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!)
The Flower Duet clip was just wonderful, thank you so much for sharing!
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)!
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!)