BELLINI I PURITANI Katia Ricciarelli Malibran Version
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- čas přidán 6. 03. 2015
- Elvira; Katia Ricciarelli
Arturo Talbot; Chris Merritt
Sir Riccardo Forth; Juan Luque Carmona
Sir Giorgio; Roberto Scandiuzzi
Enrichetta di Francia; Eleonora Jankovic
Sir Bruno Robertson; Carlo Gaifa
Lord Gualtiero Valton; Ambrogio Riva
Orchestra sinfonica Siciliana
Coro E.A. Teatro Petruzzelli
Gabriele Ferro
Recording ive at Bari of the Neapolitan Version (Malibran version)
Teatro Petruzzelli, 10 April 1986
Maria Malibran (24 March 1808 - 23 September 1836) was a mezzo-soprano who commonly sang both contralto and soprano parts, and was one of the most famous opera singers of the 19th century. Malibran was known for her stormy personality and dramatic intensity, becoming a legendary figure after her death at age 28. Contemporary accounts of her voice describe its range, power and flexibility as extraordinary.
Malibran is most closely associated with the operas of Rossini. The composer extolled her virtues:
Ah! That wonderful creature! With her disconcerting musical genius she surpassed all who sought to emulate her, and with her superior mind, her breadth of knowledge and unimaginable fieriness of temperament she outshone all other women I have known...
Among other operas, she sang the title role in Tancredi and in Otello, in which it appears that she sang both the roles of Desdemona and of Otello.[4] Other appearances included those in Il turco in Italia, La Cenerentola, andSemiramide (both Arsace and the title role).
She also sang in Giacomo Meyerbeer's Il crociato in Egitto in Paris in September 1825, an opera which Rossini, as director of the Théâtre-Italien, introduced to the French capital and "which launched Meyerbeer's European reputation". Malibran enjoyed great success in Bellini's operas Norma, La sonnambula and I Capuleti e i Montecchi (as Romeo). She also sang the Romeo role in two other then-famous operas: Giulietta e Romeo byZingarelli and Giulietta e Romeo by Vaccai. Bellini wrote a new version of his I puritani to adapt it to her mezzo-soprano voice and even promised to write a new opera especially for her, but he died before he was able to do so.
Malibran's tessitura (comfortable vocal range) was remarkably wide, from G below middle C to high E (G3 - E6), and her extreme range extended from D3 to F6 in altissimo, which allowed her easily to sing roles for contralto as well as high soprano. Her contemporaries admired Malibran's emotional intensity on stage. Rossini, Donizetti, Chopin, Mendelssohn and Liszt were among her fans. The painter Eugène Delacroix however, accused her of lacking refinement and class and of trying to "appeal to the masses who have no artistic taste." Describing her voice and technique, French critic Castil-Blaze wrote, "Malibran's voice was vibrant, full of brightness and vigor. Without ever losing her flattering timbre, this velvet tone that has given her so much seduction in tender and passionate arias. [...] Vivacity, accuracy, ascending chromatics runs, arpeggios, vocal lines dazzling with strength, grace or coquetry, she possessed all that the art can acquire. - Hudba
IPuritani ist die schönste Oper Bellinis von Anfang bis Ende harmonisch!
Katia Ricciarelli und Maria Callas die BESTEN ELVIRAS!!!!
musica divina cantata divinamente. Grazie di cuore carissima Katia.
Katia meravigliosa
Sei stupenda,semplice,bravissima
Das ist die Beste Puritani im künstlerischen Sinne auf CZcams Katia Ricciarelli als Elvira hervoragend-Chris Meritt in hochform ! Dirigat Gabriele Ferro Wundervoll!
BRAVISSIMAAAAAA !!!!!!!!
Awfully dark set.
Splendid Miss Ricciarelli.
Höchst interessante Version für Napoli, habe ich nicht gekannt. "Credeasi" von Elvira gesungen. Perfekt für und von Ricciarelli.
Bravo, one of the greatest bel canto operas now from a different perspective. Great direction and singing. As for the production, yet another dark set, but who cares
Noch nie in so einem breiten Tempo gehört - fantastisch, mutig, detailreich - wie ein einziges Gebet. Da kann die Tonqualität nichts anhaben. Muss man gehört haben. Auch ohne stupende Kolaturen herausragende Interpretation. Chris Merritt noch bei wunderbar klarer Stimme... großartig. Leider haben sich diese Pioniere der hohen F's wie Chris, William Matteuzzi, B. Ford u.a. relativ schnell die großartigen Stimmen verbraucht, sie haben nach meinem Gefühl noch sehr unökonomisch gesungen. Aber ich verehre sie immer noch.
Esta version es una maravilla!!! Bravissima!!!!!
Wonderfull, peccato that only 862 viewers. Best tecnical singing. Thanks
Six years later over 16K views, not bad.
Bravissima Ricciarelli.
What a pleasure to hear full-throated singing that is grounded in the "core" and emanates from it. Today's singers sound as though they are singing through a was of cotton. Pretty but not convincing.
Totalmente de acuerdo contigo. No obstante, las voces de la ópera de hoy en día las encuentro “pequeñas”, “sin profundidad”, incluso se oyen en cantantes sonidos “constreñidos”. Verdi no se escucha Verdi, Puccini no se oye Puccini. Y, en el bel canto, puros sonidos nasalizadnos, poca belleza en el canto. Producciones y escenografías irrespetuosas con el texto y con el compositor. Siempre es “ilusionante” escuchar las grandes voces como la de Ricciarelli, cómo bien tú dices artistas que cantaban “a viva voz”….que es como se canta en la ópera. Saludos cordiales.
I appreciate your response. However, I would much prefer comments that refer to the heart of the issue, a discussion of some kind.
Нравятся.
Una Ricciarelli lunare, essenziale, intima, struggente!
KATIA RICCIARELLI TRIBUTE a
@@colombo977 Homenaje a Katia Ricciarelli, no te diste cuenta que todos los vídeos es ella la protagonista.
51:49, son vergin vezzosa
Wait a minute. Riccardo is a tenor?
In this version, yes
NO ENTIENDO COMO PUEDEN PONER A UN TENOR COMO RICARDO FORTH 🙉
El Tenor es CHRIS MERRITT
@ Staneff: Muy simple: decisión de Bellini para esta "versión Malibrán".
In this MALIBRAN version, Riccardo Forth is a tenor