Truly one of the greatest Italian lyric sopranos of the later half of the twentieth century, Mirella Freni made her mark in a wide-range of repertoire. After beginning in the lighter soprano repertoire, she was able to later take on fuller, more dramatic roles with no loss of her vocal resources.
She was a renowned Mimi, singing on the successful recording of La boheme with Pavarotti conducted by Karajan.
Later in career, she also managed to be successful in Russian repertoire, especially Tatyana in Eugene Onegin. This was in large part because of her marriage to celebrated bass Nicolai Ghiarov. Here are many selections of Freni in some of her celebrated roles to give you an idea of the progression of her career:
Her italianate way of phrasing is put to fine example in this excerpt from "Le nozze di Figaro":
In addition to the Italian repertoire, she was also successful in the French operas Faust and Romeo et Juliette:
To me, her greatest interpretive and vocal gifts were exhibited in the Italian repertoire. Here are several of greatest roles:
Sunday, August 23, 2009
Robert Weede (1903-1972)
Robert Weede was a tremendous American baritone who had a long and successful career in opera, and musical theater.
His repertoire included Rigoletto, Scarpia, Tonio, and Amonasro.
He also created the role of Tony Esposito in the original Broadway production of "Most Happy Fella".
His is a vocal talent that should be re-examined and his name should be more widely known and added to the Pantheon of Great Singers.
His repertoire included Rigoletto, Scarpia, Tonio, and Amonasro.
He also created the role of Tony Esposito in the original Broadway production of "Most Happy Fella".
His is a vocal talent that should be re-examined and his name should be more widely known and added to the Pantheon of Great Singers.
Tuesday, June 30, 2009
Ebe Stignani (1903-1974)
Stigani was one of the leading dramatic mezzo-sopranos of the early 20th century.
She was a judicious singer, only taking roles that suited her vocal abilities. This led to her having quite a lengthy career.
Some of her most celebrated roles included Amneris in Aida, Laura in La Gioconda, Dalila, Brangaene, and Ortrud.
One of her most celebrated recordings is the 1954 recording of Norma with Maria Callas. Stignani was already in her 50s, but the voice was still plush and round.
She was a judicious singer, only taking roles that suited her vocal abilities. This led to her having quite a lengthy career.
Some of her most celebrated roles included Amneris in Aida, Laura in La Gioconda, Dalila, Brangaene, and Ortrud.
One of her most celebrated recordings is the 1954 recording of Norma with Maria Callas. Stignani was already in her 50s, but the voice was still plush and round.
Saturday, June 27, 2009
Inga Kalna
This Latvian soprano blew me away when I first heard her, and she's still in the midst of her career. Although she hasn't attained the world-recognition that I think she deserves, if she continues her trajectory, I think most will everyone will know her work.
She possesses a thrilling voice, used with passionate musicianship and style.
She has appeared as Lucia, Violetta, and Mimi. It is the Handel and baroque repertoire that also shows off her stunning gifts. Unfortunately, I could only find audio clips on YouTube, and no video clips.
Listen to the expressivity of her "Ah crudel" from Handel's Rinaldo. Occasionally, the resonance of her "a" vowel reminds me of Callas.
She can also thrill with the power and agility of her coloratura in this example, also from Handel's Rinaldo "Furie terribili":\
And here she is in the exciting duet, also from Rinaldo, with Vivica Genaux, "Fermati". (WHAT A TEMPO!!)
She possesses a thrilling voice, used with passionate musicianship and style.
She has appeared as Lucia, Violetta, and Mimi. It is the Handel and baroque repertoire that also shows off her stunning gifts. Unfortunately, I could only find audio clips on YouTube, and no video clips.
Listen to the expressivity of her "Ah crudel" from Handel's Rinaldo. Occasionally, the resonance of her "a" vowel reminds me of Callas.
She can also thrill with the power and agility of her coloratura in this example, also from Handel's Rinaldo "Furie terribili":\
And here she is in the exciting duet, also from Rinaldo, with Vivica Genaux, "Fermati". (WHAT A TEMPO!!)
Friday, June 26, 2009
Jussi Bjoerling (1911-1960)
Jussi Bjoerling was one of the most important tenors of the 20th century. With Caruso, and Beniamino Gigli he ranks as one of the most influential tenors of his time.
As a child he sang with his family's quartet, and some recordings of him as a child reveal a robust and well-registered voice.
He had a major international career and sang at the Metropolitan Opera throughout the 40s and 50s. He possessed a voice of rare warmth and sweetness, which he used with matchless style and technique and with impeccable good taste. He was married to the soprano Anna-Lisa Berg.
As a child he sang with his family's quartet, and some recordings of him as a child reveal a robust and well-registered voice.
He had a major international career and sang at the Metropolitan Opera throughout the 40s and 50s. He possessed a voice of rare warmth and sweetness, which he used with matchless style and technique and with impeccable good taste. He was married to the soprano Anna-Lisa Berg.
Wednesday, June 24, 2009
Renata Tebaldi (1922-2004)
(This post is dedicated to Maestro DeRenzi)
Renata Tebaldi was one of the greatest lyric Italian sopranos of all time. Dubbed 'la voce d'angelo" by Arturo Toscanini, she was one of the most beloved singers of her generation.
Her rivalry with Maria Callas served both women well, as it caused publicity that garnered audience for both. Later in life, Tebaldi was amused by the rivalry, because she couldn't understand why audiences and critics pitted her against Callas. Tebaldi's voice was more lyric and Callas was more of a dramatic-coloratura.
Tebaldi's plush, velvety voice was well served in the Italian verismo repertoire. She was an enchanting Mimi, a passionate Tosca, and a beautiful Desdemona.
Here are some of her most celebrated roles:
Renata Tebaldi was one of the greatest lyric Italian sopranos of all time. Dubbed 'la voce d'angelo" by Arturo Toscanini, she was one of the most beloved singers of her generation.
Her rivalry with Maria Callas served both women well, as it caused publicity that garnered audience for both. Later in life, Tebaldi was amused by the rivalry, because she couldn't understand why audiences and critics pitted her against Callas. Tebaldi's voice was more lyric and Callas was more of a dramatic-coloratura.
Tebaldi's plush, velvety voice was well served in the Italian verismo repertoire. She was an enchanting Mimi, a passionate Tosca, and a beautiful Desdemona.
Here are some of her most celebrated roles:
Tuesday, June 23, 2009
Georges Thill (1897-1984)
The wonderful French tenor Georges Thill has recorded one of the best recordings of "Werther" ever. He is often considered to be one of the greatest lyric-dramatic tenors that has ever come out of France.
He was a student of Fernando de Lucia (who will be covered in an upcoming blog).
He was a singer of exemplary style and grace. I highly recommend the Werther recording that he made with Ninon Vallin. The interesting note regarding the recording is that Thill and Vallin detested each other.
For singers, French can prove to be a difficult undertaking to make the language work effectively. Thill serves as a wonderful example of how effective singing in French can be achieved.
To start off, here is a WONDERFUL little gem: Georges Thill sings "Che gelida manina" in French, so it becomes "Que cette main est froide". It takes some getting used to, but it's BEAUTIFULLY sung with a thrilling high C:
From Romeo et Juliette, the tomb scene:
From Faust, a beautiful "Salut demeure chaste et pure":
From Tosca, the French version of "E lucevan le stelle" - "Le ciel luisait d'etoiles"
And finally, from Werther, "Lorsque l'enfant revient d'un voyage":
He was a student of Fernando de Lucia (who will be covered in an upcoming blog).
He was a singer of exemplary style and grace. I highly recommend the Werther recording that he made with Ninon Vallin. The interesting note regarding the recording is that Thill and Vallin detested each other.
For singers, French can prove to be a difficult undertaking to make the language work effectively. Thill serves as a wonderful example of how effective singing in French can be achieved.
To start off, here is a WONDERFUL little gem: Georges Thill sings "Che gelida manina" in French, so it becomes "Que cette main est froide". It takes some getting used to, but it's BEAUTIFULLY sung with a thrilling high C:
From Romeo et Juliette, the tomb scene:
From Faust, a beautiful "Salut demeure chaste et pure":
From Tosca, the French version of "E lucevan le stelle" - "Le ciel luisait d'etoiles"
And finally, from Werther, "Lorsque l'enfant revient d'un voyage":
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