You can ring my bel canto
Since last night marked the debut of history’s newest and perkiest interpreter of the role of Norma, and (more to the point) since Bellini’s druid priestess will grace the woods of Katonah, NY during the month of July, La Cieca thought it would be exciting to organize a YouTube competition on the theme of bel canto. The very special prize to the winner of this week’s competition: a pair of tickets (complete with transportation) to the Bel Canto at Caramoor presentation of Norma on July 16. Your task, cher public, is to find and to embed a YouTube clip that illustrates or embodies the meaning of “bel canto.” Entries will be judged both on the musical quality of the clip and on your introductory paragraph explaining to us why and how this clip is a sterling example of the art of bel canto.
The contest will close on Monday, July 5 at midnight. The commenter who posts the clip and comment La Cieca judges the best (and her whim is final!) will receive a pair of tickets of the July 16 performance of Norma at Caramoor plus a pair of passes on the Caramoor Caravan departing from the Grand Central Station area at 4:00 pm and returning after the opera.
And now, a singer who has been ringing La Cieca’s bel canto for several seasons now, joyous Joyce DiDonato. In this selection, she perfectly balances the technical control necessary to bel canto (long breath, smooth legato, seamlessly blended registers) with the musicianship and emotion required to bring the piece to vivid life. In particular, note the aggressive vocal attacks on the strong rhythms of the main theme of the cabaletta, bordering on the declamatory but always within the context of a breath-supported legato.
So, cher public, let’s hear it from you: what is bel canto and who can show us how to do it?
Can’t think of any clip of Bellini more beautiful or more flawless. I know its totally cliche to post Sutherland for a bel canto competition…but those trills and the legato are just too delicious to pass by!
Was also going to post the Scotto’s Alaide -- Renata really excelled in bringing such drama to those bel canto roles that sheer beauty wouldn’t suffice. However instead of Scotto, listen to Ciofi…pretty breathtaking!
Hey, it may be a cliche to post Sutherland in a bel canto competition. But if not now, when? In a verismo competition?
I see Deviafan beat me to the Lucrezia Borgia punch, but I’m going to post something from Orsini anyway: Miss Jennifer Larmore singing “Il segreto per esser felici.”
I’m a sucker for show-stopping bravura, not to mention for drinking. And I know this isn’t still the tout gai contest, but, really, who doesn’t love a delightful performance en travesti?
Marilyn Horne, of course, is the gold standard for this role, but Larmore conveys a darker mood. She also manages to sound thrilling while keeping her ornaments controlled and restrained.
This is a great recording – off the “Call Me Mister” CD I think? You know, as amazing as Horne was in this repertoire, I sometimes find her recorded performances a bit too driven – maybe almost too perfect in execution if that’s possible. I prefer something like this which seems full of character, a variety of vocal colours, and still is virtuosic. Interesting career Larmore has had, and now seems to be moving into an entirely different type of rep – hope she has success in it (loved her in this season’s Hamlet).
Argh, this is where I wish I had more musical training, but here goes:
The first clip I chose for a number of reasons. First, the pure, unadulterated beauty of the sound. Second, I absolutely adore the dark colorings that brighten into sunny top notes, it really makes his declarations of love feel revelatory, rather than perfunctory. Wonderful rhythm throughout and he ascends and descends with security and softness, instead of plopping out of the high notes. But most importantly, this singing epitomizes “ardent,” which is what a bel canto singer needs. Best, this was sung this year, the art isn’t dead yet.
Do I even need to do a blurb for the second clip? Oh fine. What I love about this clip is the total fearless way she attacks everything. Even though she has a huge dramatic voice she is meticulous in her coloratura.
ON – LB was my planned clip as well — your ability to write about the bloom and control is so appreciated! I absolutely adore the perfect VIBRATO in his voice as well.
Louannd, I am *obsessed* with him. Have you heard this?
and this?
The breath control has become astonishing.
ON, I promise I’m not saying this with any mean spirit, but because I’m actually interested in what you think. We exchanged a few posts about Florez recently and you said you don’t enjoy his singing because, amongst other things, you find there is a bleat in the sound.
I find these Brownlee clips very bleaty indeed, except in the highest notes where everything seems to come together for him. In truth I think there probably are a lot of similarities between the vibratos of both singers, but for me Brownlee’s voice is that much thinner and drier which seems to make the bleat more pronounced. I’m not saying his voice isn’t beautiful, clearly he is very talented indeed and I look forward to hearing him live one day, but to me he seems rather similar to Florez, equally afflicted by what puts some people off tenors like these, yet if anything, with less richness in the sound.
Hi Cocky, no offense taken. But just to be clear, I am somewhat sure I didn’t refer to Florez as “bleaty.” My main critic of Florez is that the voice is monochromactic, lacks resonance and he has spotty intonation. I agree, both singers have that tremulous vibrato and I can accept that for some singers Brownlee’s may seem exaggerated. However in the three areas I listed, intonation, color and rich sound I think Brownlee excels spectaculary for a leggiero. He has a genuine ability to darken the tone that Florez doesn’t. I also find the voice to be much warmer and rounder to my ear than Florez. And I think his breath support is far superior, which is why he is always right on pitch. Brownlee will make an excellent Nemorino as the reviews from last year’s Caramoor indicate and this clip also demonstrates:
I don’t think Florez can claim that yet. Brownlee’s instrument, despite the lightness real lyricism.
Thanks, ON, for your reply. While I don’t agree that Florez lacks resonance, has spotty intonation, or breath support that is in any way wanting, I do agree from the clip you’ve posted of L’Elisir that Brownlee looks likely to be able to take on more diverse repertoire over his career than Florez, who with every passing year only seems more like he’ll be tied to Rossini, Bellini and Donizetti forever. I can see Brownlee developing beyond his current fach into a few choice roles from the full lyric repertoire.
I can’t find it to post, and couldn’t post it if I did, but the most beautiful singing I know of on record is from Ms. Verrett’s green-cover LP. It’s not Rossini or Bellini, but her rendition of “Premiere transport” from Berlioz’ Romeo et Juliette is transcendant for its long legato, and the sense of infinite longing tinged with hopelessness she achieves in that final rising third reduces me to tears every time I hear it. I have become an R&J junkie for just that moment, but no one has ever come close.
I’ve never heard the Verrett recording–wish I could–so I can’t make any invidious comparisons. But have you heard the live performance by Hunt Lieberson with the BSO? Stunning.
Voila:
Despite the fact you have made me cry, thank you, SF Guy.
And thank you, BABS, for introducing me to this.
indeed! thank you…this is GORG, and an introduction for me as well.
i think of this in the same class:
http://www.youtube.com/watch?v=DJte0xtf7aM&feature=player_embedded
Love me some Esposito; thank you, JCM.
Now that I’m thoroughly wrung out, time to milk the Guernseys.
MOTHER OF gOD, that’s lovely. I owned that recording in my youth and adored it. I still do.
Lovely indeed. But having heard this alleged gold standard, I urge you all to find the platinum of Hunt Lieberson, whose voice is warmer, richer than Verrett’s, as good as she is here.
Gorgeous indeed. The Berlioz R & J has been on my list for a while. It’s time I got me a recording.
It’s a GREAT GREAT album, including “O ma lyre immortelle” from Gounod’s Sapho. Here’s the other melting Berlioz aria.
Although I enjoy bel canto pyrotechnics, it is the ability of someone like Verrett or Callas or Sills to spin a line that kills me. This is Sills live in the Assedio from La Scala. I believe her variations were written by Roland Gagnon, and fit her voice perfectly (another aspect of bel canto art).
My bad. This is from the commercial recording. Pretty fab, but the live from La Scala is perfection.
Singing that reminds us of the root of the word “diva”—it seems illuminated by a godly force:
Note the problems of ensemble coordination after the first stanza. Order is restored only when Callas reenters, deep inside the music and setting it back on course. If she is divine, it is because she understood the primacy of music in great singing.
Because the clip has been removed from here, could you please tell me what Callas is singing so I can find it on YouTube? Thanks.
It’s “Casta Diva” from her Paris Opera gala. Here’s the link:
http://www.youtube.com/watch?v=TYl8GRJGnBY&feature=player_embedded
I always in my mind thought that mom was thinking “curses these idiots are NOT together with me so I’d better SHOW them the way” and she did.
Your mom sure knew how to impose discipline, didn’t she? I trust it caused no traumas…
If she is devine as some think -it
certainly is not by this example,
she just makes it and her ending
down scale work is laughable fake,
but she certainly knows how to play the diva for her fans .
We aren’t talking about Andy Devine, dear. You’re off-topic.
Dam it! they sound so much alike
except Andy stays in tune more often.
i don’t know that this is the height of bel canto, but can you beat these costumes?
actually i do admire these gentlemen’s work. here’s another duet:
i enjoy ford a lot. much more juicier and heroic than brownlee for sure.
A history of videos and recordings that draw liberally from the well of bel canto greatness. I aimed for some less obvious offerings:
1994: Luba Orgonasova: “Oh! Quante volte” (studio recording)
Bel Canto characteristics OF NOTE: messa di voce, milked (but tasteful) portamento, a tear in the voice
Noone else delivers such a flawless rendition, and yet maintains the vulnerable, girlish quality the role is wanting. I also find her phrasing and choices particularly individual. Even in comparison with the legends, this recording has little to envy.
1984: Agnes Baltsa & Edita Gruberova: “Si Fuggire: A Noi Non Resta” (Vienna)
OF NOTE: singing as one, expressive fioritura, clean vocal attacks
Yes, Sutherland & Horne are the more obvious duet contestants here, but I find this duo, and selection to offer more emotional and character realness, and femininity, while not sacrificing technique, and the requisite pyrotechnics.
1968-ish: Pavarotti: “Deserto in Terra”, from Donizetti’s Don Sebastiano
OF NOTE: delectable diction and savoring of the text, a well focused timbre, seemless register breaks
He makes this obscure selection from a forgotten opera unforgettable. Hell, this scena is an opera in itself!
1958: Eleanor Steber: “Qui La Voce” (Carnegie Hall Recital)
OF NOTE: limpid diction, milked (but tasteful) portamento, rubato
http://itunes.apple.com/us/album/eleanor-steber-in-concert/id203448655
(I couldn’t find a video online…I’ll have to upload it mysefl!) I actually prefer this cavatina sung with piano accompaniment (as it is here). It makes it a more tender and simple expression. To my taste, Steber bests all other performances of this cavatina.
1933: Beniamino Gigli: “Una Furtiva Lagrima”
OF NOTE: impeccable legato, graceful phrasing, a well focused timbre
Male singers like Gigli, Battistini and Plancon owned legato…it’s just a streaming flow of molten magma, with no air escaping or wasted.
1918: Maria Barrientos: “Qui La Voce”
OF NOTE: rapid and clean coloratura, impeccable legato, well supported gossamer pianissimi
Even though she may get a little scoopy in the bottom register for a modern ear’s taste, this is impeccable singing, and not without great expressivity.
Now Barrientos is real singing !!!!
Something the defunk Maria must
have dreamt about on her best
days .
Great selection – thanks a lot!
Gruberova-Baltsa, an unlikely couple, but man, they made it work more than once:
here they feed each other dramatically in a way that gives me goose bumps.
Its beautiful……..is it Joan of Arc offering the
crown to Charles VII of France ?
To me you simply can’t beat the line, the beauty of tone in this example--Montserrat Caballe singing Maria Stuarda in Barcelona, 1979:
And for campy can belto fun, here’s William Matteuzzi, Chris Merritt and some chick in the trio from Otello.
some chick indeed
By the way, year and place of these Merritt/Mateuzzi/Cuberli clips are wrong – this it is not Amsterdam 1993, but Brussels (La Monnaie) 1994.