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Verdi wrote a new cabaletta, “Sento Iddio che mi chiama,” for tenor MARIO in I due Foscari.
Thursday, January 31, 2013
MARIO, tenore verdiano
Speranza
Il tenore Mario fece la sua prima apparizione a Londra nel 1839. Cantò alla "Royal Italian Opera", Covent Garden a partire dal 1847, fino al 1867.
Il tenore Mario fece la sua prima apparizione a Londra nel 1839. Cantò alla "Royal Italian Opera", Covent Garden a partire dal 1847, fino al 1867.
In 1847, Mario transfeered from the ITALIAN OPERA HOUSE, Haymarket, to THE ITALIAN ROYAL OPERA, Covent Garden.
Speranza
In 1847 Mario transfers from Her Majesty's Theatre to Covent Garden.
In 1847 Mario transfers from Her Majesty's Theatre to Covent Garden.
MARIO, TENORE VERDIANO
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Le opere di Verdi: Da Oberto a Rigoletto - Pagina 212
Le opere di Verdi: Da Oberto a Rigoletto - Pagina 212
books.google.com/books?isbn=8870630382
Giovanni Matteo Mario Cavaliere De Candia, il Rodolfo Valentino della scena operistica, non era il tipo di tenore che Verdi, e per la verità qualsiasi altro compositore, potesse trovare particolarmente interessante. L'unico ruolo di una qualche ...Tucker: tenore verdiano
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A Verdian tenor, all singers above...
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When Giuseppe Verdi (1813–1901) entered the European musical scene at the end of the 1830s, there had already been a great change
in the way music for voice was written in Italian opera.
This was brought about by composers of the previous generation, notably Bellini and Donizetti.
Rossini’s Semiramide (1823), his last Italian opera, was perhaps the last baroque grand opera and the last opera to follow the basic principles of bel canto.–.that is, song based on a clearly instrumental conception.
Rich ornamentation was an important part of this conception, requiring the highest standard of virtuosity.
Bellini and Donizetti, Rossini’s immediate successors (whose careers moved into high gear at the end of the 1820s and early 1930s respectively), brought Italian opera into the Romantic era.
This new aesthetic approach focused on dramatic realism and the direct expression of feeling.
Arias became more realistic, the male coloratura gradually disappeared, and the contralto who could handle the intricacies of Rossini’s music gave way to the dramatic soprano.
This cleaner and more declamatory style brought new demands.
The singer had to have power and range, clear articulation, energetic expression, the ability to project the voice effectively (singers had to deal with increasingly larger orchestras), vigorous attack, and so on.
It wasn’t enough merely to sing well.; a performer had to live his or her role intensely, bringing to the stage the character’s many passions and moods.
The advent, among tenors, of the famous “chest-voice high C” that replaced the bel canto technique of falsettone for the higher notes (above A) was part and parcel of a move toward the vocal expression of great emotion.
-----------------------------------------------------
When Verdi presented "Nabucco" (hardly his first opera) to the Italian public in 1842, he was simply taking these new demands a step further.
For this occasion, he created one of the most fiery soprano roles in the lyric repertoire, that of Abigaille, typified by large intervals and an unprecedented, full-voiced, vehement coloratura.
The title role required a new type of baritone voice (the “Verdi baritone” as it was later called).: rich and full of drive. At the same time, this voice had to be capable of assuming a sharper pitch and handling a wider range of nuance, accentuation, and colour, since Verdi retained one of the basic characteristics of bel canto.: the need for a wide range of vocal inflexion and nuance.
Verdi singers should always keep in mind the bel canto notion of analytical phrasing, and it is precisely this notion that most singers today have forgotten, or at least neglected.
You have only to listen to any modern recording of a Verdi opera, score in hand, to realize how little respect most of today’s singers have for what Verdi actually wrote.
Look at the score of Il Trovatore (1853) or Otello (1887), and you’ll be surprised to find that these works, which we so often associate with great bursts of song and an intensely dramatic, agitated rendition, contain instructions for soft and delicate singing.
------
Carlo Bergonzi, considered
the greatest Verdi tenor
of the postwar era, stated that if Verdi is so demanding, it’s because he carefully noted in his scores everything he expected from the singer.
Verdi’s many symbols and notes for the singers’ guidance reveal some of his preoccupations.
Verdi’s dynamics
T o begin with, Verdi singers must have a near-perfect breathing technique that allows them to modulate their voices at will over their entire range.
The variety of dynamics demanded by Verdi covers everything from pppp to fff.
It is essential for Verdi singers to have this rich palette of dynamics, which explains why singers who can’t handle delicate vocal shadings (that is, produce a true mezza voce) will never be great Verdi artists, since Verdi is certainly the nineteenth-century composer who most often demands a piano interpretation.
-------
Another requirement for Verdi singers is the ability to use different modes of attack.–.to be able to sing a perfect legato (that is, move from note to note with complete smoothness, a technique that may require dropping a consonant), and to handle with equal ease staccati, detached notes, notes that are a little forced, and notes that are strongly accentuated.
Coloration is important too, requiring subtle variations in time that enhance the expressiveness of Verdi’s music.
Singers should make the most of the wealth of instructions such as
rallentando
ritenuto, or
accelerando
to increase the music’s emotional effect, and should colour their voices in reponse to notations for each passage, such as “agitatedly,” “sorrowfully,” “passionately,” “lovingly,” and so on.
Verdi’s singers need enormous vocal versatility.
Critics and specialists write about the need for “different” voices to accommodate a particular Verdi role.
Take Riccardo (il conte di Warwich) in Il ballo in maschera, for example, which requires suppleness of delivery and the lightness of a tenore di grazia, as well as the cantabile and perfect legato of a lyric tenor, while other passages demand slancio and the power of a spinto tenor.
It is a rare singer who can be equally at home with all the vocal facets of such a role.
A watershed
Verdi’s approach to singing is the result of his position at a watershed between two conflicting vocal styles.
On the one hand is the old bel canto.
Verdi rejects its concepts of abstract beauty as an end in itself, but retains the need for a highly flexible delivery and subtle, varied phrasing.
On the other hand, Verdi’s style is distinct from the truly realistic mode of singing developed by younger composers at the end of the nineteenth century, a raw, monotone approach aimed at achieving a purely theatrical effect rather than revealing inner emotion.
When Giuseppe Verdi (1813–1901) entered the European musical scene at the end of the 1830s, there had already been a great change
in the way music for voice was written in Italian opera. This was brought about by composers of the previous generation, notably Bellini and Donizetti.
Rossini’s Semiramide (1823), his last Italian opera, was perhaps the last baroque grand opera and the last opera to follow the basic principles of bel canto.–.that is, song based on a clearly instrumental conception.
Rich ornamentation was an important part of this conception, requiring the highest standard of virtuosity.
Bellini and Donizetti, Rossini’s immediate successors (whose careers moved into high gear at the end of the 1820s and early 1930s respectively), brought Italian opera into the Romantic era.
This new aesthetic approach focused on dramatic realism and the direct expression of feeling.
Arias became more realistic, the male coloratura gradually disappeared, and the contralto who could handle the intricacies of Rossini’s music gave way to the dramatic soprano.
This cleaner and more declamatory style brought new demands.
The singer had to have power and range, clear articulation, energetic expression, the ability to project the voice effectively (singers had to deal with increasingly larger orchestras), vigorous attack, and so on.
It wasn’t enough merely to sing well.; a performer had to live his or her role intensely, bringing to the stage the character’s many passions and moods.
The advent, among tenors, of the famous “chest-voice high C” that replaced the bel canto technique of falsettone for the higher notes (above A) was part and parcel of a move toward the vocal expression of great emotion.
-----------------------------------------------------
When Verdi presented "Nabucco" (hardly his first opera) to the Italian public in 1842, he was simply taking these new demands a step further.
For this occasion, he created one of the most fiery soprano roles in the lyric repertoire, that of Abigaille, typified by large intervals and an unprecedented, full-voiced, vehement coloratura.
The title role required a new type of baritone voice (the “Verdi baritone” as it was later called).: rich and full of drive. At the same time, this voice had to be capable of assuming a sharper pitch and handling a wider range of nuance, accentuation, and colour, since Verdi retained one of the basic characteristics of bel canto.: the need for a wide range of vocal inflexion and nuance.
Verdi singers should always keep in mind the bel canto notion of analytical phrasing, and it is precisely this notion that most singers today have forgotten, or at least neglected.
You have only to listen to any modern recording of a Verdi opera, score in hand, to realize how little respect most of today’s singers have for what Verdi actually wrote.
Look at the score of Il Trovatore (1853) or Otello (1887), and you’ll be surprised to find that these works, which we so often associate with great bursts of song and an intensely dramatic, agitated rendition, contain instructions for soft and delicate singing.
------
Carlo Bergonzi, considered
the greatest Verdi tenor
of the postwar era, stated that if Verdi is so demanding, it’s because he carefully noted in his scores everything he expected from the singer.
Verdi’s many symbols and notes for the singers’ guidance reveal some of his preoccupations.
Verdi’s dynamics
T o begin with, Verdi singers must have a near-perfect breathing technique that allows them to modulate their voices at will over their entire range.
The variety of dynamics demanded by Verdi covers everything from pppp to fff.
It is essential for Verdi singers to have this rich palette of dynamics, which explains why singers who can’t handle delicate vocal shadings (that is, produce a true mezza voce) will never be great Verdi artists, since Verdi is certainly the nineteenth-century composer who most often demands a piano interpretation.
-------
Another requirement for Verdi singers is the ability to use different modes of attack.–.to be able to sing a perfect legato (that is, move from note to note with complete smoothness, a technique that may require dropping a consonant), and to handle with equal ease staccati, detached notes, notes that are a little forced, and notes that are strongly accentuated.
Coloration is important too, requiring subtle variations in time that enhance the expressiveness of Verdi’s music.
Singers should make the most of the wealth of instructions such as
rallentando
ritenuto, or
accelerando
to increase the music’s emotional effect, and should colour their voices in reponse to notations for each passage, such as “agitatedly,” “sorrowfully,” “passionately,” “lovingly,” and so on.
Verdi’s singers need enormous vocal versatility.
Critics and specialists write about the need for “different” voices to accommodate a particular Verdi role.
Take Riccardo (il conte di Warwich) in Il ballo in maschera, for example, which requires suppleness of delivery and the lightness of a tenore di grazia, as well as the cantabile and perfect legato of a lyric tenor, while other passages demand slancio and the power of a spinto tenor.
It is a rare singer who can be equally at home with all the vocal facets of such a role.
A watershed
Verdi’s approach to singing is the result of his position at a watershed between two conflicting vocal styles.
On the one hand is the old bel canto.
Verdi rejects its concepts of abstract beauty as an end in itself, but retains the need for a highly flexible delivery and subtle, varied phrasing.
On the other hand, Verdi’s style is distinct from the truly realistic mode of singing developed by younger composers at the end of the nineteenth century, a raw, monotone approach aimed at achieving a purely theatrical effect rather than revealing inner emotion.
tenore verdiano/Verdian tenor
Speranza
Gramophone - Volume 70 - Pagina 257
books.google.com/books?id=WRkKAQAAMAAJ
I agree that despite these we may still be awaiting a great Verdian tenor but Chris Merritt's attempt at Otello (as I write, I believe) should be of interest. (Could one of my mentors JBS or AB offer comments on Mr Bell's letter?) While not disputing ...Opera - Volume 52,Edizioni 7-12 - Pagina 1184
books.google.com/books?id=1SkKAQAAMAAJ
George Henry Hubert Lascelles Harewood (Earl of) - 2001 - Visualizzazione snippet - Altre edizioni
Otello is the only major Verdian tenor role Margison has still to tackle, and he will make that debut in Sydney in the middle of 2003.
He was to have sung Otello at the Monnaie in Brussels last February, but ill-health forced him to withdraw.
The Operas of Verdi: From Il trovatore to La forza del destino - Pagina 223
books.google.com/books?isbn=0198162626
Julian Budden - 2002 - Visualizzazione snippet - Altre edizioni
... Henri with accompaniment, as though the singer were uncertain which key to choose.
Rarely can a Verdian tenor have been less sure of himself than here.
llegro agitato HENRI tout m'a-ban - - don ••. 223 1ES VEPRES SICILIENNES.
Canto - Volume 4 - Pagina 139
books.google.com/books?id=LChZAAAAMAAJ
Pat Goodheart - 1981 - Visualizzazione snippet - Altre edizioni
Even so, to anyone with little taste for his verse Foscolo can indeed look like a Verdian tenor in full spate, elegantly appointed, red hair flying, darting about on mysterious missions (political deputy, soldier, legal expert, playwright, lecturer), ...Italian opera houses and festivals - Pagina 65
books.google.com/books?isbn=0810853590
In 1845 one of the many restorations took place, with the theater subsequently renamed Teatro Fraschini, in honor of the celebrated Verdian tenor from Pavia, Gaetano Fraschini. The most recent restoration began in 1984 and took a decade to ...Opera on record - Volume 1 - Pagina 188
books.google.com/books?id=H41HAAAAMAAJ
Alan Blyth - 1979 - Visualizzazione snippet - Altre edizioni
Made for G&T in 1908 when he was 58, the solos by the famous Verdian tenor Franceso Marconi (05221/234) are authoritative in style and reach back almost to the age of Donizetti himself. Gigli recorded several variants of the tomb scene, ...The operas of Verdi - Volume 2 - Pagina 223
books.google.com/books?id=3jsIAQAAMAAJ
Julian Budden - 1978 - Visualizzazione snippet - Altre edizioni
... by the orchestra and E major by Henri with accompaniment, as though the singer were uncertain which key to choose. Rarely can a Verdian tenor have been less sure of himself than here. 149 Allegro agitato HENRI sirs, train tout m'aFrommer's Dollarwise Guide to Italy - Pagina 236
The Operas of Verdi: From Oberto to Rigoletto - Pagina 457
books.google.com/books?id=Ip0QAQAAMAAJ
Julian Budden - 1978 - Visualizzazione snippet - Altre edizioni
The effect is not merely picturesque; it helps to suggest
the type of cool reflective character not normally
associated with a Verdian tenor.
Doubtless it was passages like these that caused Stiffelio to be regarded at the time as too studied
The Record collector - Volume 31 - Pagina 127
books.google.com/books?id=7DxGAQAAIAAJ
James F. E.. Dennis - 1986 - Visualizzazione snippet - Altre edizioni
At the time, he was referred to by the 'Times' newspaper as
"A born Verdian tenor
The audience at Glyndebourne were overjoyed with David and applauded him even in the middle of an aria. His repertoire improved steadily and Mozart was ...
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