Agitata da due venti (Vivaldi) Blandine Staskiewicz
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- čas přidán 25. 10. 2017
- Agitata da due venti
from Griselda by Antonio Vivaldi (1678-1741)
from the recording Tempesta: Opera arias by Handel & Vivaldi
Blandine Staskiewicz, mezzo-soprano with Les Ambassadeurs
Alexis Kossenko, conductor
The opera Griselda was first performed in Venice at the Teatro San Samuele on May 18, 1735.
Agitata da due venti,
freme l’onda in mar turbato,
e’l nocchiero spaventato,
già s’aspetta a naufragar.
Dal dovere e da l’amore
combattuto, questo core
non resiste e par che ceda
e comminci a desperar.
Shaken by two winds,
the wave trembles on the troubled sea,
and the alarmed steersman
suspects an approaching shipwreck.
This heart, torn between
duty and love,
no longer resists; it seems to give way,
and begins to lose hope.
"Vivaldi enthusiastically explored the arie di tempesta, which regularly made appearances in his operas, in some cases more than once within the same work. Two outstanding examples are 'Agitata da due venti' and 'Siam navi all’onde algenti' from, respectively, the operas Griselda and L’Olimpiade. The first aria is one of the most spectacular ever to have been written by Vivaldi, calling on an exaggerated vocal virtuosity - parallel to what Neapolitan composers had been employing for some years - with staggering coloraturas and broad intervallic leaps. In his musical depiction of Costanza’s state of mind, torn between love and duty, Vivaldi not only draws explicitly on the image - provided in the text - of the little boat being battered by two opposing winds, but seems even to establish connections between the desires of human emotions and the violence unleashed by the natural phenomenon. Unlike the Neapolitan composers of the time, Vivaldi does not yield to the predominance of the voice, instead conferring upon the instrumental part a role which goes much further than providing simple support. Singer and orchestra thus become involved in a single more wide-ranging sound portrait, as is apparent in the extensive descriptive fresco that is 'Siam navi all’onde algenti'.” [from the liner notes by Stefano Russomanno]
From the CD available from Glossa:
www.glossamusic.com/glossa/ref...
Video features the art of Ukrainian paper artist Asya Kozina:
asyakozina-art.com/ - Hudba
Stunning. As I age I revisit Vivaldi and have come to realise his true greatness. Thanks for posting. Your usual standard of excellence.
You're welcome, John. I'm glad you enjoyed this.
Esecuzione pulitissima , elegante , senza nessuna sbavatura . Agilità veramente fluide e grande musicalità . In assoluto la migliore mai ascoltata .
Indeed. I'm glad you enjoyed it.
Una maravilla!!! Un prodigio de talento. Bellísimo canto. Me gustó mucho el video con lo adornos que luce. Todo delicadeza y buen gusto.
Thank you. I'm glad you enjoyed it.
Beautiful voice! And a real technician with the coloratura! Plus I love the embellishments she uses. Thank you for sharing.
You’re welcome. I’m very fond of her singing. I’m glad you enjoyed this.
Bravìsima! Qué estupendamente bien cantado. Felicitaciones.
I'm glad you enjoyed this.
She really deserves another CD.
I could not agree more. I absolutely adore her singing.
Beautiful!
Thanks So Much for your Posting this Beautiful Video ! 🙏😍👍🏻🥰
You're welcome. I'm glad you enjoyed it.
Griselda! Bravo. Exquisite performance. Beauty job. Congrats.
Thanks, dearest Rosa. I'm glad you enjoyed this.
A decir verdad me gusta todo lo que publicas, le pones alma a todo. Me encanta estimular a quien hace buenas cosas. Feliz noche!!!
Thank you very much. I’m always happy to know that people enjoy what is offered on my channel. Kind regards.
Maravillosa interpretación !!!! Jeffrey Stivers, gracias.
You’re welcome. I’m glad you enjoyed it.
Quelle énergie ! 💙
Chapeau la coiffe ! 🎶⚘
Indeed. I’m glad you enjoyed this.
Fantastic music... Incredible photos...
jose eduardo Simoes I’m glad you enjoyed it.
Muchas gracias, muy amable.
You’re welcome. I’m glad you enjoyed it.
Bravo, maravilloso!!! qué delicia de pieza y qué ésplendido montaje, como siempre, excelente. Gracias desde Barcelona.
I'm glad you enjoyed it.
Fabuleux ! La meilleure interprétation de cette aria !!!
I’m glad you enjoyed it.
Et il est difficile !
HERMOSO 😍
I'm glad you enjoyed it.
Fantastic
I'm glad you enjoyed this.
Amazing Beautiful..
I’m glad you enjoyed it.
Très belle interprétation très fluide alors que cet aria est d'une grande difficulté.
Bravo.
Indeed. I’m glad you enjoyed it.
Brilliant Jeffrey, thank you :)
You're welcome. I'm glad you enjoyed it.
Bellísimooooo
I'm glad you enjoyed it.
Grazie! Bravissima!
You’re welcome. I’m glad you enjoyed it.
@@JeffreyStivers Grazie, grazie a te...grazie alla musica, vivo un po' meglio questo tempo difficile, a causa del coronavirus 😏. Ciao
You’re welcome. Music is certainly a great way to feed our souls during this difficult time. Kindest greetings.
Splendid
I'm glad you enjoyed it.
Danke für die phantastischen Herrlichkeiten Jeffrey 👑
You're welcome. I'm glad you enjoyed this.
Voici donc la culture française qui, contrairement aux affirmations péremptoires que certains du haut de leur magistère pompeux affirment en se gonflant comme par hasard avec pompe, existe, eh bien oui qui existe en majesté justement en exécutant avec une sensibilité extrême celle des autres de façon exceptionnelle, raisonnable, et ici, magistrale. Les chanteuses baroques françaises actuelles méritent tous les éloges. Ce bonheur secret ressenti n'est rien d'autre in fine qu'une chance. Elles illuminent par leur vaste talent et leur savoir le grand opéra ancien. Suis admiratif!
BRAVISSIMA!!!
I'm glad you enjoyed this.
Jeffrey Stivers Thank you my friend!!! Saludos.
You're quite welcome, John. Warmest regards, Jeffrey
Grande performance
I’m glad you enjoyed it.
MARAVIGLIOSA!!!!
I love this recital disc from Blandine Staskiewicz. I made a video to promote it a couple of years ago. I recently discovered these fabulous Baroque paper wigs that often included a ship. I knew immediately they were perfect for these arie di tempeste, and I knew I should return to this CD to select another track to use for a video. I'm glad you enjoyed it.
Jeffrey Stivers You have a great talent my dear friend!!!Bravo!!!
Well dear Jeffrey,
Wonderfull , I love blondine staskiewicz , great voice .
And than the paper art from Golem13 , It al fits wonderfull together , well done Jeffrey ,
With greetings
William
You're welcome, dear William. I'm very fond of Blandine Staskiewicz, and I made a video to promote this recital disc before, but when I discovered these fabulous Baroque paper wigs that often included ships, I knew they would pair well with this aria. I'm glad you enjoyed it.
PURA MARAVILLA
I’m glad you enjoyed it.
One of the good examples of singing this aria with the bel-canto panache, so difficult for most mezzo sopranos.
Indeed. I really like her performance of this aria.
Noble ! 🎑🏆🎑
I’m glad you enjoyed it.
bu çok zor bir arya, fakat madam Staskiewicz o kadar temiz söylemiş ki müzikalite hiç bozulmamış. tebrikler hanımefendi 💐
Indeed. I think she sings it very well.
❤
I’m glad you enjoyed it.
What a marvellous interpretation of this aria, and the pictures you have chosen, dear Jeffrey, are simply a brilliant match. Where do you always stumble across them? Really delightful in every respect, and a great interpretation into the bargain. ♥♪♫ Thank you very much. Enjoy this Sunday evening and have a perfect start into the new week!
I'm very fond of her singing, and I already promoted this recital disc with another video, also of an aria di tempesta paired to the art of Ivan Konstantinovich Aivazovsky. Often I have an aria in mind for a video and then seek out art to pair with it; however, in this case, when I discovered these fabulous Baroque paper wigs often featuring ships, I knew I wanted to use them in a video. This aria immediately came to mind. I was pleased with how it turned out, and I already have another in the works. I'm glad you enjoyed it. As for how I discovered these images, I follow several Facebook groups devoted to art, and that is how I discovered this artist's work.
Superb effort, dear Jeffrey, congratulations once more. I am looking forward to your further uploads! All the best from Vienna to you.
Thank you for you kind words and continued support, dear Theo.
Elle entre en concurrence avec Marilyn Horne, sa voix est plus égale et le style irréprochable, couleur , agilité prodigieuse, c'est merveilleux de découvrir une interprète d'un tel niveau!
I’m very fond of her singing, and you will find there are other videos of her on my channel.
même Cecilia Bartoli 😍
...superb graphics Jeffrey!!!
Thanks, John. Previously, Ivan Konstantinovich Aivazovsky was my go-to artist for these arie di tempeste, so I was happy to find these images to use. I think they work well in a video, and I already have another planned.
Jeffrey Stivers 100% agree with you,they are perfect!!! Bravo Jeffrey!!!
Après un Premier Prix au Conservatoire National Supérieur de Musique de Paris et un diplôme de perfectionnement, Blandine Staskiewicz débute dans dans le rôle-titre d’Athalia de Händel avec Paul McCreesh au Festival d’Ambronay, Dorabella de Così fan tutte de Mozart avec Opéra Eclaté et Siebel dans Faust de Gounod à l’Opéra de Saint-Étienne.
Lauréate du Concours Baroque international de Chimay et des Voix d’Or en 2001, elle participe au premier Jardin des Voix (2002) dirigé par William Christie.
Durant les saisons suivantes, elle chante les rôles de Medoro dans Orlando Furioso de Vivaldi (meilleur disque aux Victoires de la Musique 2005) et d’Ottone (La Griselda, Vivaldi) au Théâtre des Champs-Élysées à Paris avec l’Ensemble Matheus, Frédérick (Mignon, Thomas) au Capitole de Toulouse et à l’Opéra d’Avignon, les rôles-titres dans Callirhoé de Destouches et Sémélé de Marin Marais avec Hervé Niquet aux Festivals de Beaune et de Montpellier Radio France, puis Aloès (L’Étoile, Chabrier) à l’Opéra-Comique avec John Eliot Gardiner.
Elle se produit également en concert dans L’Enfant et les Sortilèges de Ravel à Montréal avec Kent Nagano, dans la Messe en si mineur de Bach avec Les Musiciens du Louvre (enregistré chez Naïve) et dans le rôle de Piacere (Il Trionfo del Tempo, Händel) de nouveau avec Marc Minkowski, dans Elias de Mendelssohn avec Kurt Masur à Radio France et dans le rôle d’Enrico (Elisabetta, Rossini) au Théâtre royal de La Monnaie de Bruxelles.
Elle a interprété ensuite Cherubino (Le Nozze di Figaro), Mercedes (Carmen) et Siebel au Capitole de Toulouse, Marie (L’Enfance du Christ, Berlioz) à Toulon, Aloès (L’Étoile) à l’Opéra de Genève, Clotilde (Norma, Bellini) au Châtelet, Frédérick (Mignon) à l’Opéra-Comique et le Garçon de cuisine (Rusalka, Dvorák) à Nancy. Elle a chanté Despina (Così fan tutte) à Avignon, Urbain (Les Huguenots, Meyerbeer) à La Monnaie de Bruxelles, Metella (La Vie Parisienne, Offenbach) à l’Opéra de Lyon, Gilade (Farnace, Vivaldi) au Théâtre des Champs-Élysées, Lazuli (L’Étoile) à Bergen (Norvège) et le rôle-titre dans Cendrillon de Massenet à l’Opéra-Comique.
Elle a également participé aux enregistrements de Proserpine de Lully et du Carnaval de Venise de Campra avec Hervé Niquet. Elle grave ensuite un disque de mélodies inédites de Massenet chez Erol et le rôle de Galatea dans Aci, Galatea e Polifemo de Händel chez Glossa avec La Risonanza.
Parmi ses engagements plus récents, citons une tournée de la Messe en ut de Mozart au Japon avec Les Musiciens du Louvre, Rossane dans Alessandro de Händel à Wiesbaden (nommé meilleur opéra 2013 sur la chaîne Mezzo), Versailles, Athènes puis repris au Festival Händel de Halle, Dorabella (Così fan tutte) et Mme Lek (Les Femmes vengées) à Washington, New York et Versailles, Marie (L’Enfance du Christ) en concert à Utrecht et l’Hymen dans Les Fêtes de l’Hymen et de l’Amour de Rameau en concert à l’Opéra Royal de Versailles, Bozar à Bruxelles et au Théâtre des Champs-Élysées avec Le Concert Spirituel (label Glossa). Elle a tout récemment donné un récital d’airs pour Farinelli avec Les Musiciens du Louvre à Grenoble et sorti un disque d’airs italiens virtuoses intitulé Tempesta, avec Les Ambassadeurs dirigé par Alexis Kossenko (label Glossa), qui a obtenu l’Orphée d’Or du Patrimoine Baroque à l’Académie du disque lyrique 2015.
Parmi ses tous derniers projets en 2015 et 2016 : Metella dans La Vie Parisienne à l’Opéra de Metz, une série de récitals Tempesta avec les Ambassadeurs (notamment à Sinfonia en Périgord et à la salle Gaveau à Paris), le rôle-titre dans Il Trionfo della Divina Giustizia de Porpora au Festival de Beaune avec l’ensemble Les Accents (Thibault Noally), repris ensuite à Versailles en 2016, Piacere dans Il Trionfo del Tempo e del Disinganno avec l’ensemble Pulcinella au Festival de Pontoise, Melantho dans Pénélope de Fauré à La Monnaie de Bruxelles sous la direction de Michel Plasson) et Bajazet de Vivaldi au prochain Festival de Beaune.
En 2017, citons le rôle de Ruggiero dans Tancredi de Rossini à La Monnaie, avec Marie-Nicole Lemieux dans le rôle-titre et sous la direction de Giuliano Carella.
Blandine STASKIEWICZ - Mezzo-soprano - © DR
Lien source/www.concertsparisiens.fr/rubrique/detail_artiste/blandine-staskiewicz-mezzo-soprano.html?idArt=80
Merci pour ces renseignements très complets sur une magnifique artiste!
👍🏻👏👏👍🏻
I'm glad you enjoyed it.
It is a wonderful craft work. Whose work?
I always include the name of the artists I use in the video description. This one features the work of Ukrainian paper artist Asya Kozina.
May I correct the lyrics?
Agitata da due venti,
Freme l’ondA in mar turbato,
E’l nocchiero spaventato,
Già s’aspettA a naufragar.
Dal dovere e da l’amore
Combattuto, questo core
Non resiste e par che cedA
E cominci a dIsperar.
Thank you for pointing this out. I used the text from the liner notes of the CD and had not noticed those typos. I have corrected the text in the video description. Thanks again!
So far nobody has marched Cecilia Bartoli's coloratura,im afraid.
Cecilia Bartoli Is the best for me
This song was made for Cecilia bartoli😁
Pls don’t say that. Bartoli singing is terrible and I personally find it disgusting. 😇
@@lazatarra For you only. 😂
Cecilia is the owner of this aria.
@@Maria-ij8cg you mean for you?-or better yet, for those who don’t understand what is a good sound and have developed a terrible taste for the art? Anyway, have u heard Bartoli singing live?? She is the most inaudible singer I have ever heard, clearly not operatic singing. She is lucky she can do studio recordings tho she should be forbidden in doing it.
@@lazatarra Yeah I've heard it singing live many times and heard her perfectly.
But you are right, I can't blame you for not liking her. Not everyone has good and refined taste.
@@Maria-ij8cg If you find that that shit is good and refined, well, enjoy! whatever makes u happy! But don’t expect all of us to agree that shit is good and refined...
Certainly better than Bartoli's version. The coloratura passages retain their legato whereas Bartoli's sound like staccatti because of how aspirated she has to be to sing coloratura.
I completely agree.
@@JeffreyStivers So do I. Plus, she doesn't use that overly weighted & hefty type sound that Bartoli uses. This sounds less tiring and far more feminine.
@@artdanks I agree completely. Bartoli’s approach is very labored and affected.
@@JeffreyStivers Have you ever seen on You Tube the parody of her singing this, performed by "Kimchilia Bartoli"? Too funny.
@@artdanks Yes, I have, and “she” totally nails Ms. Bartoli’s histrionics. Hilarious.
A mezzo-soprano that is barely audible from F4 and downwards - what's the point?
I no longer care tgat much about singers, most of the times disappointing. I listen to the magnificent partitura and that's fine with me, as long they're not too much out of tune or their voice is horrible. Grande Vivaldi!
She sing well but according to me Bartoli's version is more dynamic as well as expressive, Bartoli's voice fits better in baroque repertoire and specially for Vivaldi's interpretation...here it is a bit flat although she get a great voice.
Pas mal, mais vocalises un peu poussives et justesse approximative. Manque de vie, de véritable engagement. Pourra faire mieux avec encore beaucoup de travail avant d’égaler l’immense et quasi parfaite Cécilia Bartoli. Un excellent modèle…
L'acconciatura di questa cantante è impagabile.
I love these paper wigs.
Interprétation soignée, privilégiant la mélodie à la virtuosité, au bon tempo! Dommage qu'à mi-parcours on ne respecte plus du tout la partition! Interprètes de tous horizons, même si l'on vous dit qu'à l'époque de Vivaldi les solistes avaient tous loisirs de broder; de nos jours n'en faîtes rien. Eux, vivaient dans l'époque et pouvaient se le permettre; bénéficiant de l'assentiment ou non de l'auteur. A notre époque sans goût et sans génie restez des interprètes et respectez la partition à la note près, c'est plus prudent et moins fat, et moins laid surtout! Un peu d'humilité s'il vous plaît, la musique d'un Vivaldi ne sera jamais ennuyeuse, même jouée à la note près. N'y ajoutez pas votre grain de sel qui dénature tout.
Blandine is rather bland.
.... Lezhneva Julia performs this thing Vivaldi better,....
She sounds like an amateur, a student and a metronome..no passion, just notes. What happened to the opera world? All we hear today are computers. There's no humanity in opera singers nowadays. What's wrong? It's all super boring! Yikes!
It really is quite uninteresting and boring. Somehow well done though, a solid performance. But no personality, no fire and no will to tell something, just bland singing. That's not enough to make that repertoire alive for an audience.
And why sing this aria when she has no voice below F4..?