You love Lucy
La Cieca pulled a string or two and managed to get permission to embed a clip from the VAI Lucia
so recently lauded by Our Own Niel Rishoi. Of course YouTube video and audio is severely compressed, but the imaginative viewer will surely get the gist that this is a performance for the ages.
so recently lauded by Our Own Niel Rishoi. Of course YouTube video and audio is severely compressed, but the imaginative viewer will surely get the gist that this is a performance for the ages.Labels: bel canto, guest critic, our own, scotto, youtube
POSTED at
10:51 PM
19 Comments:
You know...I used to really detest Scotto when I was younger. But the father along I get in age and opera education (contributed to in part by this FABULOUS blog), the more I realize that Scotto was indeed Phenomenal. Not because of the voice, really, but more because of the way she sang and what she did on stage. I'm more an more of a fan every time I watch her. I watched the mad scene from this production, and she is really, truly mesmerizing. She was never afraid to make an ugly sound, and her high e flats are not of Sutherland vintage (whose are or ever were?), but she really just astounded me. She was just totally...involved I think is the right word. Netrebko should watch this and LEARN something about singing this rep with the less than ideal voice for it. I wish I could have seen her live...
it is like balm for the ears.
very bel canto, the way it used to be and frankly should be still.
bergonzi is just liquid gold, and Scotto play of chari-scuri are just too much. fabulous. she was certainly a mistress of phrasing. a bit slow in palces, but thank you Cieca. BALM for my ears.
This performance, as reviewed earlier (I decided to comment here on the more recent posting), is truly a testament to the greatness not only of Bel Canto and Donizettian style, but to the singers presented here.
Lucia is an opera that has been discussed ad nauseum on this blog and in many other forums. It's safe to say we all know and agree on the top interpreters of the role - each brought something new and special to it.
Perhaps what some singers have brought to this role in vocal display and in brilliant head-spinning performances, it is clear that Scotto's Lucia stands out amongst all the prettier, higher, and faster voices. Each note is placed, not only technically sufficient, but dramatically poised. It is her sense and execution of style that truly, I believe, makes her Lucia stand out and up against the rest.
I will state, that in my opinion, Dessay's Lucia at the Met was extraordinary relative to the interpretations and voices that have lent themselves to the roles since the 'greats' retired (okay, Devia and Gruberova are still singing their asses off in the role, but they have proven themselves tried and true for decades in the part, there is no contesting it) and I feel that Dessay (perhaps in part to some of the unique and original aspects of the production, also not without it's faults) has truly left her mark on the role and has elegantly signed her name - rightfully so - to the list of great Lucia's. There was a freshness and total committment that Dessay presented. There was an intelligence and a spontaneity and an intimacy in her interpretation that I think function along the same principles as Scotto's interpretation, diverse though they may be.
I don't think just all American sopranos, but ALL sopranos worldwide should have to listen to Scotto in that performance...it is a masterclass in style, in conviction, in courage, and in complete artistry. And I think the same goes for all tenors to hear how intelligently and stylistically well sung Bergonzi is.
dessay was awful, indulgent and over done in donizetti. sorry this is the expression that is correct.
No wonder Lucia went mad. You would, too, if you had to wear that thing on your head!
This is a great clip. Scotto is very moving and her phrasing is extraordinary. But, I found her a bit tentative in parts -- as if she were afraid to sing out. Maybe I just need to listen again. Bergonzi is classic. Thanks for posting this, La Cieca.
Count me as someone who really enjoyed Dessay's Lucia. I only heard it on the radio so I wasn't influenced by her stage acting, just her vocal acting. I thought teh mad scene was wonderful.
OMG, your 'opinion' of Dessay is not 'correct.' You are entitled to your 'opinion' but to those of us who are operatic performers, Dessay was superb in bringing her character to life in that production. There are extremely wonderful things that she did, like the way that all the florid singing was done with purpose and without superfluity (sp?). You don't have to like it, but it is only fair to give her credit where it is due, and she certainly established herself with a very strong and committed (no pun in intended) performance and interpretation.
Singing like this does not exist anymore. Beautiful!
Thanks for this clip to remind the posters in the blog that true bel canto is acting with the voice, finding inflection in the music the way the composer wrote it. Who knew it could be done without lying on your back with with head in the orchestra pit?
Virginia Zeani and Alfredo Kraus singing Lucia is one of the best ever. That is Lucia for me. I would have loved to have seen Zeani instead of Scotto in this. I love Scotto but Zeani is better. Dessay left no mark on me. I thought it was kinda crappy and it sounded like her voice was being ripped apart at times. I don't understand what the fuss is over her lucia. I loved her doll but that was about it with her.
Bergonzi is fantastic! Looks good and sounds good. I cannot take much of La Scotto, sorry, but I cannot! She looks as if she stumbled out of a
Flemish Master's depiction of bawling peasants. The costume is hideous and so is she; in aspect and sound.
Bravo, ITDCS, for your precise and convincing remarks about both Scotto AND Dessay's Lucias--very different, of course, but each made an indelible impression.
Can we all just cease using the term "awful" to describe these performances? It may not be to your taste, but neither Scotto nor Dessay, even on their worst nights, were "awful."
Amen, actfive!
Marvelous. Scotto is lovely here, but hearing Bergonzi in this clip makes one realize just how impoverished the opera world has become in real singers. There are some good tenors out there, but no one of this caliber. Period.
Totally agree regiequeen....little wonder we even make such a fuss about babes like Mr Costello! The outlook is very bleak.
I have an odd question...I almost feel insane to ask it...and I realize that I could call Renata tomorrow and ask her myself...not only that, but having worked with her as much as I have, I am certain that she would probably be against it and would consider it superfluous, even if preserved in the written tenor line...is it just me or does it sound like Scotto hits a high Eb on the "Que-sto PE-gno" while Bergonzi sings what is traditional for both voices to sing? It might just be the way it is presented on the computer, but it sounds that either Scotto sings an Eb and somehow perfectly jumps down to the Bb for the decent with Bergonzi, or she hit her note so perfectly that I'm hearing overtones. Maybe it's that it's very late and I'm hearing things.
Anyone else hear that?
Hi ITDCS - I think you are correct- it struck me too the first time I heard it and I had to go back several times to re- hear it. I think she hits the Eb quite softly - so softly in fact it does almost leave you wondering if you really did hear it at all but for my money - it's there alright.
Yes, she definitely hits the E-flat but softly (and quite easily). I believe that E-flat is an optional note for Edgardo. Carreras sings it in his studio recording with Caballe (it's strained but still fun to hear).
I knew I was right - I'm still going to ask her!
Kashania, the High Eb is written in Edgardo's part...but few tenors have that note and those of us that do (moi, for instance) generally are not of the vocal weight and heft necessary for a part as heavy as Edgardo. I do think that if I were to ever add the duet to my repertoire (I certainly could) I would then do the written Eb, however, if in 20 years I feel comfortable enough to take on this role, well, we'll cross the Eb bridge when we get there!
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