Musa! Diva! Sirena!
La Cieca's all-time favorite soprano, Renata Scotto, in one of her greatest roles, Adriana Lecouvreur -- if you can think of an operatic experience to rival it, La Cieca hopes you will let her know what you're having! La Scotto is heard in her first Adriana Lecouvreur, from San Francisco in 1977, partnered by Elena Obraztsova , Giacomo Aragall and Giuseppe Taddei under the baton of Gianandrea Gavazzeni. The first act of the Cilea weepy is the centerpiece of the current episode of Unnatural Acts of Opera, but is La Cieca satisfied? Hardly! Bonus features include rare early recordings of Scotto singing Bellini arias (I Capuleti e i Montecchi and I puritani) and your doyenne's admittedly somewhat vague reminiscences of the glory that was San Francisco gay life in the seventies.Labels: diva, gay, podcast, san francisco, scotto
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7:48 PM
23 Comments:
Il Trittico! Of course with Scotto singing all three heroines at the Met. Her Suor Angelica, a tear jerker, will never be forgotten. Those were the days...
I am a Scotto "Madama Butterfly" and "Suor Angelica" fan of the first order.
But the "Adriana" crown must be given, hands down, to Magda Olivero.
Well, I don't "Adriana" very much as an opera, and I've never been a huge fan of Scotto's. There's a steeliness to her voice that sets my teeth on edge. I really, really, really didn't like the 2 bel canto arias.
There wasn't a performance on September 19, 1977. Is this one from the 9th or the 16th?
You're right... this is the 9th. Typo.
Thank you, La Cieca! I can't wait. I well remember the Scotto/Obraztsova duet from your gala.
An artist through and through. Even when she did not sing technically well, she never failed to MOVE me. I love love love Renata Scotto. I will never forget seeing her at the Met as Mimi. In the third act during the aria, she voiced the 'b' in the word 'bada'....I still get goose bumps thinking about it. Her Luisa Miller was a worl of art. Actually anything she sang was done with total commitment.
arepo,
Talking about Magda Olivero, she was an ageless singer like Domingo. I saw her in Tosca at the Met tour on April 18, 1979 with Pavarotti. At the age of 69 she was a fireball. Will future opera lovers ever see singers like Magda?
arepo,
Talking about Magda Olivero, she was an ageless singer like Domingo. I saw her in Tosca, at the Met tour, on April 18, 1979 with Pavarotti. At the age of 69 she was a fireball. Will future opera lovers ever see singers like Magda?
to graham, "scotto didn't sing technically well"????????? Her technique was impeccable. The voice may not have always been "pretty" but she sang well. Like Callas, Scotto is a master musician. If you don't like the sound of the voice, fine, but to say she did not sing well is a fallacy. If you want a real treat, go to one of her master classes. Why do you think so many singers go to her for advice and coaching (alas many of them are too dumb to understand or apply themselves. e.g. Voigt, Fleming, Netrebko- Why do you think Alvarez had such a huge success in Boheme in Chicago, Scotto took her in hand and coached her heavily one-on-one in how to sing and interpret Mimi. I always get annoyed when people confuse pretty sound with good singing.PADDYPIG
Human voice is like fingerprints: not two are alike. What one likes, others may not like, and that's fine and part of individual taste and aesthetics. To question, though, the artistry of Scotto is silly. I saw her in Butterfly and Mimi, among others. Her voice projected passion and emotion that has put her in the all-time Pantheon of Puccini's interpretors. Anybody can find fault with any singer, like Netrebko's neck is too short! Give me a breake.
I have been to 3 of Scotto's master classes, where the evidence of her musicianship is staggering
yes, the voice could be shrill, but her commitment and style were second to none.
how does one start with this statement - "Human voice is like fingerprints: not two are alike. What one likes, others may not like, and that's fine and part of individual taste and aesthetics." and not see that the next statement - "To question, though, the artistry of Scotto is silly." - without see that they directly contradict one another. I don't think she's a greart artist; she doesn't do it for me that, saw, Anna Moffo, does. That doesn't mean that she isn't a great artest; it just means that I don't think so.
Bad typos. WHat I meant to say was that she doesn't doesn't do it for me in the same way that, say, Moffo does.
When Scotto c. 30 years ago was always on PBS in Met telecasts or doing Happy Girl from SanFran I noticed or thought I did a habit she had of sucking her cheeks in when you knew a high note was coming out next. She got the musical results, but seeing her face in close up action on the boob tube the cheek sucking has stayed in my memories. Not that there was anything wrong with it, I assume.
ljc,
Talking about facial expressions, have you ever noticed Sutheland's-live and on tape- one of the great coloraturas of all time? The face may be distorted but the voice is glorious. Netrebko, and she should be given credit at least for that, sings as if she speaks, moving primarily her lips and her head as a whole: watch close-up of Elisir D'Amore DVD from Vienna or any other DVDs of hers.
ljc,
Talking about facial expressions, have you ever noticed Sutheland's-live and on tape- one of the great coloraturas of all time? The face may be distorted but the voice is glorious. Netrebko, and she should be given credit at least for that, sings as if she speaks, moving primarily her lips and her head as a whole: watch close-up of Elisir D'Amore DVD from Vienna or any other DVDs of hers.
ljc,
Talking about facial expressions, have you ever noticed Sutheland's-live and on tape- one of the great coloraturas of all time? The face may be distorted but the voice is glorious. Netrebko, and she should be given credit at least for that, sings as if she speaks, moving primarily her lips and her head as a whole: watch close-up of Elisir D'Amore DVD from Vienna or any other DVDs of hers.
Something happend to the site. I get responses and my comments on my e-mail address!
dear anonymous
I think my post sufficeintly demonstrates my love for Scotto...so there is not reason for you to be overly dramatic and get your knickers in a twist...that is assuming that you do wear knickers....your post in reponse to mine was soooo over the top and so outsized that I think you meant to draw attention to your self rather than scotto's voice
I, too, am not keen on her increasingly shrill top, specifically after 1979. However, there's no doubt in my mind that she is one of the most sensitive singers I've heard. Few can shape a phrase with the same delicacy.
BTW, I heartily agree about Olivero as Adriana. That recording with Corelli/Simionato/Bastianini is one of the great live performances captured on disc.
I just listened to Act 1 this morning at the gym...loved it. Thanks, LaCieca! Scotto is absolutely at her best here--pure, powerful singing and phrasing without any spreading or wiry high notes. I also very much like Aragall.
I heard Scotto in this role at the Met around '81 or '82 and alas, it was not a good night for her. Her acting was impeccable, but the voice was already growing shrill and unpleasantly edgy.
But even in her heavy 80's roles, no one could touch her interpretively. Norma, Suor Angelica, Lauretta, Francesca, Manon Lescaut, even Lady M were lessons in musicianship and phrasing.
constantine a. papas:
Regarding Olivero, you've got a good ear my friend!
;-)
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