Yesterday we asked the Opera Daily community what opera, singer, aria, or art song are you listening to today, to get your mind in the right place? What pieces bring you joy? We received so many incredible selections. Today we’re sharing Part 1 of those selections and on Sunday we will share (a monster post!) with Part 2.
Oh, the joy of recognizing a melody, familiar as the face of an old acquaintance, but whose name you can't remember. That's how I felt when I heard “O mio babbino caro” from Giacomo Puccini's "Gianni Schicchi" (https://www.youtube.com/watch?v=rDcxH1vVijs). The context and the sentimentality of the aria brought to mind Madonna's "Papa Don't Preach" (https://www.youtube.com/watch?v=G333Is7VPOg). Purists may find it inappropriate, if not sacrilegious, to mention Maria Callas and Madonna in the same breath. In my defense, both were influenced by Italy's rich musical traditions.
Today I accidentally listened to the overture to Vincenzo Bellini's "Norma" and found myself reeled in like a fish. Four hours later I had listened, albeit at times inattentively, to the entire four-hour La Scala production, starring Maria Callas, Franco Corelli, Christa Ludwig and Nicola Zaccaria (https://www.youtube.com/watch?v=tGy0ZDoVIR0&t=21s ). I am listening again with more focus on Bellini's music and the orchestra (Tullio Serafin, maestro).
If this were Opera 101 instead of Opera Daily, I might be worried about the mid-term because I've fallen behind on the subject matter. Fortunately, Opera Daily is an education without the pressure. I often feel like a guest at a sumptuous banquet, where I have been invited to sample the finest gourmet foods, whenever I like, as often as I like, and for as long as I like.
Sometimes I linger over an artist or an aria. Sometimes my palate isn't satisfied by what's being served up. With each experience musical experience, though, I am learning more about this heretofore unexplored realm and the great artists who inhabit it.
Today, after listening to "“Come un bel di di Maggio” performed by three tenors (Mario del Monaco, Giuseppe Di Stefano [nicknamed "Pippo" and "The Golden Voice"] and Franco Corelli), I decided to feast on the full, two-hour version of Umberto Giordano's "Andrea Chenier", as recommended (https://www.youtube.com/watch?v=x7hnwKQ4x_M&t=750s).
I had not heard the term "verisimo opera" before, and felt how it differed from "opera buffa"and "bel canto opera". I listened more to emotions, than to voices for some reason, and tried to determine when love, anger, disappointment, resignation and the like were being expressed. This may be off base or simplistic to those with a deep knowledge of opera, but bel canto seemed to elevate the music above the story; while verismo elevated the story above the music. I'll listen to a lot more of both before I draw any conclusions. There is so much opera to consume - one bite at a time. (Deliziosa!)
from reading your keen observations along the way I think it's more like 300 and 400 - levels for you and not 101! I really liked reading your initial perspective on what you are hearing as you compare the verismo style to bel canto. From pure a story perspective (verismo meaning "realism" in Italian) the verismo style definitely serves us up storylines that are a bit more approachable or maybe engaging?
I was having a conversation with another member (Bob) via email and he was talking specifically about Verdi and how he was on the edge between two styles. His early operas are closer to the traditional bel canto style, while his later operas are a bit closer to the later verismo style.
I think the recitative and aria - "lets-stop-and-listening-to-this-amazing-aria" - style versus the verismo music style which is more through-composed definitely make bel canto feel like it's more about the fireworks and less about the storyline (while there are sections that can be excerpted and performed as a stand-alone pieces, there really are not delineations from one section to the next in the verismo style). You are right too, unlike bel canto there is not usually any coloratura in verismo music either.
Michele, you put a lot of knowledge, love, and work into Opera Daily. I am amazed that you find time to respond to subscriber comments and questions with such warmth, kindness and positivity.
These concepts - "recitative and aria style", "through-composed", "stand-alone pieces" and 'delineations from one section to another" - help me demystify opera. Instead of just consuming sounds, I am discovering the vocabulary, structure and conventions of a unique art form. I now listen to this music with new ears.
I remembered today a longtime friend and mentor who used to listen to a live opera broadcast on her car radio whenever we were traveling to some event. At the time, my teen-aged heart longed only to hear Top 40 dance music. I considered this a form of torture on her part, which I politely endured.
I realize now that both she and my mother were a couple of subversives, who planted the seeds of their passion for opera in me from an early age. They are no doubt somewhere chuckling because years later, those dormant seeds met up with an opera singer online, during a pandemic, and have begun to bear fruit.
Tonight I'm listening to Luciano Pavarotti's peerless "Nessun dorma" (https://www.youtube.com/watch?v=cWc7vYjgnTs), followed Aretha Franklin's interpretation at The Grammys (https://www.youtube.com/watch?v=uHb75oTHOV4). For those who insist that this performance was cringeworthy, several YouTube comments reflect my feeling that the Queen of Soul can do no wrong!
The Flower Duet clip was just wonderful, thank you so much for sharing!
thank you for listening and being here Phil! 🥂🙏🏼
Oh, the joy of recognizing a melody, familiar as the face of an old acquaintance, but whose name you can't remember. That's how I felt when I heard “O mio babbino caro” from Giacomo Puccini's "Gianni Schicchi" (https://www.youtube.com/watch?v=rDcxH1vVijs). The context and the sentimentality of the aria brought to mind Madonna's "Papa Don't Preach" (https://www.youtube.com/watch?v=G333Is7VPOg). Purists may find it inappropriate, if not sacrilegious, to mention Maria Callas and Madonna in the same breath. In my defense, both were influenced by Italy's rich musical traditions.
Today I accidentally listened to the overture to Vincenzo Bellini's "Norma" and found myself reeled in like a fish. Four hours later I had listened, albeit at times inattentively, to the entire four-hour La Scala production, starring Maria Callas, Franco Corelli, Christa Ludwig and Nicola Zaccaria (https://www.youtube.com/watch?v=tGy0ZDoVIR0&t=21s ). I am listening again with more focus on Bellini's music and the orchestra (Tullio Serafin, maestro).
I confess, I am hopelessly addicted to "Casta Diva". I didn't know how much I needed "La Divina" in my life till now (https://en.wikipedia.org/wiki/Maria_Callas)!
OH YES THAT NORMA YES YES YES!!!!
And yes I am in that club too! Takes everything I have to not make every week MARIE WEEK
Ugh, meant MARIA WEEK! Typing way too fast this morning! ☕☕☕☕☕☕☕
I was transported with joy as I listened to two of the "Greats": Maria Callas singing "O mio babbino caro" and Luciano Pavarotti, "Nessum dorma."
😊🥂
If this were Opera 101 instead of Opera Daily, I might be worried about the mid-term because I've fallen behind on the subject matter. Fortunately, Opera Daily is an education without the pressure. I often feel like a guest at a sumptuous banquet, where I have been invited to sample the finest gourmet foods, whenever I like, as often as I like, and for as long as I like.
Sometimes I linger over an artist or an aria. Sometimes my palate isn't satisfied by what's being served up. With each experience musical experience, though, I am learning more about this heretofore unexplored realm and the great artists who inhabit it.
Today, after listening to "“Come un bel di di Maggio” performed by three tenors (Mario del Monaco, Giuseppe Di Stefano [nicknamed "Pippo" and "The Golden Voice"] and Franco Corelli), I decided to feast on the full, two-hour version of Umberto Giordano's "Andrea Chenier", as recommended (https://www.youtube.com/watch?v=x7hnwKQ4x_M&t=750s).
I had not heard the term "verisimo opera" before, and felt how it differed from "opera buffa"and "bel canto opera". I listened more to emotions, than to voices for some reason, and tried to determine when love, anger, disappointment, resignation and the like were being expressed. This may be off base or simplistic to those with a deep knowledge of opera, but bel canto seemed to elevate the music above the story; while verismo elevated the story above the music. I'll listen to a lot more of both before I draw any conclusions. There is so much opera to consume - one bite at a time. (Deliziosa!)
from reading your keen observations along the way I think it's more like 300 and 400 - levels for you and not 101! I really liked reading your initial perspective on what you are hearing as you compare the verismo style to bel canto. From pure a story perspective (verismo meaning "realism" in Italian) the verismo style definitely serves us up storylines that are a bit more approachable or maybe engaging?
I was having a conversation with another member (Bob) via email and he was talking specifically about Verdi and how he was on the edge between two styles. His early operas are closer to the traditional bel canto style, while his later operas are a bit closer to the later verismo style.
I think the recitative and aria - "lets-stop-and-listening-to-this-amazing-aria" - style versus the verismo music style which is more through-composed definitely make bel canto feel like it's more about the fireworks and less about the storyline (while there are sections that can be excerpted and performed as a stand-alone pieces, there really are not delineations from one section to the next in the verismo style). You are right too, unlike bel canto there is not usually any coloratura in verismo music either.
Michele, you put a lot of knowledge, love, and work into Opera Daily. I am amazed that you find time to respond to subscriber comments and questions with such warmth, kindness and positivity.
These concepts - "recitative and aria style", "through-composed", "stand-alone pieces" and 'delineations from one section to another" - help me demystify opera. Instead of just consuming sounds, I am discovering the vocabulary, structure and conventions of a unique art form. I now listen to this music with new ears.
I remembered today a longtime friend and mentor who used to listen to a live opera broadcast on her car radio whenever we were traveling to some event. At the time, my teen-aged heart longed only to hear Top 40 dance music. I considered this a form of torture on her part, which I politely endured.
I realize now that both she and my mother were a couple of subversives, who planted the seeds of their passion for opera in me from an early age. They are no doubt somewhere chuckling because years later, those dormant seeds met up with an opera singer online, during a pandemic, and have begun to bear fruit.
Tonight I'm listening to Luciano Pavarotti's peerless "Nessun dorma" (https://www.youtube.com/watch?v=cWc7vYjgnTs), followed Aretha Franklin's interpretation at The Grammys (https://www.youtube.com/watch?v=uHb75oTHOV4). For those who insist that this performance was cringeworthy, several YouTube comments reflect my feeling that the Queen of Soul can do no wrong!
😊😊 I LOVE IT ALL! Makes my heart sing. And it is my absolute pleasure to share and learn from everyone in this community. 🙏🏼🥂