‘Tis the season of blindness!
Do you not feel in the air that a certain legendary soprano will make a surprise singing appearance this evening?
Do you not feel in the air that a certain legendary soprano will make a surprise singing appearance this evening?
È l’April! È l’April!
È la stagion d’amore!
Deh, vieni, o mia gentil,
sui prati in fiore!
È l’April!
È l’April!
È l’April!
I love that song and have not heard it in thirty years
Thanks for the memories.
Grazie, Signor di montevergine. Tanto gentile.
A great favourite recital disc from thirty years ago, now magically restored by Utube. I used to play this again and again.
Check out Tetrazzini: utterly ravishing. One of her great ones.
(http://www.youtube.com/watch?v=rguiOWLm1tg)
Mme. Vera Galupe-Borszkh
Brava! a true diva!
Bis, Joe Conda!
LaCieca writes “legendary” so that would exclude Millo.
Well it was Ms. Millo and she was fab. Ailyn didn’t sing because she just got off the plane from Russia. STephen sounded healthy and confident. Tamara did what I thought was some exquisite singing. Too bad for all the problems because the Webcast was decent and the sound pretty good.
What did she sing? Can you expan on ‘fab’?
I also guess Vera…..I want the VIDEO!!!!!!!!!!!!!!!!!!!!!
Okay, Tamara Wilson sang “Tacea la notte…Di tale amor” and was fantastic! This girl is major. Easy spinning high C attacked mezzo piano and swelled at the climax of “O Patria Mia”. Lush, full, sumptuous tone. If the Met could nail down Matos, Latonia Moore and this girl they would be set for Verdi.
Stephen Costello sang “Non T’Amo Piu” by Tosti and “Danny Boy”. La Aprile sang “O Del Mio Amato Ben” by Stefano Donaudy and “Do no sing to me fair maiden those songs of the faraway Georgian steppes” by Rachmaninoff. A touch rusty toned for the Italian but warmed up nicely and richly emotional in the Russian.
Stephen Costello looked HOT! His phrasing I thought was much improved in the delivery of his Italian with improved legato over what I have heard in the past. I could have done without the overwrought schlocky Danny Boy. Tamara appears to have a marvelous marvelous chest voice doesn’t she? Though, she was tentative on the high notes. But what phrasing and musicality; it was lovely. I didn’t hear enough of L’Aprile to comment but she was funny.
He delivered an Italian?
Mannnnnouououououououo!
Tamara Wilson is a fabulous singer. Here in Toronto we’ve had the pleasure of hearing her twice in recent seasons: first as Amelia in Simone Boccanegra and then as Elettra in Idomeneo. I thought the first role suited her best -- absolutely gorgeous tone and a sizeable instrument. She sang well in the Mozart but I felt didn’t quite pull of the silly “putting on make-up and acting kinda ditzy” during Idol Mio. This fall she’ll be back in a new production of Die Fledermaus as Rosalinde. I know she just sang Elisabet (sp?) in Houston in the French version of DC -- would have loved to have been there.
And…was any of this recorded…can one hear it still on WQXR or Youtube???
You can watch/listen here: http://www.wqxr.org/#!/programs/live-broadcasts/2012/jun/27/
I love what Millo said about her own Russian pronunciation…that it was more “Bounced Czech.” She really has a great sense of humor!
OT: La Cieca, have you seen this on opera-l? Who is she/he/it?
http://listserv.bccls.org/cgi-bin/wa?A2=ind1206D&L=OPERA-L&D=1&T=0&O=D&X=0C99A56083B950AD17&Y=ceruleanblu7%40gmail.com&P=142549
Clita, I’m afraid that link just points to a login page. What did it say?
Perhaps Clita means this:
http://listserv.bccls.org/cgi-bin/wa?A2=ind1206D&L=OPERA-L&T=0&F=&S=&P=142549
Yes, that’s it.Thanks.
I swear I’ve read that before…. maybe a comment on Midgette’s blog? ‘QXR? Just can’t remember…. I read too many darn blogs.
Latching on to one of the points, I really don’t think there is a dearth of big voices worldwide. I think there is a dearth of truly distinctive voices across all fachs of the kind we’d tell our grand children about (although of course there are exceptions), but I don’t think we actually lack the voices full stop to mount any corner of the repertoire to the highest professional standards.
As far as I am concerned, what’s often missing is phrasing and intonation that are not generic, diction that is not incomprehensible and characterisation that is not charmless and boring.