Juan Diego Flórez delivered a sweet rendition of "Una furtiva lagrima" from Donizetti's "L'Elisir d'amore". Pavarotti’s version was very impressive, though I’m not sure that his muscular singing really matched the character of Nemorino, a humble “nobody”. Of three artists I explored, I liked Enrico Caruso’s performance best. It was musically interesting, had more emotional depth, was credible in light of the story, and had the creativity and decorative qualities characteristic, I gather, of bel canto singers.
I now know that “opera buffa” is the term used for two comic operas I enjoyed in my youth - "The Barber of Seville" and "The Marriage of Figaro". I imagine opera composers and fans alike welcomed a respite, from time to time, from the heaving bosoms and tragic laments that dot the operatic landscape.
I appreciate your commentary on the various renditions. Your comment has sparked a thought that has been in my head, albeit obvious, but not articulated. While I think this is most definitely the case for the bel canto period and style (given the opportunity for the singer to add to and interpret what is written), generational differences aside, each singer seems to bring different interpretations to these roles. You can hear the arias again and again, with different singers and with full operas, different stagings, and with each hearing you will not merely hear music you know, but experience it again, and in deeper ways. While I go through the process of curating multiple interpretations of a role or an aria each week, my love of opera has deepened.
Thank you for this: "You can hear the arias again and again, with different singers and with full operas, different stagings, and with each hearing you will not merely hear music you know, but experience it again, and in deeper ways. While I go through the process of curating multiple interpretations of a role or an aria each week, my love of opera has deepened." This is exactly what it's been like for me to follow your (so much more than a) newsletter. You're like The Pied Piper without the unhappy ending. This pandemic, and you, have given us subscribers a blessing. Amen.
George Jellinek the Hungarian/New York music historian hosted The Vocal Scene on WQXR in the 1970's-1980's. His programs are a gold mine of Classical Music and Operatic Singers History,
Aldo Mancusi has a Enrico Caruso Muesum in his house on S. Island. When I ran The Italian Center we did a Caruso program on Victrola's in Bloomfield a while back that he gave. Not sure if he is still active but he also hosted Caruso's son in a recital around 2001.
This was truly beautifully sung, thank you.
Juan Diego Flórez delivered a sweet rendition of "Una furtiva lagrima" from Donizetti's "L'Elisir d'amore". Pavarotti’s version was very impressive, though I’m not sure that his muscular singing really matched the character of Nemorino, a humble “nobody”. Of three artists I explored, I liked Enrico Caruso’s performance best. It was musically interesting, had more emotional depth, was credible in light of the story, and had the creativity and decorative qualities characteristic, I gather, of bel canto singers.
I now know that “opera buffa” is the term used for two comic operas I enjoyed in my youth - "The Barber of Seville" and "The Marriage of Figaro". I imagine opera composers and fans alike welcomed a respite, from time to time, from the heaving bosoms and tragic laments that dot the operatic landscape.
Finally, I checked out this amazing website by Tom Frøkjær, http://www.enricocaruso.dk (English). It’s an extraordinary labor of love with all of Caruso’s recordings and incredible photos. I’m hooked on Caruso now. (YouTube: https://www.youtube.com/watch?v=t936rzOt3Zc )
I appreciate your commentary on the various renditions. Your comment has sparked a thought that has been in my head, albeit obvious, but not articulated. While I think this is most definitely the case for the bel canto period and style (given the opportunity for the singer to add to and interpret what is written), generational differences aside, each singer seems to bring different interpretations to these roles. You can hear the arias again and again, with different singers and with full operas, different stagings, and with each hearing you will not merely hear music you know, but experience it again, and in deeper ways. While I go through the process of curating multiple interpretations of a role or an aria each week, my love of opera has deepened.
Thank you for this: "You can hear the arias again and again, with different singers and with full operas, different stagings, and with each hearing you will not merely hear music you know, but experience it again, and in deeper ways. While I go through the process of curating multiple interpretations of a role or an aria each week, my love of opera has deepened." This is exactly what it's been like for me to follow your (so much more than a) newsletter. You're like The Pied Piper without the unhappy ending. This pandemic, and you, have given us subscribers a blessing. Amen.
🙏🏼
George Jellinek the Hungarian/New York music historian hosted The Vocal Scene on WQXR in the 1970's-1980's. His programs are a gold mine of Classical Music and Operatic Singers History,
Aldo Mancusi has a Enrico Caruso Muesum in his house on S. Island. When I ran The Italian Center we did a Caruso program on Victrola's in Bloomfield a while back that he gave. Not sure if he is still active but he also hosted Caruso's son in a recital around 2001.