few weeks ago I do not write on the blog. And is that until August that I will continue to take all my vacation daily hassles, which I can assure you that are not exactly few. But as I said more than once I have the luck that everything I do I fully filled, so the truth is that nothing I can complain.
To remove the blog temporarily to this timeout trascendal have chosen a figure in the world in general and Rossini's bel canto in particular. And that voice was the only one who dared to throw light on Rossini true in an era in which the composer pesarense was continually threatened by mists and gray clouds on all fronts. The voice that I mean is none other than the great Conchita Supervia.
Supervía Conchita, Catalan by birth, came to earth in the county capital a cold December 9, 1895. With only twelve he began his vocal studies. Such are the skills that she shows for music Conchita the October 1, 1910 makes its debut on the stage. It would be a Stiattesi Argentine opera, "Blanca de Bieulieu" in the brief role of the Witch. So begins its journey in small roles in various titles until 1911, with only sixteen, Rosenkavalier debut in the role of Octavian. Al Liceu in Barcelona comes a year after hand of "Samson et Dalila" and "Carmen." And so it begins to take off to success, which would sit with his performances of Mignon (title role), Maddalena (Rigoletto) and Leonora ("La Favorita"). The Great War had broken out and during the war knows Francesco Santamaria, mayor of Naples, starting a relationship that your child would be born Giorgio. However, Santamaria was a deep hatred for the theater, which led to the relationship went under. This did not prevent further Supervía conquering all the theaters she walked, making new creations from Carmen, Mignon and Marguerite ("La Damnation de Faust").
The milanense Scala debut in 1925 comes with "Hansel und Gretel", which was responsible Supervía male role holder. A year later he returned to La Scala to be released in Italy, "El Amor Brujo" by Manuel de Falla. The following year he would return with "Rosenkavalier," directed by Strauss himself. Repeated presence in 1928, which deals with "Le nozze di Figaro" with the great Mariano Stabile and premiere of "L'heure Spagnole" by Ravel.
successes in his career is still going after his debut in London in 1930. They sing "Carmen" Thomas Beecham with the baton. The character of both conception and singer and lead character had several discussions that end happily resolved. Besides the gypsy Supervía is required to sing "The Périchole" (Offenbach) and "Frasquita" (Lehar), among other titles. In 1935 Supervía
is pregnant again. Unfortunately, the singer then had 40 years of age and pregnancy was quite risky. The days passed with enough hardship until he was forced to enter the March 29, 1936 in a London clinic. They give birth to a child without life. A generalized infection caused by childbirth skewed his life the next day. Conchita
Supervía is literally the grandmother of Rossini, a key figure for the interpretation of the music of Swan of Pesaro. Amazing Rossini's buffo triangle interpreter par excellence ("Il Barbiere di Siviglia," "La Cenerentola" and "L'italiana in Algeri"), their delivery to the composer of Pesaro was like finding an oasis in the desert.
presented in 1915 at the Liceu in Barcelona its Rosina, the role of light sopranos that had seized indiscriminately at that time. Supervía role returns to his roots and making use mezzosopraniles of the great artistic vein that had since childhood and his sexy voice, enhanced by a controlled vibrato at all times, gives a great performance.
In 1921 enters the second vertex of the triangle buffo Rossini: Angelina ("La Cenerentola"). As he had done with Rosina, the Angelina is a prototype of how to sing the role, a rarity at the time when they sang were subjected to all kinds of amputation and denaturing.
In 1925, addresses the third and last vertex: Isabella (L'italiana in Algeri "). Supervía also recorded four star character numbers (the cavatina "Cruda sorte" the duet "Ai Capricci della sorte" rondo "Per lui che Adoro" and the aria "Pensa alla patria"). His performance reaches the very high altitudes and marked with Rosina and Cenerentola. But then we were in limbo Rossini. The rigor of what is referred Rossini was conspicuous by its absence and the composer was treated like the devil come to earth. So the opera was criticized because of some functions in the Liceu Supervía starring: "The author of" L'italiana in Algeri "represented these days at the Lyceum is one of those responsible for the decline of public taste for a long time. Like others de óperas de un periodo funesto, es culpable de un retroceso de tan malas consecuencias que aún hoy sufrimos sus efectos. ¡Pobre Gluck, que tanto había luchado por regenerar la escena lírica!. Pase como una humorada, si se quiere, la exhumación de esta Italiana indeseable; mas tendríamos que vigilar ahora que no se quede demasiado tiempo a la luz. Nuestro voto es que la vuelvan a enterrar pronto y muy adentro, y la dejen para siempre en reposo"
La audición que os propongo permite obtener una buena idea del arte de Conchita Supervía. Se trata de un recopilatorio titulado "Ópera y música española". Como su propio nombre indica, el disco está dividido en dos partes claramente diferenciadas. The operatic part allows a clear view of the opera Supervía. His legendary Rossinis with Gounod, Thomas, Saint-Saëns and Delibes is the program that the drive offers. The second part, devoted to English music, will provide an overview of the interpreter and folds Supervía perceived as the voice to the character of the different pieces that address. The full program of this album is as follows (indicated next to each piece, the year of recording):
operatic Arias
Rossini: L'Italiana in Algeri. Ai Capricci della sorte (with Carlo Scattola): 1927
Rossini: Il Barbiere di Siviglia. A little voce fa: 1927
Rossini: Il Barbiere di Siviglia. Contralateral horn (con Giovanni Manuritta): 1928
Rossini: La Cenerentola. Nacquit all'affanno: 1927
Gounod: Faust. He was a king of Thule: 1931
Thomas: Mignon. Do you know the country?: 1931
Saint-Saëns: Samson et Dalila: Printemps which begins: 1931
Delibes: Hello Suzon: 1930
Delibes: Viens, a flute invisible: 1930
Música española (Frank Marshall, piano )
El paño moruno: 1930
Seguidilla murciana: 1930
Asturiana: 1930
Jota: 1930
Nana: 1930
Canción: 1930
Polo: 1930
Baloma - Meus Amores (Balada Galician Galician): 1929
Serrano: The Joy of the Battalion. To a beautiful gypsy: 1932
Serrano: El Mal de Amores. Gypsy song: 1932
De Yradier: La Paloma: 1930
Joaquin Valverde: Clavelitos: 1927
Link to this album is as follows:
Recital
I hope you enjoy the art of this great performer, a woman to whom we owe much of Rossini.
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