Welcome to the Rossini wrap up. We covered a lot of ground over the last two weeks. If you missed any of the posts, you could find them here: Intro to Rossini with a focus on opera buffaRossini’s later works with a focus on opera seriaListening session with Michele and Heather where we talk Rossini
I enjoyed the offerings for today's Rossini month finale. Now that I know he left us a treasure trove of operas, I look forward to finding both full productions online, and listening to famous artists who have interpreted his music. My first stop will be "Semiramide", because Joan Sutherland's bel canto style moves me. I suspect Rossini has long been a primer for every possible type of operatic voice. Hearing Maria Callas's soprano and Marilyn Horne's mezzo soprano, side-by-side, on "Una voce poco fa," was a good way to learn how to distinguish these voices. Speaking of which - dramatic, lyric, coloratura, mezzo - all describe the soprano voice. Yet, did I really read somewhere the term coloratura being applied to a tenor? And until I heard John Holiday on "The Voice" I had never heard of a "countertenor". I also am curious about the castrati, and what they did for art, willingly or not. Back to today, though, the clip of Arturo Toscanini conducting the overture from "Guillaume Tell" was a gem. He definitely was the G.O.A.T. in his day, wasn't he!?! Thomas Hampson singing "Largo al Factotum" was a special treat. I loved the campy introduction, too! How nice, after all these years, to know the real name of that aria!) You really sealed the deal, though, with the Spanish divas, Teresa Berganza (" L'italiana in Algeri") and Montserrat Caballé (“Figlia impura di Bolena”).
I'm excited for Gaetano Donizetti's operas about the Tudor Queens. I will brush up on my reading and documentary viewing in order to see how these herstories come to life in music.
Thank you so much, Heather, Michele (and let me add Nicole, too) for the work you've done to bring opera into our homes and workplaces. I'm here for it all!❤☮🌞💋
I did my best to get into the 1971 recording of "Semiramide", but failed. I was captivated, however, by an elegant production: https://www.youtube.com/watch?v=HrY6XHdvQ6I&t=1136s) by Teatro La Fenice (https://www.teatrolafenice.it/en/la-fenice-foundation/visit-us/). The subtitles are in French, but never mind. The singing, acting, staging and costumes are pure drama. My opera knowledge is admittedly limited, but I'm gaining fluency each week. So, I hereby pronounce Joan Sutherland's performance of "Bel raggio luminghier" peerless. I challenge anyone - professional or amateur - to prove otherwise (https://www.youtube.com/watch?v=AvZ-o0sgUHM). I promise to listen to any and all offerings!😀
Goodness, such emotion, such delivery, so powerful.
I enjoyed the offerings for today's Rossini month finale. Now that I know he left us a treasure trove of operas, I look forward to finding both full productions online, and listening to famous artists who have interpreted his music. My first stop will be "Semiramide", because Joan Sutherland's bel canto style moves me. I suspect Rossini has long been a primer for every possible type of operatic voice. Hearing Maria Callas's soprano and Marilyn Horne's mezzo soprano, side-by-side, on "Una voce poco fa," was a good way to learn how to distinguish these voices. Speaking of which - dramatic, lyric, coloratura, mezzo - all describe the soprano voice. Yet, did I really read somewhere the term coloratura being applied to a tenor? And until I heard John Holiday on "The Voice" I had never heard of a "countertenor". I also am curious about the castrati, and what they did for art, willingly or not. Back to today, though, the clip of Arturo Toscanini conducting the overture from "Guillaume Tell" was a gem. He definitely was the G.O.A.T. in his day, wasn't he!?! Thomas Hampson singing "Largo al Factotum" was a special treat. I loved the campy introduction, too! How nice, after all these years, to know the real name of that aria!) You really sealed the deal, though, with the Spanish divas, Teresa Berganza (" L'italiana in Algeri") and Montserrat Caballé (“Figlia impura di Bolena”).
I'm excited for Gaetano Donizetti's operas about the Tudor Queens. I will brush up on my reading and documentary viewing in order to see how these herstories come to life in music.
Thank you so much, Heather, Michele (and let me add Nicole, too) for the work you've done to bring opera into our homes and workplaces. I'm here for it all!❤☮🌞💋
I did my best to get into the 1971 recording of "Semiramide", but failed. I was captivated, however, by an elegant production: https://www.youtube.com/watch?v=HrY6XHdvQ6I&t=1136s) by Teatro La Fenice (https://www.teatrolafenice.it/en/la-fenice-foundation/visit-us/). The subtitles are in French, but never mind. The singing, acting, staging and costumes are pure drama. My opera knowledge is admittedly limited, but I'm gaining fluency each week. So, I hereby pronounce Joan Sutherland's performance of "Bel raggio luminghier" peerless. I challenge anyone - professional or amateur - to prove otherwise (https://www.youtube.com/watch?v=AvZ-o0sgUHM). I promise to listen to any and all offerings!😀