Continued thread
I tried to find the paper he refers to, but it is unavailable (he also says it closer to the end of the video). However, Opera U does exist.
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53 posts33 participants5 posts today
(for opera lovers)
How would you describe your favourite singer, particularly to someone who is unfamiliar with his work or who doesn't know much of it?
Every time I try to describe the voice and style of Tito Schipa, I find myself unable to do so adequately. This is not only because I might lack a few technical terms, but because I find it to be so perfect that words seem insufficient to convey its essence. It is unlike any other operatic voice I have ever heard. There is a quality to it that some have described as husky, but that I think gives it a well-rounded sound. It is sweet but not overly so. It can be assertive when necessary but never dark or overwhelming. His ornamentation is always just enough, never less or more than is required. Everything, including messa di voce and dynamics in general, breath control, portamento, legato, vibrato, etc. blends seemlessly. I don't yet know Italian, and somehow, I can feel every emotion in what he is singing, and when I read the English translation of the words, my feelings are justified. He can express the greatest joys and the deepest sorrows of the human heart, and the quiet moments in between. The clarity of his pronunciation is unparalleled, even in acoustic recordings. I can't describe his style technically, but I would know if someone were imitating it. On the negative side, some say that his top notes were thin, but I personally can't hear it. He did transpose various arias, particularly as he aged, and he stopped singing truly high notes in his forties or so, but I can't say I notice a diminishing in vocal quality until some time after 1955. In his concert that year, he sounds wonderful. But by 1962, I do notice some deterioration,and in 1964 (at seventy-five), it was pronounced, though he could still sing.
#opera #TitoSchipa #Schipa
How would you describe your favourite singer, particularly to someone who is unfamiliar with his work or who doesn't know much of it?
Every time I try to describe the voice and style of Tito Schipa, I find myself unable to do so adequately. This is not only because I might lack a few technical terms, but because I find it to be so perfect that words seem insufficient to convey its essence. It is unlike any other operatic voice I have ever heard. There is a quality to it that some have described as husky, but that I think gives it a well-rounded sound. It is sweet but not overly so. It can be assertive when necessary but never dark or overwhelming. His ornamentation is always just enough, never less or more than is required. Everything, including messa di voce and dynamics in general, breath control, portamento, legato, vibrato, etc. blends seemlessly. I don't yet know Italian, and somehow, I can feel every emotion in what he is singing, and when I read the English translation of the words, my feelings are justified. He can express the greatest joys and the deepest sorrows of the human heart, and the quiet moments in between. The clarity of his pronunciation is unparalleled, even in acoustic recordings. I can't describe his style technically, but I would know if someone were imitating it. On the negative side, some say that his top notes were thin, but I personally can't hear it. He did transpose various arias, particularly as he aged, and he stopped singing truly high notes in his forties or so, but I can't say I notice a diminishing in vocal quality until some time after 1955. In his concert that year, he sounds wonderful. But by 1962, I do notice some deterioration,and in 1964 (at seventy-five), it was pronounced, though he could still sing.
#opera #TitoSchipa #Schipa
I am seeking general recommendations for my next opera. I have seen Don Pasquale (1932), L'Elisir d'Amore (1949), Lucia Di Lamermoor (1939), Il Barbiere Di Siviglia (1929/30), and La Sonambula (1952). I'm thinking of Le Nozze di Figaro (1944 or 1949), but I'm not sure. I saw it, (via another video) but it was in English and a modern, amateur production. I was not impressed,but I am willing to give it a chance with a professional production. I like light-hearted operas, comedy (particularly wit and wordplay), relationships, the upperclass, the supernatural, etc. I don't mind some realism, but I'm not one for extreme violence, serious depictions of poverty, loud, dramatic singing, discordant melodies, and so on. I might try La Boheme (1917 or 1948)) or Rigoletto (1915-18 or 1927-30), , since they are mostly just sad from what I know. But I would love to find more works by Donizetti, Rossini, Bellini, and some by Pacini, Paisiello, Cimarosa, and other similar composers. I'm also interested in those performed in English, whether translations or written that way. I know Purcell wrote some but am not very familiar with English opera as a whole. The problem with all of the above is that I don't know how many of these were recorded in full prior to the 1960's. I will definitely watch Massenet's Werther and Manon, but I want to hold off on them a little longer, since Werther (1948) is the only other full opera with Schipa in it, (Don Pasquale is the first) and Manon (1939) is the last big fragment of an opera with him in it (Act II/I will need to supplement with either 1929 or 1954, if I can find the latter). Can anyone suggest anything that might be of interest?
#Bellini #Cimarosa #Donizetti #Massenet #opera #Pacini #Paisiello #Purcell #Rossini
#Bellini #Cimarosa #Donizetti #Massenet #opera #Pacini #Paisiello #Purcell #Rossini
I just finished the 1952 version of La Sonambula.
https://www.youtube.com/watch?v=-LVLs6WrQlQ
I used this English libretto.
http://www.murashev.com/opera/La_sonnambula_libretto_English_Italian
The first thing I noticed was the extreme clarity. Usually, I listen to things from the 1940's and earlier, so I am not accustomed to it. I also observed how important the chorus was in this work. I like operas with light themes such as this. Both the music and the singing were excellent. Referring to what was said in another thread, while Tagliavini's voice was definitely sweet, I didn't think it was overly so when he was angry. He managed to portray that quite well. As for the ending, in reality, I would say that anyone who is so jealous in the first place (see Act I) and who would choose to marry someone else the day he had his heart broken doesn't deserve someone as sweet and innocent as Amina. But as an operatic twist, it worked very well. The fact that Lisa and Elvino were clearly former lovers also explains why she was so sad and jealous at the idea of Amina and Elvino marrying. I would like to think that Lisa and Rodolfo became a couple afterward, but with him being a count and her a commoner, I doubt it.
I definitely want to find more operas with light-hearted themes and beautiful music. The trouble is that I don't know how many of this sort were recorded in the 1950's and earlier.
#Bellini #LaSonambula #opera
https://www.youtube.com/watch?v=-LVLs6WrQlQ
I used this English libretto.
http://www.murashev.com/opera/La_sonnambula_libretto_English_Italian
The first thing I noticed was the extreme clarity. Usually, I listen to things from the 1940's and earlier, so I am not accustomed to it. I also observed how important the chorus was in this work. I like operas with light themes such as this. Both the music and the singing were excellent. Referring to what was said in another thread, while Tagliavini's voice was definitely sweet, I didn't think it was overly so when he was angry. He managed to portray that quite well. As for the ending, in reality, I would say that anyone who is so jealous in the first place (see Act I) and who would choose to marry someone else the day he had his heart broken doesn't deserve someone as sweet and innocent as Amina. But as an operatic twist, it worked very well. The fact that Lisa and Elvino were clearly former lovers also explains why she was so sad and jealous at the idea of Amina and Elvino marrying. I would like to think that Lisa and Rodolfo became a couple afterward, but with him being a count and her a commoner, I doubt it.
I definitely want to find more operas with light-hearted themes and beautiful music. The trouble is that I don't know how many of this sort were recorded in the 1950's and earlier.
#Bellini #LaSonambula #opera
I am seeking general recommendations for my next opera. I have seen Don Pasquale (1932), L'Elisir d'Amore (1949), Lucia Di Lamermoor (1939), Il Barbiere Di Siviglia (1929/30), and La Sonambula (1952). I'm thinking of Le Nozze di Figaro (1944 or 1949), but I'm not sure. I saw it, (via another video) but it was in English and a modern, amateur production. I was not impressed,but I am willing to give it a chance with a professional production. I like light-hearted operas, comedy (particularly wit and wordplay), relationships, the upperclass, the supernatural, etc. I don't mind some realism, but I'm not one for extreme violence, serious depictions of poverty, loud, dramatic singing, discordant melodies, and so on. I might try La Boheme (1917 or 1948)) or Rigoletto (1915-18 or 1927-30), , since they are mostly just sad from what I know. But I would love to find more works by Donizetti, Rossini, Bellini, and some by Pacini, Paisiello, Cimarosa, and other similar composers. I'm also interested in those performed in English, whether translations or written that way. I know Purcell wrote some but am not very familiar with English opera as a whole. The problem with all of the above is that I don't know how many of these were recorded in full prior to the 1960's. I will definitely watch Massenet's Werther and Manon, but I want to hold off on them a little longer, since Werther (1948) is the only other full opera with Schipa in it, (Don Pasquale is the first) and Manon (1939) is the last big fragment of an opera with him in it (Act II/I will need to supplement with either 1929 or 1954, if I can find the latter). Can anyone suggest anything that might be of interest?
The arts continue to stay bold in the face of all we face.
Detroit Opera Steps Into Trump’s Cross Hairs With ‘Central Park Five’…
#Arts #Culture #opera
https://archive.ph/UWZPE
My goods are green
and bird and beast at play
for all things keep
this festival of May.
With fragrant odours
and with notes of cheer,
the pious earth
observes the solemn year.
Elisir di sì perfetta, di sì rara qualità...
Ya en casa tras una gran representación en el Teatro Florida. Todo ha ido bastante bien y he vuelto satisfecho.
Enseño unas instantáneas hechas durante la obra desde el anfiteatro, por parte de una vecina mía que acudió y disfrutó mucho.
Ahora toca relajarse y descansar unos días hasta que nos digan de montar la siguiente obra. A ser posible el año que viene… 
LA MUETTE DE PORTICI
April 26
19:30
Staatstheater Darmstadt
Alfonso: Ricardo Garcia
Masaniello: Matthew Vickers
Elvire: Megan Marie Hart
Pietro: Georg Festl
Borella: Zaza Gagua
Lorenzo: Marco Mondragón
Selva: Johannes Seokhoon Moon
Ein Fischer: Kwanghee Choi
Fenella: Franziska Dittrich, Lilith Maxion
Staatsorchester Darmstadt
Conductor: Johannes Zahn
Staging: Paul Georg Dittrich
Ghost Opera, Etude 1, Gala Des étoiles, Champs-Elysées Theater, Paris, France. September 2005. Ref-840
https://www.denisolivier.com/photography/ghost-opera-etude-1-gala-des-etoiles-champs-elysees-theater-paris-france/en/840
#canoneos #ballet #denisolivierphotography #ghost #theater #opera #classical #show #denisolivierphoto #contemporary #dancer #dance #denisolivierphotographer #denisolivier #music
I had a discussion with Perplexity in which I mentioned my favourite singers, namely Tito Schipa, Mattia Battistini, Edmond Clément, Ferruccio Tagliavini, Enzo de Muro Lomanto, Beniamino Gigli (particularly his lighter works), Leopold Simoneau, Dino Borgioli, Mario Ancona, and Salvatore Baccaloni. It gave me an initial list of recommendations. After explaining that I usually prefer those with lighter voices, it refined the list to include the following. Cesare Valletti, Alessandro Bonci, John McCormack, Georges Thill, Giovanni Manurita, Fernand Ansseau, and Luigi Infantino,. It then added notes (copied here)to the following Jussi Björling (Retain only for Mozart (e.g., Don Giovanni, 1959) where he minimizes vibrato for classical poise), Tito Gobbi (Avoid verismo roles; seek 1938 Il barbiere broadcasts for buffo deftness sans heaviness), Giuseppe di Stefano (Pre-1952 recordings (e.g., L’amico Fritz) reveal gauzy lyricism before spinto transition), and Giacomo Lauri-Volpi (Caution advised – his 1920s Puritani (Cetra) has squillo, but post-1935 work leans dramatic). The original recommendations omitted from the final list included Titta Ruffo, Giuseppe De Luca, Pol Plançon, Gino Bechi, Vic Damone, Sergio Bruni, and Carlo Tagliabue.
I already know Valletti, Bonci, McCormac, and Plançon, and have heard Björling once or twice. The rest are new to me, though I have heard a few names in passing. Do you agree with these recommendations? Can you provide any others? I actually found Edmond Clément, along with Leonid Sobinov and Dmitri Smirnov whose voices I also enjoyed. , in a wonderful suggestion in my Introduction post, to the Opera subreddit. I never thought I would be listening to those who sang only in French or Russian, but they were so good that I couldn't ignore them. Clément is now in my Regular folder (those whom I listen to frequently, as opposed to Extras, those whom I just have but don't often listen to).
#baritones #basses #opera #singers #tenors
I already know Valletti, Bonci, McCormac, and Plançon, and have heard Björling once or twice. The rest are new to me, though I have heard a few names in passing. Do you agree with these recommendations? Can you provide any others? I actually found Edmond Clément, along with Leonid Sobinov and Dmitri Smirnov whose voices I also enjoyed. , in a wonderful suggestion in my Introduction post, to the Opera subreddit. I never thought I would be listening to those who sang only in French or Russian, but they were so good that I couldn't ignore them. Clément is now in my Regular folder (those whom I listen to frequently, as opposed to Extras, those whom I just have but don't often listen to).
#baritones #basses #opera #singers #tenors
I posted the following on Reddit yesterday (24 April).
"A little while ago, I finished the 1939 version of Lucia Di Lamermoor. I had never heard this opera at all, so it was completely new to me, though I did know the last aria and.
https://www.youtube.com/watch?v=3RQDLmQ-X0Q)
I used this libretto in English.
https://www.opera-arias.com/donizetti/lucia-di-lammermoor/libretto/english/
Admittedly, I would have liked to have heard Baccaloni as Raimondo and de Muro Lomanto as Edgardo, but since Lucia is naturally so important, I'm glad I chose this version and not the one from 1929. Lina Pagliughi did an excellent job. Having heard the voice of Mercedes Capsir from Barbiere, I couldn't imagine her in this role. Her voice isn't powerful enough. Having said that, I liked Pagliughi's restrained approach. It was elegant, graceful, and emotional without being exagerated. I heard that some play Lucia as a means of showing off and/or in a very dramatic way. This was more subtle and somehow more captivating. I'm glad that I was told about the cuts, so I knew to expect them. It's a shame, as Giovanni Malipiero barely had a part as Edgardo, though he played it well. I also liked Muzio Giovagnoli as Arturo, so I must research both of these singers. Despite the dark plot, I was surprised to find that so much of the music was light. This makes three operas that I've seen by Donizetti and I've loved all of them. Unfortunately, I doubt I'll be able to see any more, unless I sit through a modern performance."
Note: I might be willing to consider one by Teatro Nuovo, since from what I hear, they are reviving bel canto singing.
Here is the Reddit link for those who may be interested. As of this writing, there aren't any comments, so there isn't anyting to see beyond the above post right now.
https://www.reddit.com/r/opera/comments/1k7cp2x/1939_lucia/
#Donizetti #Lucia #opera #review
"A little while ago, I finished the 1939 version of Lucia Di Lamermoor. I had never heard this opera at all, so it was completely new to me, though I did know the last aria and.
https://www.youtube.com/watch?v=3RQDLmQ-X0Q)
I used this libretto in English.
https://www.opera-arias.com/donizetti/lucia-di-lammermoor/libretto/english/
Admittedly, I would have liked to have heard Baccaloni as Raimondo and de Muro Lomanto as Edgardo, but since Lucia is naturally so important, I'm glad I chose this version and not the one from 1929. Lina Pagliughi did an excellent job. Having heard the voice of Mercedes Capsir from Barbiere, I couldn't imagine her in this role. Her voice isn't powerful enough. Having said that, I liked Pagliughi's restrained approach. It was elegant, graceful, and emotional without being exagerated. I heard that some play Lucia as a means of showing off and/or in a very dramatic way. This was more subtle and somehow more captivating. I'm glad that I was told about the cuts, so I knew to expect them. It's a shame, as Giovanni Malipiero barely had a part as Edgardo, though he played it well. I also liked Muzio Giovagnoli as Arturo, so I must research both of these singers. Despite the dark plot, I was surprised to find that so much of the music was light. This makes three operas that I've seen by Donizetti and I've loved all of them. Unfortunately, I doubt I'll be able to see any more, unless I sit through a modern performance."
Note: I might be willing to consider one by Teatro Nuovo, since from what I hear, they are reviving bel canto singing.
Here is the Reddit link for those who may be interested. As of this writing, there aren't any comments, so there isn't anyting to see beyond the above post right now.
https://www.reddit.com/r/opera/comments/1k7cp2x/1939_lucia/
#Donizetti #Lucia #opera #review
I posted the following on Reddit on 21 April, but there were problems with Akkoma then, so I couldn't share it here and postponed doing so on Friendica.
"Tonight, I listened to the 1929-30 (two dates are given in two different videos) Il Barbiere Di Siviglia with Riccardo Stracciari, Mercedes Capsir, Dino Borgioli, Salvatore Baccaloni, and Vincenzo Bettoni.
https://www.youtube.com/watch?v=LbuDjd65AyI
I was quite familiar with Borgioli, though I hadn't heard him in a full opera prior to this. I heard and enjoyed Baccaloni in Don Pasquale and L'Elisir d'Amore, and was pleasantly surprised to find him here. I heard a few recordings of Stracciari, so he was not wholely unknown to me, but the others were new. Since I am still learning Italian, I read the English libretto before each part so that I could follow the plot.
https://www.opera-arias.com/rossini/il-barbiere-di-siviglia/libretto/english/
I enjoyed the story and found it to be quite humorous. The singing and acting were also good. That said, I read that the role of Rosina was originally written for a contralto. I would have loved to have heard that. Did any ever sing it? Also, I know there is a different opera with the same name by Paisiello. I found several modern recordings of it, but do any older ones exist? Does anyone know the other full opera that Borgioli recorded? Its name escapes me at the moment.
Finally, if anyone here is a Wikipedia editor, they missed two recordings, this one and the one from 1918 with Fernando de Lucia.
https://en.wikipedia.org/wiki/The_Barber_of_Seville_discography "
(Update 25 April 2025)
Due to some wonderful replies, I had my question answered, as well as receiving a new recommendation for another version of this opera, this time with Cesare Valletti, famous student of Tito Schipa! He appears in several complete works in my list (pinned on my Blob.cat profile and on my Dreamwidth page).
https://www.youtube.com/watch?v=G6pwX6NgjfY
Dino Borgioli was also in Rigoletto, recorded around the same time (video says 1927-30).
https://www.youtube.com/watch?v=Z5uQWPK8Ong
This is the Reddit link for those interested in the discussion.
https://www.reddit.com/r/opera/comments/1k4yizt/1929_barbiere_from_la_scala/
#Barbiere #opera #review #Rossini
"Tonight, I listened to the 1929-30 (two dates are given in two different videos) Il Barbiere Di Siviglia with Riccardo Stracciari, Mercedes Capsir, Dino Borgioli, Salvatore Baccaloni, and Vincenzo Bettoni.
https://www.youtube.com/watch?v=LbuDjd65AyI
I was quite familiar with Borgioli, though I hadn't heard him in a full opera prior to this. I heard and enjoyed Baccaloni in Don Pasquale and L'Elisir d'Amore, and was pleasantly surprised to find him here. I heard a few recordings of Stracciari, so he was not wholely unknown to me, but the others were new. Since I am still learning Italian, I read the English libretto before each part so that I could follow the plot.
https://www.opera-arias.com/rossini/il-barbiere-di-siviglia/libretto/english/
I enjoyed the story and found it to be quite humorous. The singing and acting were also good. That said, I read that the role of Rosina was originally written for a contralto. I would have loved to have heard that. Did any ever sing it? Also, I know there is a different opera with the same name by Paisiello. I found several modern recordings of it, but do any older ones exist? Does anyone know the other full opera that Borgioli recorded? Its name escapes me at the moment.
Finally, if anyone here is a Wikipedia editor, they missed two recordings, this one and the one from 1918 with Fernando de Lucia.
https://en.wikipedia.org/wiki/The_Barber_of_Seville_discography "
(Update 25 April 2025)
Due to some wonderful replies, I had my question answered, as well as receiving a new recommendation for another version of this opera, this time with Cesare Valletti, famous student of Tito Schipa! He appears in several complete works in my list (pinned on my Blob.cat profile and on my Dreamwidth page).
https://www.youtube.com/watch?v=G6pwX6NgjfY
Dino Borgioli was also in Rigoletto, recorded around the same time (video says 1927-30).
https://www.youtube.com/watch?v=Z5uQWPK8Ong
This is the Reddit link for those interested in the discussion.
https://www.reddit.com/r/opera/comments/1k4yizt/1929_barbiere_from_la_scala/
#Barbiere #opera #review #Rossini
Does anybody have a User Agent string for a current #Opera #OperaBrowser for me?
Asking to fight an #AICrawler spam wave.
Where Bruce Lee Practiced on the Roof, a Shrine to Old Hong Kong Rises https://www.inbella.com/1017541/where-bruce-lee-practiced-on-the-roof-a-shrine-to-old-hong-kong-rises/ #antiques #bruce #CelebritiesTopics #china #CollectorsAndCollections #HongKong #HotelsAndTravelLodgings #Lee #MemorabiliaAndSouvenirs #movies #museums #opera #restaurants #TwilightOfTheWarriors:WalledIn(Movie)
¡Mañana es el gran día! Todo listo esta tarde para el último ensayo general antes del estreno de esta obra musical tragicómica en 3 actos, basada en la novela de Miguel de Cervantes. Este mismo sábado, a partir de las 19:00h en el Teatro Florida de Algeciras.
Quedan muy pocas entradas a la venta en Discos Grammy.
