J. Lauri-Volpi
VOCAL PARALLELS
Translated from Italian Yew, N. ILYIN
ROSE Poncelet
With scenic birth accomplished on the stage Met her, so to speak, was the recipient of a singer whose popularity knew no bounds. It was none other than her friend, a Neapolitan Enrico Caruso. A birth occurred on the representation of "Force of Destiny". She called herself Ponselle, but her real name was Rosa Pondzillo. Being a blood Neapolitan, It featured the same portly, the same swarthy skin tone, and the same vocal shortcomings, that the famous tenor. No wonder that it was immediately dubbed «Карузо в юбке».
Cтены театра «Метрополитен» никогда не слышали голоса более страстного and full of bliss, issue more accurate and direct, that would be born from the heart so crowded unconscious, instinctive awe. Leonora, Zoellick *, Aida lived in it, like reality, accompanying her own existence. "Do not leave me and have mercy, my God" and "You, a virgin inviolate" from "forces of destiny" never experienced the heart and not expressed in sound with such an organic, primal emotion, sweeping petrified listeners jets sonority. Charm purebred Neapolitan lived in a woman who was born overseas and had the regal height and posture.
* Зелика - персонаж оперы Дж. Мейербера «Африканка» (прим. перев.).
Простая фраза Зелики «Народ, in the face of your ...», sung by her and supported her impressive appearance, flared, like a thunderbolt, and creepy.
Rosa Ponselle - Bizet - Carmen - Habanera
Так вот, и этому солнечному голосу было суждено исчерпать себя за несколько лет. У певицы не было two notes, two tones, which should have been crowned with that voice, so compact in the rest of the range. She would not know until the natural system. Because of uncertainty in them she eventually began to acquire the panic attacks, something like a fever from which dried up in the throat and stupid. This forced its set in the corners behind the scenes Servant, always ready to lend her a glass with a cool drink. The high tessitura leads her into the horror, forced give up. But this lack thereof was not real: he appeared as the fruit of self-hypnosis, games overwrought nerves. Low, mid and high notes she could keep breathing, just on the line, they all form a single stem of a vocal, strong and sonorous, decorated with buds ringing overtones. Her voice was a kind of cello, which she could play with skill, talked about the high level, impeccable craftsmanship. But will, driving the bow, undermining the uncertainty in itself, and the reasons for this lay not in technology. Intellect she was not in tune with feeling. And invariably advancing a moment when the will changed, and bow at once "kiksoval.
suffering that this amazing vocalist who had to endure in the first act of "La Traviata" and farewell with Alfred in the second act, finally broke her will. And the theater at the Metropolitan, and with it the rest of the world lost a very gentle Juliet, the thinnest Vestal, which only remembers the opera stage. Raging Violetta as to strangle the humble vestal. Crime was committed through the fault of a veteran conductor, gave the precocious singer and brutal advice. This musician could not comprehend that a restless temperament, limited upper case extraordinary density of sound and themselves physique artist, including its massive snub nose, were not the best material for molding the image of a gentle, anxious and frantic Parisian Romanticism which lit up the whole century and continues to this day excite the souls of women and awaken the entrepreneurial filmmakers. Battles of this unexpectedly fail, Ponselle had lost faith in his voice, in themselves, people in the whole world and became a refuge in the quiet of home. What pangs conscience must torment this unfortunate conductor who ruined the singer, does not know the true nature of values, the data it nature!
МАРИЯ КАНИЛЬЯ
Это — лирическая певица, которая со временем, becoming a mother, there was a dramatic singer. Neapolitan soul and body, she leaned into his vocals on instinct and inner impulses. This instinct and impulsivity to wonder if she were the creation of images of anguish and Santutstsy.
Her voice was filled with exaltation. Off stage, in a rehearsal hall, she was never sure if she can make your voice pour out a stream of the larynx. Nature has blessed her generous to excess, and as if recollecting himself, did not wish to align three registers of her voice. Lower case sounded in her dark, almost muffled, the average was rounded and only pritemnennym, the top is a sonorous and bright. Curiously, note that its transition was not the F-sharp, as is usually the case, but salt - A flat .* Hence, some uncertainty, slipping only in those arias, songs and melodies that end up in A flat, or pure la. Tension and fear is clearly visible in the last note "Prayer of Desdemona, in the aria" I do not say the words "from" Troubadour ", in the aria" Here Radames forward "and so on. The rest of her voice was bright and warm, and only this anomaly transition music singer often plunged into confusion, which then began to hurt her in competition with younger and more technically savvy singers like Tebaldi and Callas. This uncertainty implies apparently attributed to a weakened self-control, making voice, not always having the opportunity to relax and save on mezzo voche undergoes excessive overloads. However, these accelerations Caneel able to oppose such a physical energy, such will, such endurance that almost fifteen years reigned reigned on the stage of Italian and German opera houses. We will not argue about the level of vocal skill, and give away a better tribute to the beauty sound, delivering the audience pleasure and joy. Today indefatigable Maria Caneel seems to want to apply to the "Favorita" and "Werther"; Well, the breadth and richness of timbre inherent in its middle and lower registers, she gives it all the rights.
* As we shall see below, a similar anomaly different voice and a tenor Lauri-Volpi.
Maria Caniglia - Verdi - Don Carlo - Tu, che le vanita
; Arangio-Lombardi of the mezzo-soprano turned into a soprano, Caneel undergoing reconversion. These very eloquent vocal deviations should be of great interest for those who study the physiology of the vocal in its relationship with human instincts, character and temperament. Whatever it was, no one can deny that singer in the heroic ardor and ability to transfer students their feelings. And, going through her voice coupled with an amazing voice, Rosa Ponselle, we pay Caneel highest recognition from the position of an absolutely objective. Currently she is the only truly dramatic soprano opera.
PARALLEL Poncelet - Caneel
; Their voices are related, but differ in technique of sounding, and the psychological underpinnings. Singer, these are likely to be pursued the same goals, if passed a single vocal school and have been educated in the spirit of common aesthetic ideals. Their voices were both memorable. Ponselle vocal style shows the preparation of thorough and solid, the persistent hold of life "is absolutely certain principles. Same principles, which adheres to Mary Canillo, exhibit vagueness of the initial installations and objectives of her mentors.
Ponselle talking about from the minute how she first came to the ramp of one of the greatest theaters next to the first tenor in the world. Caneel years looking for his face and his repertoire. Making an attempt for the attempt, упорно пробуя себя то в одной, то в другой партии, она постепенно сумела сформировать свою творческую личность и свой стиль.
Rosa Ponselle - Verdi - La Traviata - Ah! Fors is him ... Always free
; Ponselle vocal line gravitated to the purity of classical drawing, although she was warmed by the feeling. In the singer lived love, congenital or acquired, to clean sonic beauty; American critics that love immediately noticed and began to extol. "Vibrato", they correct the sound vibrations of the jet, which in Italy was so pleased with parterre amateurs and Sunday public provincial theater in America is firmly, is strictly prohibited, and music criticism punish it with fire and sword. American singers know it and otherwise look after themselves, trying to develop a sound straightforward, the late, serene. Italians, falling in the Metropolitan, also not averse to observe moderation, and they try not to "pinch" is not particularly waving my arms and tearing a passion in shreds.
However, here we only interested in the technical side of vibrato. Very likely be that Mary Canillo, being an intelligent singer, has managed to eradicate this a drawback that prevents it only at the extreme range of notes (it was noted, however, a very slight extent and Muzio), if she had a long time to work in, "Metropolitan" and learn how the tastes of his audience, and the severity of local Legislators vocal style. It certainly would pay attention to the fact that some teachers are trying to achieve uniformity and "interpenetration" vocal registers and teach dosing breath and that it allows their students, maintaining the continuity of vocal brilliance and pattern, do not be afraid adagio Andante and requiring submission of a flat bow sound and sturdy fused these same registers. Talent often strives to do without the oppressive rigor technical rules. But to succeed, on the one hand, in "Tosca" and "Rusticana" and on the other - in "normal" or "priestess" - this is not the same thing. In addition, the excitement coming from the depths of the soul, and should not be confused with the excitement of the surface. These two types of anxiety are distinct, and yet in its effect on the vocals, because each of these cases, the voice operates as though at different levels, as measured by "the way" of singing and by the way, what part души надлежит высветить.
Maria Caniglia - Verdi - La Traviata - Sempre libera
;
Rosa Ponselle in the sense of technology is much superior to Canillo. Her statement is reliable and register fusion. And yet, Caneel, revealing miracles of endurance and perseverance in the pursuit of goals, constantly struggling with herself, gives us an example that Ponselle could not give and do not know how. Most recently, in June 1955, Mary Canillo participated along with Lauri-Volpi in the resurrection from the dead donitsettievskogo "Polyeuktos, sumptuously staged in the terms Caracalla, and it has demonstrated its will to overcome difficulties. ;
http://www.rosaponselle.com/bio.html
Competition Mary Canillo
Download записи
Maria Caniglia
Maria Caniglia - soprano Ebe Stignani
- mezzo-soprano
Beniamino Gigli -
tenor Ezio Pinza - bass
Choir and Orchestra of the Opera House, Rome Tullio Serafin
August 1939
Lossless MP3Verdi - Aida
King of Egypt - Italo Tajo
Amneris, his daughter - Ebe Stignani
Aida, Ethiopian slave - Maria Caniglia
Radames, captain of the guards - Beniamino Gigli
high priest, chief priests - Tancredi Pasero
Amonasro, king of Ethiopia, Aida's father - Gino Bechi
A priestess - Maria Huder
A messenger - Adel Zagonara
Orchestra and Chorus of the Teatro dell'Opera di Roma
Tullio Serafin
Recorded: 07/1946
Venue: Opera Theater, Rome, Italy
Lossless MP3
Giordano - Andrea Chenier
Chenier - Beniamino Gigli
Gerard - Gino Bechi
Magdalena - Maria Caniglia
Bersi - Maria Countess of Huder
Coigny - Giulietta Simionato
Madelon - Victory Palombini
Roucher - Italo Tajo
Fléville - Giuseppe Taddei
Fouquier Tinville - Mathieu - Lion Paci
Orchestra and Chorus of Teatro Alla Scala in Milan
Oliviero de Fabritiis
Recorded: 1941
Lossless MP3
Verdi - Aida
Aida - Maria Caniglia
Radames - Beniamino Gigli
Amneris - Ebe Stignani
Amonasro - Armando Borgioli
King - Norman Walker
Ramfis - Corrado Zambelli A
Messenger - Blando Giusti
Priestess - Princess Josephina Wray
Danser - Margot Fonteyn
London Symphony Orchestra & Chorus Conducted by Sir Thomas Beecham
London: Wednesday, May 24th 1939
Lossless MP3
Verdi - Un Ballo in Maschera Riccardo
- Beniamino Gigli
Amelia - Maria Caniglia
Renato - Gino Bechi
Ulrica - Fedora Barbieri
Oscar - Elda Ribetti
Silvano - Nicola Niccolini
Samuel - Tancredi Pasero
Tom - A judge
Ugo Novelli - Blando Giusti
Coro del Teatro dell 'Opera di Roma
Giuseppe Conca
Orchestra Teatro dell 'Opera di Roma
Tullio Serafin
Recorded - 1943 (remastered)
Lossless MP3
Verdi - La Forza del Destino
Leonora 1941 - Maria Caniglia
Alvaro - G. Mazin
Don Carlos - C. Taliabue
Preziosilla - E. Stignani
Father Superior -T. Pasero G.
Conditions Marinuzzi
May 1941.
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Puccini - Tosca
Tosca - Maria Caniglia
Cavaradossi - Beniamino Gigli
Scarpia - Armando Borgioli
Orchesra and chorus of the Teatro Reale dell'Opera di Roma
Director: Oliveira de Fabritiis
(p) 1938
Lossless MP3
Puccini - Tosca
Floria Tosca - Frank Duval / item Maria Caniglia
Mario Cavaradossi - Franco Corelli
Baron Scarpia - Afro Poli / item Giangiacomo Guelph
The sacristan - Vito de Taranto
Cesare Angelotti - Antonio Sacchetti / voice of Franco Pugliese
Spoletta - Fernando Alfieri / item Adelio Zagonara
Sciarrone - Aldo Relli
A jailer - Franco Pugliese
Orchestra - Teatro dell'Opera di Roma
Chorus - Teatro dell'Opera di Roma
Conductor - Oliviero De Fabritiis
AVI
Rosa Ponselle
Verdi - La Traviata
LA TRAVIATA Violetta Valéry - Rosa Ponselle
Alfredo Germont - Frederick Jagel
Giorgio Germont - Lawrence Tibbett
Flora Bervoix - Elda Vettori
Annina - Henrietta Wakefield
Gastone de Letorieres - Angelo Bada Baron
Douphol - Alfredo Gandolfi
Marquis d'Obigny
Doctor Grenvil - Paolo Ananian
Chorus and Orchestra of the Metropolitan Opera Ettore Panizza
January 5, 1935
Bonus: Vincenzo Bellini
UNDER
seditious Voices - Casta Diva - Ah! Return to me beautiful
Mira o Norma
with Marion Telva (Adalgisa)
MP3
Rosa Ponselle - The Victor 1939 and 1954 'Villa Pace' recordings 3CD
Disc: 1
1. Tosti: Si tu voulais
2. de Fontenailles: A love
3. Rimsky-Korsakov: The Nightingale and the Rose
4. Charles: When I Have Sung My Songs
5. Charles: When I Have Sung My Songs
6. Schubert: Ave Maria
7. Arensky: On Wings Of Dreams
8. Schubert: Ave Maria
9. Martini: Plaisir d'amour
10. 18th century shepherdess; arr. By JBWeckerlin: Young girl
11. Debussy: Beau Soir
12. Delibes: Hello, Suzon
13 Debussy: The hair
14. arr. By Gertrude Ross: Carmen-Carmela
15. Granados: El Mirar of Maja
16. Alvarez: La Partida
17. Paisello: La Molinara: Nel cor piu non mi sento
18. attr. Rosa: Star vicino
19. Tosti: 'A Vucchella
20th Tosti: Ideale
21st Tosti: Marechiare
22nd Sadero: Fa la nana Bambin,
23rd Falvo: Dicitencello VUJE
24th Tosti: Could I
MP3
Disc: 2
first Lully: Amadis: Bois espais
second Persico: Rosemonde
third Saint-Saens: Guitars and mandolin
4th Chaussson: From: "Poeme de l'amour et de la mer: Le temps des Lilas
5th Brahms: From everlasting love, Op 43 No.. 1
6th Trunk: I dreamed of a Konigskind, Op. 4 No. 5
7th Schubert: elf king, Op. I
8th Beethoven: In questa tomba oscura
9. Wolf-Ferrari; Rispetto
10. Donaudy: O del mio amato ben
11. Tosti: Aprile
12. Sadero: Amuri, amuri
13. Sadero: I battitori di grano
14. trad. Drink To Me Only With Thine Eyes
15. Farley: The Night Wind
16. del Riego: Homing
17. Interview With Ruby Mercer: Introduction And Announcement Of Lully's - 'Bois epais'
18. Interview With Ruby Mercer: Comments On Persico's - 'Rosemonde'
19. Interview With Ruby Mercer: Comments On Saint-Saens's - 'Guitares et mandolines'
20. Interview With Ruby Mercer: Comments On Brahms's - 'Von ewiger Liebe'
21. Interview With Ruby Mercer: Comments On Trunk's Mir - 'traumte von einem Konigskind'
22. Interview With Ruby Mercer: Comments On Schubert's - 'Erlkönig'
23. Interview With Ruby Mercer: Comments On Beethoven's - 'In this dark tomb'
24. Interview With Ruby Mercer: Comments on Wolf-Ferrari's - 'Respect'
25. Interview With Ruby Mercer: Comments on Donaudy's - 'O well-beloved'
26. Interview With Ruby Mercer: Comments On Tosti's - 'April'
27. Interview With Ruby Mercer: Comments On Sader's - 'Amuri, Amuri'
28. Interview With Ruby Mercer: Comments On Sader's - 'The wheat batters'
29. Interview With Ruby Mercer: Comments On - 'Drink To Me Only With Thine Eyes'
30. Interview With Ruby Mercer: Comments On Farley's - 'The Night Wind '
31. Interview With Ruby Mercer: Comments On de Riego's - 'Homing And Concluding Remarks'
MP3
Disc: 3
1. Mozart: Le nozze di Figaro: voix
2. Ciampi, formerly attr. to Pergolesi: Three days are Nina
3. Schubert: An die Musik, Op 88 No. 4
4. Schubert: Der Tod und das Madchen, Op 7 No. 3
5. Wagner: Traume, No. 5 From 'Wesendonck Lieder'
6. R. Strauss: Morgen!, Op 27 No. 4
7. Tchaikovsky: Nur wer die Sehnsucht kennt, Op 6 No. 6
8. Duparc: L'invitation au voyage
9. Paladilhe: Psyche
10. Chopin; arr. By Litvinne: Tristesse eternelle
11. De Falla: From 'Seven Popular English Songs': Asturiana, No. 3
12. De Falla: From 'Seven Popular English Songs': Nana, No. 5
13. Munro: My Lovely Celia
14. Lockhart-Manning: In The Luxembourg Gardens
15. Bizet: Angus Dei
16. Luzzi: Ave Maria
17. Millard: Ave Maria
18. Sandoval: Ave Maria
19. Tosti: Ave Maria
20. Denza: Se
21. Buzzi-Peccia: Colombetta
MP3
The legendary Rosa Ponselle (1897-1981), Sopran Vol. 1
1. VERDI (1813-1901)-IL TROVATORE-Mira, in bitter tears-with Ricardo Stracciari (baritone)-recorded 1920
2. BELLINI (1801-1835)-UNDER-Casta Diva-recorded 1919
3. OFFENBACH (1819-1880), Les Contes d'Hoffmann-Barcarole-recorded 1919
4. VERDI (1813-1901)-IL-TROVATORE D'amor sull'ali rosy-recorded 1918
5. Mascagni (1863-1945) CAVALRY RUSTICANA-you-know-recorded 1919
6. OF CAPUA Mari-Maria-recorded 1919
7. HERBERT (1859-1924)-Madmoiselle MILLINERS-Kiss me again-recorded 1920
8. Halevy (1799-1862) La Juive-be-be-recorded the 1924
9. WAGNER (1813-1883)-LOHENGRIN-einsam trüben Tagen-recorded in 1923
10. BELLINI (1801-1835)-UNDER-Mira, or standard-recorded 1929
11. SNACKS (1774-1851)-which I call the Vestal-Tu-recorded 1926
12. VERDI (1813-1901)-OTHELLO-1924-recorded singing wept
13. VERDI (1813-1901)-ERNANI Surte и-night-Ernani involami-recorded 1924
14. Arensky (1861-1906)-On Wings of dream-recorded 1939
15. JACOBS-A perfect day-recorded 1925
MP3
The legendary Rosa Ponselle (1897 - 1981), Vol 2 Sopran
1. TOSTI (1846 - 1916) - Goodbye - recorded 1918
2. PUCCINI (1858 - 1924) - Tosca - Vissi d'arte - recorded 1919
3. PUCCINI (1858 - 1924) - MADAME BUTTERFLY - A nice we will see - recorded 1919
4. TRADITIONAL - Comin 'thro the rye - with Carmela Ponselle (medium) - recorded 1919
5. Vanderpool - Values - recorded 1920
6. GREEN (1813 - 1901) - AIDA - O earth goodbye - with Charles Hackeоо (tenor) - recorded 1920
7. GREEN (1813 - 1901) - La forza del destino - Pace, Pace my God - recorded 1920
8. Rimsky - KORSSAKOV (1844 - 1908) - Sadko - Song ot India - recorded 1920
9. MASSENET (1842 - 1912) - Elegie - recorded 1926
10. BACH (1685 - 1750) - Ave Maria - recorded 1926
11. CHARLES - When I have sung my songs - recorded 1939
12. BELLINI (1801 - 1835) - UNDER - Casta Diva edition items - recorded 1928
13. SNACKS (1774 - 1851) - LA VESTALE - O nume tutelar - recorded 1926
14. VERDI (1813 - 1901) - OTELLO - Ave Maria - recorded 1924
15. DE CURTIS - Carme - recorded 1924
16. RIMSKY - KORSSAKOV (1844 - 1908) - The nightingale and the rose - recorded 1939
MP3
Bizet - Carmen
Carmen: Rosa Ponselle
Don Jose: Rene Maison
Micaela: Hilda Burke
Escamilo: Julius Huehn
Frasquita: Thelma Votipka
Mercedes: Helen Olheim
Le Remendado: Giovanni Paltrinieri
Le Dancaire: George Cehanovsky
Zuniga: Louis D'Angelo
Morales: Wilfred Engelman
Met Orch.
and Chorus Conductor Gennaro Papi
Broadcast while on tour in Cleveland, OH: April 17, 1937
MP3
Rosa Ponselle (First Item) Vol.2
ACOUSTIC RECORDINGS
1. Madama Butterfly (Madame Butterfly), opera Acte II: Un bel dì vedremo (rec.1919)
2. Tosca, opera Acte II: Vissi d 'Arte (rec.1919)
3. La forza del destino, opera Acte II: The Virgin of the Angels (rec.1918)
4. Il Trovatore, opera Acte IV: D ' amor sull'ali dew (rec.1918)
5. Cavalleria rusticana, opera in 1 act Voi lo sapete (rec.1919)
6. Goodbye (Addio), (rec.1918)
7. Miss Modiste, operetta Act I: Kiss Me Again (rec.1920)
8. Sadko, opera Song of India (rec.1920)
9. Manon Lescaut, opera Act II: In quelle trine morbide (rec.1923)
10. La Juive, opera Act 2: He will come (rec.1924)
11. Lohengrin, opera, WWV 75 Act 1: Einsam in trüben Tagen (Elsa's Dream) (rec.1923)
Conducted by Romano Romani
ELECTRIC RECORDINGS
12. Aida, opera Act 1: Ritorna Vincitor (rec.1928)
13. Aida, opera Act 4: Tomb Scene (rec.1926)
with Elsie Baker, Giovanni Martinelli
14. Elegie 'O doux printemps d'autrefois, "(rec.1926)
15. Ave Maria (after Bach) (rec.1926)
16. When I Have Sung My Songs (rec.1939)
with Romano Romani plan
MP3
Rosa Ponselle (First Item) Vol.3
ACOUSTIC RECORDINGS
1. Aida, Return victorious (rec.1923)
2. Aida, The fatal stone ground ... O farewell! (Rec.1924)
with Martinelli
3. Ernani, Ernani! Ernani, involami (rec.1922)
4. Il Trovatore, serene night was silent (rec.1922)
5. La forza del destino, Peace, Peace, My God (rec.1923)
6. Guillaume Tell, Selva opaca (rec.1923)
7. L 'Africaine, Son del sol (rec.1925)
8. La bohème, Yes, they call me Mimi (rec.1923)
9. I Pagliacci, screeching like fire up there ... (rec.1924)
10. O Mari, O Mari (rec.1920)
11. La Serenata (rec.1924)
with Francis J. Lapitino,
Conducted by Romano Romani
ELECTRIC RECORDINGS
12. A vucchella ("Arietta of Posilippo") (rec.1926)
13. Summer Moon (rec.1926)
14. Carry Me Back to Old Virginny (rec.1925)
Conducted by Josef A. Pasternack
15. My Old Kentucky Home (rec.1925)
16. Old Folks at Home (rec.1925)
17. Si Tu the Voulais (rec.1939)
with Romano Romani plan
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