Ninì Giani - Excerpts of Acerba volutta, Voi lo sapete, and songs - 1932
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- čas přidán 8. 09. 2024
- ‘The sequence was shot in 1932 by Franco Mazzotti in the theater of the Villa [Mazzotti], and after the presentation, it begins with a brief dialogue between Lodovico Mazzotti and his brother Fiorentino seated in the stalls.
Nelly Mazzotti, Franco's sister, who was an excellent pianist, having been a pupil of Maestro Pietro Orizio, accompanies the performance of the mezzo-soprano Ninì Giani in two famous pieces taken from "Adriana Lecouvreur" by Francesco Cilea and "Cavalleria rusticana" by Pietro Mascagni.’ - Claudio Frialdi
PARALELLO GIANI-BUADES
In the mezzo-soprano section of his book "Voci parallele," the great tenor Giacomo Lauri-Volpi pairs Nini Giani and Aurora Buades:
‘Voices quite different from those I've mentioned earlier: these, tending towards the logical element of their personality; those, to the purely feminine magical element.
Ninì Giani had the greatest successes in the period 1930-40, and was an attractive, fiery Amneris in various productions worthy of mention, including the performances staged on the German tour of 1938 by the company "Lauri-Volpi mit Ensemble," which included Tassinari, Stella Roman, Mario Basiola, maestro Antonino Votto, and others. Giani, more soprano than mezzo-soprano, made her evolution towards the clear femininity of the postwar period, even finally interpreting the brutally high part of Turandot at the Teatro dell'Opera: this is also a very rare case of vocal metamorphosis, corresponding to that vital, dissonant duality that I mentioned earlier in this chapter. An analogous evolution would be that of Arangi-Lombardi. [The opposite happened to the pulpy voice of Pia Tassini, who is transmuting from soprano to mezzo-soprano.]
Aurora Buades, a voice born on the shores of the Valencian sea, was particularly honored in her country alongside Miguel Fleta. The French also applauded her in Vichy in Aida and Trovatore, alongside Gina Cigna and Lauri-Volpi. The voice inclined to the acute region of the soprano, and became hollow in the low notes, to the point that in later years the onerous tessitura of the mezzo-soprano annoyed her, causing her to transpose some of its pitches. But misfortune befell her husband Roberto D'Alessio-a tenor like Anselmi, who would certainly have benefited the theater in the ranks of lyric tenors, if fate had not struck him at his beginning, which was so promising-does not seem unrelated to here retirement from the stage.
From the examination of these cases it follows that the mezzo-soprano voice is susceptible to changes, by thickening or thinning. It is a fragile cord, and the increasingly noticeable shortage in this category of voices is an indisputable demonstration of this.
The prestige of Giani and Buades relied on their ease in the high notes, to the mellow roundness of the middle, as well as to the pleasant presence and natural sympathy of their personalities. The Italian more harmonious in gestures and interpretation; the Valencian more convincing, although somewhat aggressive. If they could have had a low register, both would have touched the joy of popularity and triumph, which depend, moreover, on a multiplicity of factors, not all ponderable and evident, but just as living and decisive, as in the case of a mezzo-soprano, well known a few decades ago: Ida Zizolfi. Gifted with an ingenious voice and good looks, she also benefited from the prestige of her companion, an eminent journalist, for her rise in the world of art.’
Read more about singers, vocal categories, etc. here: bit.ly/2W4qmE3
#MezzoSopranos #Fach #VociParallele
![Maria Capuana - Amneris scene Act IV [Aida] w/ Aroldo Lindi - 1928](http://i.ytimg.com/vi/udXshCtMtXo/mqdefault.jpg)
What a beautiful voice!
Vibrant, clear, exciting...but definitely not beautiful, to my ears! Lol.
@@Ruffiello The audio is so precarious, still we can deduce that her voice is well distributed ,her registers are clear and her emition is open, frank. I think she lacks a bit of scuro in her middle and high but, i'm not sure how would sound this on live
Many thanks for replaying the video with Niny Giani. We found it years ago in the cellar of Villa Mazzotti together with others, shot by Count Franco.
The mezzosprano Niny Giani had a bright career between 1930 and 1947 in the major Italian and international theaters, alongside the opera stars of that time. Of course our research is not over and if anyone could give us more information about her, we would be grateful.
Claudio Frialdi
Thanks so much! The combination of vocal power and femininity is spellbinding, she holds nothing back!
MARVELLOUSSSS BEAUTIFULLL BEAUTIFUL
Splendid!
Meravigliosa.
Grazie!!!
Che spontaneità e bellezza Artistica !!!
Magnifica !
Tecnica perfetta.
Ancora una cantante lirica vera sconosciuta con una voce Meravigliosa !
Una vocalità generosa di una bellezza rara !
❤️
il vecchio
PS
Questa è una fra tantissime prove del passato che la grandezza d’un artista non dipende mai dalla grandezza del suo nome ...
Negli ultimi 40 anni il pubblico in gran parte sovente era lo schiavo alla grandezza del nome che portava un artista e non della grandezza della sua arte .
Così è morta la vera arte lirica .
Purtroppo.
"dalla grandezza del suo nome" o dalla grandezza delle sue grazie, oggi, grazie al teatro di regia
Documento meraviglioso 🤩
Grazie
She sounds like Ponselle in the lower notes😊
Hi Trrill and y'all! Let me start saying how much I enjoy your channel and this documents that brings us so much information and so much artistry. To say they are invaluable is an understatement. But still, I was a little bit concerned about what you say on the description and about mezzosoprani voices susceptible to change (I've read also about seeking consciously that change form baritone to tenor and witnessed also a masterclass during which the (very famous ) teacher told a mezzo that he could get her to sing as a dramatic soprano. Having the girl a voice that sounded naturally a lot like obratzsova's and barbieri's we all thought it was nonsense but had to remain silent ). As far as I understand from what I've read and studied and listened in these old recordings voice cannot be thinned or thicked unless using weird tricks and faulty tecnique. And yes, Del Monaco was a baritone at the begining and even Callas was labeled as a mezzo before starting the work with de Hidalgo, but their shifting of fachs was due to the development of the voice they underwent with Melocchi and De Hidalgo which is first of all the discovery of their true voices and then the development to their full potential. Callas told herself she didn't have high notes, through the learning of bel canto technique, that is, learning the chest voice (first thing De Hidalgo taught her according to herself) she just discovered the high register that was always within her voice. So they changed fachs because their technique was faulty from the start and if they were able to change it, it's because they first learnt the correct technique and because their voices were actually tenor fach or soprano fach, they were meant to be that. That said, their is no way one can change their fachs the very same way you cannot change your eye color or your hair color unless it is by artificial means. And that's why its very important to do a previous job of developing the voice before labeling a singer or giving them even the tiniest aria from the "easiest" opera. It's very important that us bel canto lovers, try to stop this kind of weird claims and nonsense that have spread around in these last years. Take care you all!
I totally agree-though it is, in a way, a matter of perspective. Some see it as "changing" fachs, but from my standpoint, it's technical development to finally realize inherent and total ability. Though to be fair, the writing in the video description isn't mine; it's a long quote from Lauri-Volpi.
@@trrill hey! thank you for answering! It's a shame that sometimes even the greatest among the greatest also express themselves in a way that is confusing or misleading (nilsson saying you must sing in the masque for example while she never did such a thing nor such a thing is possible) so that is the main reason I was saying that we should stop repeating those misconceptions even if we are just quoting because it can be dangerous for singers, young singers above all. But still, thank you so much for your work with this channel I enjoy your uploads soooo much, you can't even imagine and I've learnt a lot too. So thanks again and take care!
Infatti Giannina Arangi Lombardi fu un'insegnante di Niny Giani.
The clip is playing too fast
In a live performance, this interpretatin of "Voi lo sapete" would lack credibility. Vocally, she is impressive.