parterre box

54 comments

• Quanto Painy Fakor says:

  MA…
  

  on November 30, 2009 at 1:36 AM
  • Lindoro Almaviva says:

    Or tutti tacete ministri infernali. Did they not have enough time for retakes?

    on November 30, 2009 at 2:10 AM
• Camille says:

  Mara Zampieri is also the voice of the late, lamented opera diva, played in flashbacks by Janet Suzman, in Fellini’s 1983 film, “E la nave va”. Therein she may be heard singing an excerpt of ‘O patria mia’, which sounded quite bewitching.

  Quite an effective and intelligent Lady M and yes she had quite the career, both Verdi and Puccini. The video of Fanciulla shows her ability to develop a highly sympathetic character, in spite of her vocalization which IS what it is and not exactly Minnie. I believe she comes from Padova.

  on November 30, 2009 at 5:05 AM
• The Vicar of John Wakefield says:

  How appalling! Tragic that we have this clip but nothing of Fretwell, Tinsley or Illing in the same role.

  on November 30, 2009 at 5:13 AM
• Regina delle fate says:

  Zampieri certainly had a strange voice – white-toned, almost vibrato-less on certain notes, but in the context of the theatre she could be an exciting, yes, erratic singer, like Jones on a good night, Rysanek or Silja. Heard late in her career, with a piano accompaniment she does sound a bit arty and the strange quality of her voice is magnified. But she was a thrilling Tosca and the most individual Fanciulla del West at Covent Garden in the 1980s. I wish I had seen her Lady M in her prime. At least she does a passable trill. And, by the way, Pauline Tinsley was a Lady Macbeth one would die to hear today. Another erratic singer who could be absolutely thrilling in the theatre. Her Turandot, Elektra, Kostelnicka and Elisabeth to Janet Baker’s Mary Stuart, were among the most memorable I have seen in the theatre. I think she also sang Elisabetta to B Sills Stuarda, didn’t she? Maybe not a great singer, but certainly a great singing actress at her best.

  on November 30, 2009 at 8:54 AM
• operaddict says:

  I find this singing rather compelling. It certainly is her unique style that singles her out and is the reason we are talking about her. How did the voice project in a big house? I never heard her live. The voice has a lonely, plaintive quality with that straight tone and distant sound.

  on November 30, 2009 at 9:01 AM
• Clita del Toro says:

  operaaddict-

  To repeat myself, I was told by someone who has seen Zampieri many times that she had quite a big voice–one that carried well.

  on November 30, 2009 at 9:36 AM
• keine gute naechte says:

  This is so wrong in several ways, but I can imagine she would have had a very hard time sticking to the very few things she did really well. I’ve always thought that her Lady Macbeth with Sinopoli is effective, given the peculiarities of that role. Back in the 80s, I heard her live as Abigaille in SF, and the paint-peeling quality of the voice was much less evident in the theater. Still it was a fundamentally harsh sound with a limited range. I would never have wanted to hear her in anything but Macbeth, Nabucco, maybe Attila, certainly not Puccini.

  on November 30, 2009 at 10:00 AM
• keine gute naechte says:

  limited expressive range, I should say

  on November 30, 2009 at 10:01 AM
• Hugo Santos says:

  Zampieri was a favourite here in Portugal, being the reigning diva of the São Carlos National Theatre for a long time. She debuted in Don Carlo (1977) and then sang Il Trovatore (1978), Simon Boccanegra (1978), La Forza del Destino (1980), Aida (1980 & 1981), Luisa Miller (1983), Anna Bolena (1984), Maria Stuarda (1985), Roberto Devereux (1986), Norma (1987) and Manon Lescaut (1988). There were also many concerts and the Verdi Requiem (twice, at least). This video refers to her famous concerts in behalf of the Misericórdia de Sintra, an historical town near Lisbon.

  Although her voice was far from convencional, it was a big and exciting instrument which thrilled the portuguese public in a way, I believe, no one has experienced again.

  By the way, Teresa Stich-Randall was also a favourite. I hope you don’t find us some kind of “voice freaks”.

  on November 30, 2009 at 10:58 AM
  • Latino Arts LA says:

    Hugo Santos, Thanks for your input from Lisbon. I was working at the Deutsche Oper Berlin during the 80′s when Mara performed to great acclaim. My two favorite performances were Forza and Aida. Although her voice was not “beautiful” in the Tebaldi style, her visceral artistry on stage made the performances so exciting,(what I believe Callas performances might have been like to witness). Like Callas, she could have off-nights (though few); however when she was on top, Mara electrified the whole auditorium (as the Macbeth taping proves).

    on November 30, 2009 at 11:23 AM
• Clita del Toro says:

  keine gute naecht,

  Listen to Zampieri’s In quelle trine morbide–limited expression, my foot!

  I know that Z voice is a acquired taste, but in the Puccini aria she, imo, is very expressive and moving. And she sounds very Italian to my ears–more in the vein of an Olivera than a Tebaldi.

  http://www.youtube.com/watch?v=ChGieQ28wjw

  on November 30, 2009 at 10:59 AM