torture, killing thought. But do not decide to do so and send Clotilda looking for Adalgisa, which shows children and asked to take them with her when she leaves for Rome with Pollione, because she, Norma, will die. Adalgisa, however, requested to continue living standard for their children and tells him to return to Norma's love Pollione. The duet of the two priestesses ends in a passionate mutual confession.
In the forest of the Druids, and the choir Oroveso express their hatred towards the Romans, but they feel powerless if not advised Standard. This, in the temple, he knows that Adalgisa Clotilde lips want to renew their vows as a priestess, but Pollione has vowed to uproot the altar. Standard sounds then three times, the sacred shield and druids to hear it, come to listen to singing a hymn warrior. Clotilda comes hurrying with the news that a Roman who tried to enter the temple has been taken prisoner. This is Pollione. Standard takes a dagger and tries to kill him, but can not strike a blow.
Norma is now with Pollione, who rejects woman's plea that abandon Adalgisa, Norma then swears that this will be burned alive for having broken his vows.
The village is ordered to prepare the pyre, but when asked to name Norma guilty priestess replies, "Me." The people do not want to believe, but Norma insists. When you bring the children, Norma asks Pollione take care of them, but does not move Pollione.
an agony, the people prepared to sacrifice standard. Regretted his behavior and admired for the courage and the love of Norma, Pollione up with her to die at the stake.
And then to throw it to the recording. Not lying when I say that the version I offer is one of the peaks in the vast discography existing work. A look at the cast sheet can be used to explain to my statement:
Norma: Montserrat Caballe
Pollione: Plácido Domingo
Adalgisa: Fiorenza Cossotto
Oroveso: Ruggero Raimondi
Clotilde: Elizabeth Bainbridge
Flavio: Kenneth Collins
London Philharmonic Orchestra Ambrosian Opera Chorus
Bellini is a key to understanding the Belcanto. However it will not hurt to show a small biography of the composer to frame it historically and artistically at the time. Born into a musical family in Catania on March 3, 1801 and son of the organist Rosario Bellini, received his first music lessons from his father and grandfather, Vincenzo Tobia Bellini. Bellini was a child prodigy and legend has it that at eighteen months was able to sing an air of Valentino Fioravanti, who began studying music theory at the two-year-old piano to three and five was able to play freely. His first composition dates from his six years. With a grant that was provided by the Duke of San Martino joined San Sebastian College in Naples, where he studied harmony with Giovanni Furno, Giacomo Tritto counterpoint and composition with the renowned Nicola Zingarelli. He composed sacred music (motets, masses, etc.), Chamber and symphonic music, but opera is the music genre that gave him fame. Virtuosos composed for bel canto, lyric expression that requires great precision and vocal agility. Tried to minimize differences between the parties classic sung and recited - arias and recitatives - keeping dramatic tension. The premiere of his first opera, Adelson e Salvini, was produced in 1825. Domenico Barbaja, director of the San Carlo opera house in Naples and La Scala in Milan, was interested in her, charging several plays later. He died in Puteaux the September 23, 1835, truncated and his career. star of today's work was premiered at La Scala in Milan on 26 December 1831. Felice Romani was commissioned to write the script, based on the tragedy and L. Soumet Belmontet "Norma ou l'infanticide." The centerpiece of the work is, without doubt, the very famous "Casta Diva" where classical gravity come together with a very passionate romantic expression, and this is one of the great soprano roles in the repertoire. The great bel canto sopranos were concerned, and rightly so, to give life to the unfortunate priestess, whether they call Maria Callas, Montserrat Caballé, Joan Sutherland, Leyla Gencer, etc. We
below are the plot of the opera, developed in Gaul during the year 50 BC Courtesy Intermezzo.
to the sacred oak procession reaches the Gallic village, followed by the Druids, is headed by its chief, Oroveso, father of Norma. All ask the gods to grant them victory over the Romans and their withdrawal from the country. Enter now Pollione and Flavio, Roman officials. Pollione, which has maintained illicit relations with Norma, Druid high priestess, and with whom she has two children, says she loves a young virgin of the temple, Adalgisa. Pollione Standard senses revenge, while in the distance, you hear the ritual chants of the Druids.
Romans are removed and become the Druids, who welcome Norma, which prophetically announces the fall of Rome. Then cut a branch of mistletoe sacred and directs his prayer to the moon: "Casta diva", accompanied by Oroveso and people. As an aside, it expresses the love that is felt by Pollione. Then the stage is empty. Enter now
Adalgisa and invokes the protection of the gods. Pollione and the courts appears. Adalgisa doubt at first, but finally declared that she loves the Roman official.
Standard, now in his home with his children, revealed their confusing and painful feelings. And ask Clotilda, her confidant, to hide the children when you get Adalgisa. This is followed by a duet between Norma and Adalgisa. Adalgisa's confession raises the standard understanding, as both broke the vow of chastity. But when asked Norma lover's name, Adalgisa says: "Here comes", pointing to Pollione, which is approaching. The mutual disappointment of the two women broke out passionately. Finally the distance is heard the sound shield Norma sacred calls to speak to his people, so the voices of the three soloists chorus is added far from the Druids, creating a breathtaking final act.
Second act. It is night. Standard is a knife in his hands and looks at the sleeping children, in their painful torture, killing thought. But do not decide to do so and send Clotilda looking for Adalgisa, which shows children and asked to take them with her when she leaves for Rome with Pollione, because she, Norma, will die. Adalgisa, however, requested to continue living standard for their children and tells him to return to Norma's love Pollione. The duet of the two priestesses ends in a passionate mutual confession.
In the forest of the Druids, and the choir Oroveso express their hatred towards the Romans, but they feel powerless if not advised Standard. This, in the temple, he knows that Adalgisa Clotilde lips want to renew their vows as a priestess, but Pollione has vowed to uproot the altar. Standard sounds then three times, the sacred shield and druids to hear it, come to listen to singing a hymn warrior. Clotilda comes hurrying with the news that a Roman who tried to enter the temple has been taken prisoner. This is Pollione. Standard takes a dagger and tries to kill him, but can not strike a blow.
Norma is now with Pollione, who rejects woman's plea that abandon Adalgisa, Norma then swears that this will be burned alive for having broken his vows.
The village is ordered to prepare the pyre, but when asked to name Norma guilty priestess replies, "Me." The people do not want to believe, but Norma insists. When you bring the children, Norma asks Pollione take care of them, but does not move Pollione.
an agony, the people prepared to sacrifice standard. Regretted his behavior and admired for the courage and the love of Norma, Pollione up with her to die at the stake.
And then to throw it to the recording. Not lying when I say that the version I offer is one of the peaks in the vast discography existing work. A look at the cast sheet can be used to explain to my statement: Norma: Montserrat Caballe
Pollione: Plácido Domingo
Adalgisa: Fiorenza Cossotto
Oroveso: Ruggero Raimondi
Clotilde: Elizabeth Bainbridge
Flavio: Kenneth Collins
London Philharmonic Orchestra Ambrosian Opera Chorus
Carlo Felice Cillari
This recording from 1972 shows a Montserrat Caballé on top of its possibilities. Without going into the eternal debate Callas, Caballé, only one standard that can overcome our Montse. And that is herself, getting into their creations, electrifying performances, whose climax is reached in the live recording of Orange. It is therefore trivial to say something that has not been said about the Standard Caballé, especially if you consider that one of the basic roles of his career. At his side, Plácido Domingo and Fiorenza Cossotto offer Pollione a fiery and passionate but mature and innocent Adalgisa (escúchense latter duets with Pollione and Standard). Ruggero Raimondi Well in the not very lucid Oroveso role and more than efficient Elizabeth Bainbridge and Kenneth Collins as Clotilde and Flavio. The recently deceased Carlo Felice Cillari as experimentadísimo director who was in this code, remove all the juice at London formations, which sound particularly bright.
And finally, here I leave the links.
CD1 CD2 CD3
you enjoy this masterpiece of opera history.
