Today we’re listening to… “Caro nome”, one of the most famous soprano arias from Act 1 of the Italian opera Rigoletto by Giuseppe Verdi. Rigoletto has kept his daughter hidden away to protect her, but Gilda (a young woman no more than 16-18 years old) has fallen in love with the Duke, who disguised himself as a poor student named Gualtier Maldè. Gilda is young and infatuated with this man and sings of the “caro nome”, the “dear name” of her new love.
The voice was an OK Gilda. Even lovely. As long as one kept eyes firmly shut. The setting was like only a Baz Luhrmann could dream up. Hubristic overestimation of self importance. Versus that of the composer set in his time. The gum chewing shiela in the elevator said it all!
These are my first impressions of Nadine Sierra, based on listening to her performances in the interview here and a second one with Fred Plotkin (Conversation with Nadine Sierra-February 22, 2019; https://www.youtube.com/watch?v=EOvKiNRF-a4)
Nadine Sierra radiates the beauty, sunshine and warmth of her Floridian and Puerto Rican roots. She exuded such vivaciousness and youthful charm that I knew I couldn't help but like her personality. After seeing her perform “Caro nome che il mio cor" and "Mio padre... Tutte le feste... Sì, vendetta", I understood why her biography has a trail of wins in prestigious, international competitions and praiseworthy performances at leading opera houses. It's amazing to think that at 6 and 11, she was already moving toward her destiny, which blossomed into a career at 19. Now, at the age of only 35, she is an acclaimed lyric soprano and a favorite at The Met. This is the life of a prodigy.
I want to spend more time listening to this artist. My first impressions are not always to be trusted. Nadine Sierra has found her own voice, even as she has stands alongside divas considered the world’s greatest opera, past and present.
There were moments in the two arias when I felt Nadine Sierra compared favorably to Beverly Sills, Joan Sutherland or Marilyn Horne, especially that thrilling trilling! There were a couple of times, though, when I felt those impossibly difficult high notes, sometimes seemed a little brittle and lacking a certain fullness. Then again, what do I know!?!
I listened to Lisette Oropesa and Edita Gruberova just to check on my feelings about this. The training that goes into rendering this challenging composition so sweetly must be grueling. If not done correctly, I’ll bet “Caro nome” could ruin many a good voice. I will definitely revisit Nadine Sierra and listen to the full opera version of "Rigoletto" soon.
I just have a couple of questions. I feel that I have a better idea of the pathways to opera stardom now - studying with a renowned teacher (Nadine Sierra, Sondra Radvanovsky both studied with Ruth Falcon), entering competitions and winning prizes, attending a prestigious music school like Juilliard or Mannes, auditioning, maybe even entering a talent show like "The Voice". Are we still waiting for the first unknown opera star to emerge from social media? I'm curious about these multiple roads to opera celebrity.
I've gotten off topic here, but suffice it to say, Nadine Sierra is beautiful, gifted and wise beyond her years. She's one to watch and to hear, hopefully for a very long time.
Coloratura is a word I never knew existed but I love it!
Thank You! I love it!!
The inane Met Vegas Rigoletto is a desecration to Verdi. A really bad choice that can confuse the public if not the listener if their eyes are closed.
The voice was an OK Gilda. Even lovely. As long as one kept eyes firmly shut. The setting was like only a Baz Luhrmann could dream up. Hubristic overestimation of self importance. Versus that of the composer set in his time. The gum chewing shiela in the elevator said it all!
Jack Broerse.
These are my first impressions of Nadine Sierra, based on listening to her performances in the interview here and a second one with Fred Plotkin (Conversation with Nadine Sierra-February 22, 2019; https://www.youtube.com/watch?v=EOvKiNRF-a4)
Nadine Sierra radiates the beauty, sunshine and warmth of her Floridian and Puerto Rican roots. She exuded such vivaciousness and youthful charm that I knew I couldn't help but like her personality. After seeing her perform “Caro nome che il mio cor" and "Mio padre... Tutte le feste... Sì, vendetta", I understood why her biography has a trail of wins in prestigious, international competitions and praiseworthy performances at leading opera houses. It's amazing to think that at 6 and 11, she was already moving toward her destiny, which blossomed into a career at 19. Now, at the age of only 35, she is an acclaimed lyric soprano and a favorite at The Met. This is the life of a prodigy.
I want to spend more time listening to this artist. My first impressions are not always to be trusted. Nadine Sierra has found her own voice, even as she has stands alongside divas considered the world’s greatest opera, past and present.
There were moments in the two arias when I felt Nadine Sierra compared favorably to Beverly Sills, Joan Sutherland or Marilyn Horne, especially that thrilling trilling! There were a couple of times, though, when I felt those impossibly difficult high notes, sometimes seemed a little brittle and lacking a certain fullness. Then again, what do I know!?!
I listened to Lisette Oropesa and Edita Gruberova just to check on my feelings about this. The training that goes into rendering this challenging composition so sweetly must be grueling. If not done correctly, I’ll bet “Caro nome” could ruin many a good voice. I will definitely revisit Nadine Sierra and listen to the full opera version of "Rigoletto" soon.
I just have a couple of questions. I feel that I have a better idea of the pathways to opera stardom now - studying with a renowned teacher (Nadine Sierra, Sondra Radvanovsky both studied with Ruth Falcon), entering competitions and winning prizes, attending a prestigious music school like Juilliard or Mannes, auditioning, maybe even entering a talent show like "The Voice". Are we still waiting for the first unknown opera star to emerge from social media? I'm curious about these multiple roads to opera celebrity.
I've gotten off topic here, but suffice it to say, Nadine Sierra is beautiful, gifted and wise beyond her years. She's one to watch and to hear, hopefully for a very long time.
THE EXTRA STUFF
Rising Star Making History circa 2017
(https://www.nbcnews.com/news/latino/young-soprano-nadine-sierra-making-history-opera-world-n827021
Nadine Sierra
(https://en.wikipedia.org/wiki/Nadine_Sierra)
Ruth Falcon (Sierra's coach and teacher) Obituary (https://www.nytimes.com/2020/10/21/arts/music/ruth-falcon-dead.html)
"Caro nome" Nadine Sierra as Gilda in Maschpark, Hannover, 2017 (https://www.youtube.com/watch?v=T7M4_xZyZH8)
[(1) Giuseppe Verdi, Rigoletto - Caro nome (Nadine Sierra) - YouTube]
Lisette Oropesa
(1) Caro Nome, Rigoletto, Teatro Real, Lisette Oropesa - YouTube
Edita Gruberova
(1) Rigoletto - Caro nome (Gruberova) - YouTube
“Rigoletto”, full opera in two acts, Russian State Ballet and Opera House (2021)
https://www.youtube.com/watch?v=MbJ5l0m3rMk
“Rigoletto”, full opera , English subtitles
(1) Giuseppe Verdi - Rigoletto - Pavarotti, Gruberova, Wixell - Chailly - YouTube (1982)
Borsa-Remi Corazza, Ceprano-RolandBracht, Countess Ceprano-Kathleen Kuhlmann, Duke of Mantua-Luciano Pavarotti, Gilda-Edita Gruberova, Giovanna-Fedora Barbieri, Maddalena-Victoria Vergara, Marullo-Louis Otey, Marullo-Bernd Weikl, Monterone-Ingvar Wixell, Rigoletto- Ingvar Wixell, Sparafucile-Ferruccio Furlanetto.
Happy Fourth of July 🧨
(1) The Stars and Stripes Forever (1929, Sousa Conducting and Speaking!) - YouTube