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The Castrati and the Aesthetics of Baroque Bel Canto Singing: ... - Pagina 64
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Injoon Yang - 2008 - Anteprima
Although Budden expresses that "Ernani inevitably cuts a lesser figure in the vocal tournaments beside the Verdian baritone and bass,""ERNANI" represents
the very first truly Verdian tenor. He is the first of a long ...
Verdi in Performance: Edited by Alison Latham and Roger Parker - Pagina 5
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We are still dogged by a narrow conception of a true Verdian tenor, with his 19205 -vintage, sustained high notes, or a 'Verdian' brass section, with its slide trombones and plummy tuba. Perhaps there are already signs ...
The Cambridge Companion to Verdi - Pagina 195
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Scott L. Balthazar - 2004 - Anteprima - Altre edizioni
... if he sometimes seems too eccentric, stamping his foot and constantly talking about himself in the third person, maybe it is no surprise.
For in generic and stylistic terms he is rather immature: he represents the very first truly Verdian tenor.
Mimomania: Music and Gesture in Nineteenth-Century Opera - Pagina 231
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... andscore have already conveyed the sexual tension would be ridiculous”(Rosen, introduction to Un ballo, 76). 19. Gilles de Van has aptly characterized Riccardo's statement as totally lacking in that willful tension native to the Verdian tenor."Bodies that Tell": Physiognomy, Criminology, Race and Gender in ... - Pagina 272
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Jonathan Robert Hiller - 2009 - Anteprima
No Verdian tenor' s plight is as touching as "Otello"' s, no tenor's death as tragic.
It is plausible that Verdi's score does indeed, as Budden argues, provide all the subtlety and motive that is purposely absent in Boito's verses. He writes that the ...
Encounters With Verdi - Pagina 51
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The tenor Gaetano Fraschini (Pavia 1816 - Naples 1887), perhaps the most popular Verdian tenor of the nineteenth century.
He sang in the first performance of "AIzira, ossia gli americani", "II corsaro", "Stiffelio" and "Il conte di Warwich, ossia, il ballo in maschera". Under Verdi's guidance he also sang ...
Verdi's Theater: Creating Drama through Music - Pagina 230
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... with an admirable all- enveloping, sinuous phrase for Riccardo that reveals a new lyricism, "Non sai tu che se 1'anima mia" — new because the phrase's undulant rhythm is totally lacking in that willful tension native to the Verdian tenor.Verdi
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But with the discovery that he is Montfort's son he becomes fatally uncertain.
And his state of mind—unusual for a Verdian tenor—is beautifully captured in the strophic romance 'O jour de peine' and its agitated allegro coda. During the ...
Arie per tenore - Pagina vii
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Gramophone - Volume 43,Parte 2 - Pagina 454
t is simply that one Verdian tenor aria sung strongly sounds quite splendid in its place in an opera house. Ten Verdian tenor arias all pumped out in much the same way on a record induce a sort of stunned revulsion. The recording is solid; the ...
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