Comments on: Mara Zampieri: the Cabaret Years! http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/ where opera is king and you, the readers, are queens Sun, 27 May 2012 09:13:51 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: Noel Dahling http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108269 Noel Dahling Tue, 01 Dec 2009 18:49:46 +0000 http://parterre.com/?p=10686#comment-108269 "invaders of defenseless countries" --Sure just like Italy invaded Ethiopia. dorion the douche. “invaders of defenseless countries” –Sure just like Italy invaded Ethiopia. dorion the douche.

]]> By: dorion http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108264 dorion Tue, 01 Dec 2009 18:40:10 +0000 http://parterre.com/?p=10686#comment-108264 richard what made you think I'm not a queen? But then there are queen and there are queens... richard what made you think I’m not a queen? But then there are queen and there are queens…

]]> By: Olivero is my Drug of Choice http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108210 Olivero is my Drug of Choice Tue, 01 Dec 2009 14:44:32 +0000 http://parterre.com/?p=10686#comment-108210 As strange as MME Zampieri sounds in this clip, I find her oddly compelling. So shoot me! As strange as MME Zampieri sounds in this clip, I find her oddly compelling. So shoot me!

]]> By: moritz http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108209 moritz Tue, 01 Dec 2009 14:25:22 +0000 http://parterre.com/?p=10686#comment-108209 Count me among those who love Zampieri. And I did so from the very first moment I heard her on stage: the individuality of her timbre, her careful and intelligent handling of the text, the way she threw herself into a performance as if it was the last time on stage or the most important evening of her career. „Passion“ and „Wahrhaftigkeit“ (truthfulness?) are the two words that come to my mind first. The voice was (and probably still is) huge and had an incredible dynamic range from a very well projected pianissimo (I remember a most beautiful „Morrò, ma prima in grazia“ when a nearly whispered „spenta per man del padre“ gave more insight into Amelia’s character than other singers manage to give in a whole performance) to a fortissimo that nailed you to your seat. And while I easily can understand that her timbre is not to everyone’s taste I fail to see how one can overlook her artistry. Feldmarschallin, I share many of your memories, thanks for reminding me: Tosca, Wally, Manon Lescaut. She was my favorite Verdi soprano (beside Lady and Odabella I particularely loved her Ballo-Amelia and both Leonoras, and Luisa and Amalia, which I unfortunately only know from recordings), and I adore her in Maria Stuarda, Roberto Devereux and Belisario. She was fantastic in Giuramento in Vienna beside Domingo and Baltsa and the commercial recording (Orfeo) shows that quite well (although the voice certainly was difficult to record, which unfortunately many private recordings with insufficient equipment prove). Wonderful both Adriana Lecouvreur in Zurich and Salome in Vienna. And I deeply regret that I didn’t manage to hear her Senta in Berlin in 1994. Zampieri certainly was one of the reigning divas at the Wiener Staatsoper in the 80‘s and early 90‘s (though not as unanimously beloved as apparently in Lisbon) and appointed honorary member of the Staatsoper in the mid 90‘s. She decided to concentrate on a few opera houses at different stages of her career: Lisbon, Vienna, Zurich, because she wanted „to leave a trace“, as she once said in an interview. And she certainly did so in my heart and in my perception of opera. Count me among those who love Zampieri. And I did so from the very first moment I heard her on stage: the individuality of her timbre, her careful and intelligent handling of the text, the way she threw herself into a performance as if it was the last time on stage or the most important evening of her career.
„Passion“ and „Wahrhaftigkeit“ (truthfulness?) are the two words that come to my mind first. The voice was (and probably still is) huge and had an incredible dynamic range from a very well projected pianissimo (I remember a most beautiful „Morrò, ma prima in grazia“ when a nearly whispered „spenta per man del padre“ gave more insight into Amelia’s character than other singers manage to give in a whole performance) to a fortissimo that nailed you to your seat. And while I easily can understand that her timbre is not to everyone’s taste I fail to see how one can overlook her artistry.
Feldmarschallin, I share many of your memories, thanks for reminding me: Tosca, Wally, Manon Lescaut. She was my favorite Verdi soprano (beside Lady and Odabella I particularely loved her Ballo-Amelia and both Leonoras, and Luisa and Amalia, which I unfortunately only know from recordings), and I adore her in Maria Stuarda, Roberto Devereux and Belisario. She was fantastic in Giuramento in Vienna beside Domingo and Baltsa and the commercial recording (Orfeo) shows that quite well (although the voice certainly was difficult to record, which unfortunately many private recordings with insufficient equipment prove). Wonderful both Adriana Lecouvreur in Zurich and Salome in Vienna. And I deeply regret that I didn’t manage to hear her Senta in Berlin in 1994.
Zampieri certainly was one of the reigning divas at the Wiener Staatsoper in the 80‘s and early 90‘s (though not as unanimously beloved as apparently in Lisbon) and appointed honorary member of the Staatsoper in the mid 90‘s. She decided to concentrate on a few opera houses at different stages of her career: Lisbon, Vienna, Zurich, because she wanted „to leave a trace“, as she once said in an interview. And she certainly did so in my heart and in my perception of opera.

]]> By: Feldmarschallin http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108159 Feldmarschallin Tue, 01 Dec 2009 02:54:17 +0000 http://parterre.com/?p=10686#comment-108159 well I heard Zampieri many, many times from 1981 to the early 90's in different venues. Minnie at La Scala, Tosca in Stuttgart and Zuerich, La Wally in Bregenz, Salome and Odabella in Wien and countless Verdi roles in Muenchen. The voice was large and carried quite well. She was one of my favorite singers at the time along with Popp and Varady. I recall the first time I heard her was on Allerheiligen (1.11.81) as Amelia in Ballo and from the moment I heard her entrance in the first act I loved the sound of the voice. She needed a full orchestra and the piano wasn't good to do her big voice justice. She had an easy top and very good middle and low notes. She could vary the dynamics from a mere whisper to full forte oversinging the whole chorus and orchestra of Aida. She had a good trill and could start a note softly and gradually swell the note. I heard many of the Verdi roles and here her voice was great. She did an amazing Manon Lescaut as well and she managed to make you believe she was this young girl in the beginning. She was a great actress on stage and NEVER phoned in a performance. She always gave 150%. She was not a generic soprano like so many of them are today. She was very much loved in Wien, Muenchen, Zuerich and Berlin but also sang in Spain, Portugal, London and Italy. I wouldn't know which role to call her best since I dind't find any of them mistakes but she did best in active roles. I personally loved the Ballo, Salome and Odabella but of course also the Minnie and Lady and Aida were quite special. The voice was larger than Varady's and carried a bit better IMO. Also what I thought was very unique was her pronounciation of the Italian language. She is from Padua and I love to here her way with the words. well I heard Zampieri many, many times from 1981 to
the early 90′s in different venues. Minnie at La Scala, Tosca in Stuttgart and Zuerich, La Wally in Bregenz, Salome and Odabella in Wien and countless Verdi roles in Muenchen. The voice was large and carried quite well. She was one of my favorite singers at the time along with Popp and Varady. I recall the first time I heard her was on Allerheiligen (1.11.81) as Amelia in Ballo and from the moment I heard her entrance in the first act I loved the sound of the voice. She needed a full orchestra and the piano wasn’t good to do her big voice justice. She had an easy top and very good middle and low notes. She could vary the dynamics from a mere whisper to full forte oversinging the whole chorus and orchestra of Aida. She had a good trill and could start a note softly and gradually swell the note. I heard many of the Verdi roles and here her voice was great. She did an amazing Manon Lescaut as well and she managed to make you believe she was this young girl in the beginning. She was a great actress on stage and NEVER phoned in a performance. She always gave 150%. She was not a generic soprano like so many of them are today. She was very much loved in Wien, Muenchen, Zuerich and Berlin but also sang in Spain, Portugal, London and Italy. I wouldn’t know which role to call her best since I dind’t find any of them mistakes but she did best in active roles. I personally loved the Ballo, Salome and Odabella but of course also the Minnie and Lady and Aida were quite special. The voice was larger than Varady’s and carried a bit better IMO. Also what I thought was very unique was her pronounciation of the Italian language. She is from Padua and I love to here her way with the words.

]]> By: richard http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108152 richard Tue, 01 Dec 2009 01:31:26 +0000 http://parterre.com/?p=10686#comment-108152 dorion, your post are sooooo predictably nasty and condescending that they mask anything of value you might have to offer. You swoop in her like a witch on her broomstick, spit out some venom and swoop off. And you call the readers here "queens". Look in the mirror , honey. dorion, your post are sooooo predictably nasty
and condescending that they mask anything of value you might have to offer.

You swoop in her like a witch on her broomstick,
spit out some venom and swoop off.

And you call the readers here “queens”. Look in the mirror , honey.

]]> By: Lindoro Almaviva http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108144 Lindoro Almaviva Tue, 01 Dec 2009 00:10:39 +0000 http://parterre.com/?p=10686#comment-108144 I will agree with you on all counts. I didn't have one of those easy voices and had to work HARD at getting everything in line (still do) so I can completely see what you are talking about. Also, I didn't think it that way, so thanks Cieca Cara for bringing it up. The one thing that I would "correct" is your allusion to pedagogy and actually say <i>but the problem is that this is not the way most</i><strong> pedagogues (or voice teachers)</strong><i> work</i>. I have a feeling we are talking about the same thing, but I am not sure. A lot of the teachers I have been associated with are the kind that make a big deal about learning your technique whether you have a natural voice or not so you avoid bigger problems in the future. That been said, I have known teachers that act like some sort of vocal coach, they will fix what you have issues with<strong> right now </strong>and in the future you are on your own. At the same time, I have always avoided that kind of teacher. They never worked for me. I will agree with you on all counts. I didn’t have one of those easy voices and had to work HARD at getting everything in line (still do) so I can completely see what you are talking about. Also, I didn’t think it that way, so thanks Cieca Cara for bringing it up.

The one thing that I would “correct” is your allusion to pedagogy and actually say but the problem is that this is not the way most pedagogues (or voice teachers) work. I have a feeling we are talking about the same thing, but I am not sure.

A lot of the teachers I have been associated with are the kind that make a big deal about learning your technique whether you have a natural voice or not so you avoid bigger problems in the future. That been said, I have known teachers that act like some sort of vocal coach, they will fix what you have issues with right now and in the future you are on your own. At the same time, I have always avoided that kind of teacher. They never worked for me.

]]> By: cpross http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108140 cpross Mon, 30 Nov 2009 23:52:54 +0000 http://parterre.com/?p=10686#comment-108140 oops, my bad; the link is here: http://www.facebook.com/video/video.php?v=618007705577&oid=44600669325 (not on YouTube, alas) oops, my bad; the link is here: http://www.facebook.com/video/video.php?v=618007705577&oid=44600669325 (not on YouTube, alas)

]]> By: cpross http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108139 cpross Mon, 30 Nov 2009 23:51:13 +0000 http://parterre.com/?p=10686#comment-108139 I'm also one of the minority who really, really likes Zampieri... In terms of her volume/projection, there's a 'Teco io sto' on YouTube that's pretty fab, and this, a Don Carlos finale with Domingo from 1992. *lurve* I’m also one of the minority who really, really likes Zampieri… In terms of her volume/projection, there’s a ‘Teco io sto’ on YouTube that’s pretty fab, and this, a Don Carlos finale with Domingo from 1992. *lurve*

]]> By: dorion http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108137 dorion Mon, 30 Nov 2009 23:24:24 +0000 http://parterre.com/?p=10686#comment-108137 yes Harry it's La Stupenda, and as usual she leaves the competition eating dust. I never had a problem with her diction by the way. I always understood each word, as Lucia, Violetta, Norma, Lucrezia, Leonora, etc. I don't think the Italians would have named her La Stupenda if her diction had been poor. It always seemed to me that her diction was the only thing her detractors could vaguely criticize her for, they obviously had an agenda. They couldn't really cope with a great Lucia, a great Norma, a great Turandot, a great Violetta and a great Wagnerian (if she had set heart and career to it) all at the same time. yes Harry it’s La Stupenda, and as usual she leaves the competition eating dust.

I never had a problem with her diction by the way. I always understood each word, as Lucia, Violetta, Norma, Lucrezia, Leonora, etc. I don’t think the Italians would have named her La Stupenda if her diction had been poor.

It always seemed to me that her diction was the only thing her detractors could vaguely criticize her for, they obviously had an agenda. They couldn’t really cope with a great Lucia, a great Norma, a great Turandot, a great Violetta and a great Wagnerian (if she had set heart and career to it) all at the same time.

]]> By: dorion http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108133 dorion Mon, 30 Nov 2009 22:57:32 +0000 http://parterre.com/?p=10686#comment-108133 Lindoro I understand you have to kiss the hostess' behind any chance you have but please never put the words "Italians" and "Americans" in the same sentence when opera is being discussed. Americans are great baseball players and invaders of defenseless countries and all but they know squat about opera. I'd just as soon trust Cicciolina, not Gelb. Zampieri wipes the floor off with many dramatic sopranos praised by some Americans as Angelica or Macbeth. She's a true artist beyond the reach of most Americans' lack of sensibility. Lindoro I understand you have to kiss the hostess’ behind any chance you have but please never put the words “Italians” and “Americans” in the same sentence when opera is being discussed. Americans are great baseball players and invaders of defenseless countries and all but they know squat about opera. I’d just as soon trust Cicciolina, not Gelb.

Zampieri wipes the floor off with many dramatic sopranos praised by some Americans as Angelica or Macbeth. She’s a true artist beyond the reach of most Americans’ lack of sensibility.

]]> By: Harry http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108125 Harry Mon, 30 Nov 2009 21:40:58 +0000 http://parterre.com/?p=10686#comment-108125 My God!!!!!!!!!!!!!!!!!!!! Joan S .............and you can ACTUALLY hear the words distinctly. Such diction from her, it is amazing. Was Bonygne the conductor..... that day? My God!!!!!!!!!!!!!!!!!!!! Joan S ………….and you can ACTUALLY hear the words distinctly. Such diction from her, it is amazing. Was Bonygne the conductor….. that day?

]]> By: Noel Dahling http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108115 Noel Dahling Mon, 30 Nov 2009 21:00:28 +0000 http://parterre.com/?p=10686#comment-108115 Having a debate with another youtuber: I am writing as tristanchord85. Am curious to know what other members of this site feel about it: httpv://www.youtube.com/watch?v=f_odCIFVt-c Having a debate with another youtuber: I am writing as tristanchord85. Am curious to know what other members of this site feel about it:

]]> By: Noel Dahling http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108114 Noel Dahling Mon, 30 Nov 2009 20:55:18 +0000 http://parterre.com/?p=10686#comment-108114 What you describe about young singers with natural voices not getting the training they need is exactly what Cheryl Suder said was the cause of her vocal problem in the mid-90's. She said her teachers had an "if it aint broke, dont fix it" attitude when it came to training;she wasnt given the essential foundation and later on she had a crises. Its sad, really. And of course the greatest of all such "natural singers" who never had a singing lesson, Ponselle, was a nervous wreck because she really didnt know what she was doing. What you describe about young singers with natural voices not getting the training they need is exactly what Cheryl Suder said was the cause of her vocal problem in the mid-90′s. She said her teachers had an “if it aint broke, dont fix it” attitude when it came to training;she wasnt given the essential foundation and later on she had a crises. Its sad, really.
And of course the greatest of all such “natural singers” who never had a singing lesson, Ponselle, was a nervous wreck because she really didnt know what she was doing.

]]> By: La Cieca http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108113 La Cieca Mon, 30 Nov 2009 20:37:48 +0000 http://parterre.com/?p=10686#comment-108113 Your question about Giordani, with allusions to Kaufmann, bears some thought. It seems that in both cases these tenors sang one way when they were quite young (mid 20s) but then had to retool later on. I don't think this is at all unusual for singers who have a fairly easy, well-placed voice early on: basically they just sing instinctively and it sounds fine. Meanwhile, though, the voice continues to develop, reaching maturity in the mid 30s, and a mature voice needs to work from some kind of technical basis, not just "open your mouth and sing" the way kids do. The ideal of course is for the very young singers to work hard on technique whether the voice already "works" or not, but the problem is that this is not the way most pedagogy works. The basis of voice teaching in general is to take on a student who has a problematic voice, then fix what needs fixing. Ironically, then, the singer without easy natural facility has a kind of advantage here, since he's more likely to get a firm technical grounding early on instead of having to wait ten years until the problems become glaring. La Cieca would be remiss, though, if she didn't mention that by far the biggest danger to the tenor voice is... other tenors. Those guys make <I>The Women</i> seem like a support group. Your question about Giordani, with allusions to Kaufmann, bears some thought. It seems that in both cases these tenors sang one way when they were quite young (mid 20s) but then had to retool later on. I don’t think this is at all unusual for singers who have a fairly easy, well-placed voice early on: basically they just sing instinctively and it sounds fine. Meanwhile, though, the voice continues to develop, reaching maturity in the mid 30s, and a mature voice needs to work from some kind of technical basis, not just “open your mouth and sing” the way kids do.

The ideal of course is for the very young singers to work hard on technique whether the voice already “works” or not, but the problem is that this is not the way most pedagogy works. The basis of voice teaching in general is to take on a student who has a problematic voice, then fix what needs fixing. Ironically, then, the singer without easy natural facility has a kind of advantage here, since he’s more likely to get a firm technical grounding early on instead of having to wait ten years until the problems become glaring.

La Cieca would be remiss, though, if she didn’t mention that by far the biggest danger to the tenor voice is… other tenors. Those guys make The Women seem like a support group.

]]> By: kashania http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108108 kashania Mon, 30 Nov 2009 20:15:42 +0000 http://parterre.com/?p=10686#comment-108108 Lindoro: When I first heard Giordani (I think it was a recording of "Una furtiva lagrima"), I heard a bit of Di Stefano in his voice and I really liked how he sounded in the "Un de felice" you posted. IIRC, around ten years ago, he retooled his voice. The result was the ability to hit some spectacular acuti but the mid-register developed that thick phlegmy quality. Does anyone know why he did this? Obviously, the voice sound much differently today than it did in this clip. Lindoro: When I first heard Giordani (I think it was a recording of “Una furtiva lagrima”), I heard a bit of Di Stefano in his voice and I really liked how he sounded in the “Un de felice” you posted. IIRC, around ten years ago, he retooled his voice. The result was the ability to hit some spectacular acuti but the mid-register developed that thick phlegmy quality. Does anyone know why he did this? Obviously, the voice sound much differently today than it did in this clip.

]]> By: kashania http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108107 kashania Mon, 30 Nov 2009 20:08:38 +0000 http://parterre.com/?p=10686#comment-108107 I agree that the top part of the voice is nice (that final note is lovely) but I have to wonder how anyone could hear the rest of the performance? Strange indeed. I am, however, enjoying watching the other clips that people have posted. I quite enjoyed the "La luce langue" (a few strange sounds aside). I agree that the top part of the voice is nice (that final note is lovely) but I have to wonder how anyone could hear the rest of the performance? Strange indeed. I am, however, enjoying watching the other clips that people have posted. I quite enjoyed the “La luce langue” (a few strange sounds aside).

]]> By: Lindoro Almaviva http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108083 Lindoro Almaviva Mon, 30 Nov 2009 16:23:02 +0000 http://parterre.com/?p=10686#comment-108083 And for those who have not seen the Macbeth from Berlin: Nel di della vittoria: httpv://www.youtube.com/watch?v=npeBP7CPmZA La luce langue: httpv://www.youtube.com/watch?v=dETnfd8v1wA Una macchia: httpv://www.youtube.com/watch?v=TVl3vm-UCJU and while I was digging on youtube, I found this clip of her and Marcello Giordani singing Traviata. Is it me or is Marcello Giordani sounding quite a lot like Pippo? What happened to his voice? This was just beautiful compared to the whinning that we get these days: httpv://www.youtube.com/watch?v=50GWo1UWEg0 And for those who have not seen the Macbeth from Berlin:

Nel di della vittoria:

La luce langue:

Una macchia:

and while I was digging on youtube, I found this clip of her and Marcello Giordani singing Traviata. Is it me or is Marcello Giordani sounding quite a lot like Pippo? What happened to his voice? This was just beautiful compared to the whinning that we get these days:

]]> By: Latino Arts LA http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108084 Latino Arts LA Mon, 30 Nov 2009 16:23:02 +0000 http://parterre.com/?p=10686#comment-108084 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). 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).

]]> By: Lindoro Almaviva http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-3/#comment-108082 Lindoro Almaviva Mon, 30 Nov 2009 16:06:16 +0000 http://parterre.com/?p=10686#comment-108082 There is one role in which I find Zampieri quite riveting and the voice not at all improper: httpv://www.youtube.com/watch?v=0KqSosV6TiM There is one role in which I find Zampieri quite riveting and the voice not at all improper:

]]> By: Lindoro Almaviva http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108081 Lindoro Almaviva Mon, 30 Nov 2009 16:00:23 +0000 http://parterre.com/?p=10686#comment-108081 I can't remember, but it was one of those corny titles like Love and betrayal. I read it on an opera News article several years ago. I can’t remember, but it was one of those corny titles like Love and betrayal. I read it on an opera News article several years ago.

]]> By: Clita del Toro http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108080 Clita del Toro Mon, 30 Nov 2009 15:59:51 +0000 http://parterre.com/?p=10686#comment-108080 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 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

]]> By: Hugo Santos http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108079 Hugo Santos Mon, 30 Nov 2009 15:58:22 +0000 http://parterre.com/?p=10686#comment-108079 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". 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”.

]]> By: keine gute naechte http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108075 keine gute naechte Mon, 30 Nov 2009 15:01:16 +0000 http://parterre.com/?p=10686#comment-108075 limited expressive range, I should say limited expressive range, I should say

]]> By: keine gute naechte http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108074 keine gute naechte Mon, 30 Nov 2009 15:00:33 +0000 http://parterre.com/?p=10686#comment-108074 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. 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.

]]> By: Clita del Toro http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108072 Clita del Toro Mon, 30 Nov 2009 14:36:37 +0000 http://parterre.com/?p=10686#comment-108072 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. 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.

]]> By: Noel Dahling http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108071 Noel Dahling Mon, 30 Nov 2009 14:23:37 +0000 http://parterre.com/?p=10686#comment-108071 What did they rename Tosca? What did they rename Tosca?

]]> By: Clita del Toro http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108070 Clita del Toro Mon, 30 Nov 2009 14:21:57 +0000 http://parterre.com/?p=10686#comment-108070 Zampieri is a fabulous Lady Macbeth to Bruson's Macbeth on that DVD from Berlin. She is not to everyone's taste, but I love her. I prefer her LM to Verrett's, who I saw in DC many years ago. According to a fan on opera-l who has seen Z many tmes, she was a wonderful singer with quite a big voice. I don't know how she sounds on the clip here, and I don't care. Zampieri is a fabulous Lady Macbeth to Bruson’s Macbeth on that DVD from Berlin. She is not to everyone’s taste, but I love her. I prefer her LM to Verrett’s, who I saw in DC many years ago.
According to a fan on opera-l who has seen Z many tmes, she was a wonderful singer with quite a big voice.

I don’t know how she sounds on the clip here, and I don’t care.

]]> By: Noel Dahling http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-1/#comment-108069 Noel Dahling Mon, 30 Nov 2009 14:20:17 +0000 http://parterre.com/?p=10686#comment-108069 You can't tell this was made like 25 years ago?(around the time I was born) You can’t tell this was made like 25 years ago?(around the time I was born)

]]> By: operaddict http://parterre.com/2009/11/29/mara-zampieri-the-cabaret-years/comment-page-2/#comment-108064 operaddict Mon, 30 Nov 2009 14:01:48 +0000 http://parterre.com/?p=10686#comment-108064 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. 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.

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