J. Lauri-Volpi
VOCAL PARALLELS
Translated from Italian Yew, Ilyina
dramatic soprano
Juanita CHAPEL
; This singer, whose voice was endowed with a purely dramatic sound power, was born in Argentina. In 1912, she sang Aida in the play, staged at the Rome stadium In other words, in the open air (it was one of the first grand experiment of this kind), and then firmly established her nickname "Taman in a skirt." Its partners have been first-class singers: Gabriella Bezantsoni, Kodo tenor, baritone Gone. All of them were voices ringing metal. And yet, when all this huge space was filled with an avalanche of sound, the ears, like a battering ram, orchestra, chorus and soloists instantly faded. The impression was so deep that the actress immediately engaged by the next winter season to sing Norma in the theater "Costanzi. And sonic battering ram was brought before the audience double sacred oak druids invested in the mouth of high priestess, who led persuading recalcitrant head of the Roman general. Second vote, which could compare with it in terms of sonority, the ability to penetrate any choir and orchestra, it was not and I think it never will be. And then? Then the singer suffered disaster. While in the prime of his youth and strength, she was struck by a terrible, incurable disease, and from the tops of his greatness nizrinulas into the abyss of oblivion. She disappeared, and today you will not find mention of it, as if her leg had never set foot on this planet.
In contrast, the vast majority of singers Juanita Capella had no voice, "cone-shaped" (ie, tapering to uppercase), and wide, cylindrical, in other words, uniform and had the same "thickness" from bottom to top. Singer stands alone, this giant on the opera stage, who knew a lot of great voices, among them such "vocal pipes," as Pasini-Vitale, Poly-Randachcho, Eugenio Burtsev and Cecilia Gagliardi .*
* Speaking of voices, going beyond the normal, we should recognize worthy of special attention to two of foreign singers. I'm talking about Lehman and Flagstadt, singer-vagneristkah that, for all its immensity of sound did not dare yet to take up the "big" Italian repertory - for the part of Norma, eg. It is known that Flagstadt worked on this opera a good two years under the leadership of the venerable maestro Deller from the theater at the Metropolitan and at the end all lay down its arms. She refused to sing this role, which, besides a large and beautiful voice, requires a virtuoso technical skill.
In contrast, the vast majority of singers Juanita Capella had no voice, "cone-shaped" (ie, tapering to uppercase), and wide, cylindrical, in other words, uniform and had the same "thickness" from bottom to top. Singer stands alone, this giant on the opera stage, who knew a lot of great voices, among them such "vocal pipes," as Pasini-Vitale, Poly-Randachcho, Eugenio Burtsev and Cecilia Gagliardi .*
* Speaking of voices, going beyond the normal, we should recognize worthy of special attention to two of foreign singers. I'm talking about Lehman and Flagstadt, singer-vagneristkah that, for all its immensity of sound did not dare yet to take up the "big" Italian repertory - for the part of Norma, eg. It is known that Flagstadt worked on this opera a good two years under the leadership of the venerable maestro Deller from the theater at the Metropolitan and at the end all lay down its arms. She refused to sing this role, which, besides a large and beautiful voice, requires a virtuoso technical skill.
GINA CHINYA
; Gina French's voice is somewhat like a voice Chini Argentine Chapel. It sounded bright and wide in the upper register, but a few pritemnenno and gloomy at the bottom, while keeping the scale of the entire range. Chinya thundered performance as Turandot, Amelia, Gioconda. Bright external data helped her reign on the Italian and South American opera stages from 1934 to 1939, eclipsed Bianca Skachchati. This was followed by a duel between Chiney and Mary Canillo. This fight did not last long: Chinya suddenly and inexplicably lost vocal form and prematurely left the stage. It was a big disappointment for lovers of opera, accustomed to her charm, lightning prosverkam temperament, to her singing, in which loyalty to the text combined with hot spontaneity sounding. Such arias as "O sorrow, you are the gift of a sinister" from "Gioconda," as "love zaley rays" from the "Ball-Masquerade" or "Hear, stranger" from "Turandot" performed by her, showed striking vocal abilities, when added to the uncommon experience of a musician (Chinya was still and excellent pianist). The famous duo of the third act of "Bala-masquerade, the most beautiful and endearing piece of the whole opera, not one singer after She did not sing so brilliantly sound and unrestrained impulse.
What's the truth, clear Italian pronunciation, good diction, this French could not boast. The audience was delighted with her magnificent voice, but among the passages and hues, wavelets and accents could not "find" words. Neglect of the same word hurts vocal apparatus and reduces the expressiveness of the vocal line. If the word and sound do not go hand in hand, much of the individual actor remains unexpressed. The overall impression will be carved up as dark spots, which do not compensate no, even the lightest sound. Not to mention the fact that the incoherent, poorly articulated floor dulls the listener's attention, preventing him to empathize the feelings that are occurring spring drama, there are grounds to suspect that the reason for the unexpected decline of Gina Chini partly lies in the Her lack of "desire to say", which features the singer tool from all other musical instruments.
PARALLEL CHAPEL - CHINYA
Voice Choir Juanita was not as beautiful as the voice of Gina Chini, but it had more fullness and volume. Chanted, dramatic slovopodacha and commitment to higher education, the "perfect" the embodiment of his character gave the performance of Capella sculpture relief.
Inherent Chine gift of rationalist thought was pushing it to all sorts of experiments; she is constantly weighing the various probabilities, calculates and trying, trying to solve the eternal riddle scene podmostok. In this case, however, it always knew how, by mobilizing all its strengths, owning interests of the public and never disappoint her, despite the absence of verbal expression, as described above.
Both of them were singing repertoire, requiring enormous voice data, ultimate commitment and associated costs such nervous and physical energy, which lie at the limit of endurance of the female body. And both were forced to capitulate long before the deadline.
Gina Chinya, entering into fashion, burn themselves recklessly, trying to one hundred percent use the favorable moment, her moment. In this race with obstacles she left behind Skachchati and Arangio-Lombardi, but the rear its already overtook another competitor, younger and stronger than her. Fear of defeat and the fever competition deprived her of proper breathing: first, her voice has appeared variegation, then M & As, and finally she fell silent forever.
Chapel for several years, lost not only his voice, and lives. Theatre - it's an octopus-spider. It can deprive the singer of his weapon, and can kill.
say in parenthesis good word of one such timeless vocalist who disarmed, the Giannini Russ. While waiting for his last day she moved in the House of Verdi * whose walls housed many artists who have suffered life-shipwreck. Sublime and soulful singer, she was dressing opera. Today everyone thinks its dead, like her former rival Madzoleni Esther, who teaches at Palermo. Next to a pair of Capella - Chinya by association should remember a couple of Russ - Madzoleni.
Do that and the other the voices of the heroic sound zvenevshie metal. Similar in range and singing style, they were unequal in size. Voice of Russ was much greater volume, and while listening to smooth from top to bottom.
Thus, four excellent - and completely neglected to vote. The ashes of oblivion cover of these living dead. Yes, the actor, stopped singing, it is considered dead, even if he is alive. What is left to us from the four former famous singer? A bad record, hum Gina Chiney - it's not even the shadow of her brilliant, some Star soprano. Microphone, alas lied and at this time.
* House of Verdi - hospice for the elderly and the poor singers founded by Giuseppe Verdi.
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The Legendary Gina Cigna
CD 1
C. Gounod - Faust:
Sir, is granted (with N. De Anglis) - 1929
G. Verdi - La Forza Del Destino:
Me pilgrim and orphaned - 1930
G. Verdi - La Forza Del Destino:
Mother, piteous virgin - 1930
C. Gounod - Faust:
How I wish I could - 1930
C. Gounod - Faust:
All "steep, all" slope (with Civil P., T. Pasero) - 1930
A. Ponchielli - La Gioconda: Suicidio
- 1931
U. Giordano - Andrea Chenier: His mother died
- 1931
G. Verdi - Un Ballo in Maschera: Morro
, but first in grace - 1932
A. Boito - Mefistofele:
Knight
illustrious and wise (with I. Mannarini, Civil P., T. Pasero) - 1932
A . Catalani - La Wally: Ne
"maidunque - 1932
F. Cilea - Adriana Lecouvreur
I am I" humble servant - 1932
F. Cilea - Adriana Lecouvreur Poveri
flowers - 1932
G. Puccini - La Fanciulla del West:
there in Soledad - 1932
G. Verdi - Aida:
Return victorious - 1937 CD 2
G. Verdi - Aida:
Here you will Radames - 1937
G. Verdi - Aida: Act III Duet
(with B. Gigli) - 1937
V. Belini - Standard:
seditious voices - 1937
V. Belini - Norma: Casta Diva
- 1937
V. Belini - Standard:
Ah Beautiful, Return to me - 1937
G. Verdi - Aida:
The fate of "weapons (with Elmo C.) - 1941
A. Ponchielli - La Gioconda:
L "as love and the light (with C. Elmo) - 1941
F. Cilea - Adriana Lecouvreur:
I am his (with C. Elmo) - 1941
G. Verdi - Otello:
God you merry (with A. Pertile) - 1942
R. Zandonai - Francesca da Rimini:
Welcome, Lord (with A. Ziliani) - 1942
Bellini - Norma Norma
- Gina Cigna,
Adalgisa - Ebe Stignani;
Oroveso - Tancredi Pasero;
Pollio - Giovanni Breviario;
Flavio - Emilio Renzi;
Clotilde - Adriana Perris.
EIAR Symphony Orchestra and Chorus of Torino, 1937
Conducted by Vittorio Gui.
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Puccini - Turandot
Franco Ghione, Director (1938)
Turandot Calaf Gina Cigna, Francesco Merli
Liu Luciano Neroni, Magda Olivero
Timur
El Emperador Armando Giannotti Afro Poli
Ping Pang Pong Gino Adelio Zagonara
the Lord
A MandarinGiuseppe Bravura
Orchestra: Turin RAI de
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Giannina Russ Mascagni - Cavalleria rusticana Turiddu mi tolse l'onore
Giannina Russ Rossini - Semiramide Dolce pensiero - 1904
Giannina Russ Verdi - Aida Ritorna vincitor - 1905
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