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Revue: Tanja Ariane Baumgartner as Eboli

« Tanja Ariane Baumgartner as Eboli is a natural phenomenon! Elegant, passionate, with exciting mezzo-colours and with secure coloraturas, she undrapes “The Veil Song” with vibrancy and stunningly imbues “O don fatale” with a dramatic richness whilst creating a magnificent harmony in the higher reaches of the aria. »

Don Carlo at Oper Frankfurt: Gerhard Hoffmann, Der Neue Merker

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Au sujet de Piotr Beczała

« Piotr Beczala, quel sublime chanteur de toutes les manières imaginables, le phrasé glorieux, le pouvoir stentorian quand il le faut, le fil sensible de la voix qu’il avait à la fin, sans parler de la diffusion superidiomatique du texte, TOUT!!!!!!!!!!!!!!!! ,

Piotr sounded totally stentorian in Act 1 from where I was, the voice enormous, by end of Act 3 he had reduced the volume to a tenth, and still sounded like singing right in my ear. He really is a miracle of a singer,we do not realize that we have here and now, a historical singer we will be talking about on parterre in 2050, “oh you should have heard Beczala at the Met in the teens” 

– lolMarshiemarkII (http://parterre.com)

Du blog: http://piotr-beczalas-friends.blogspot.com/2014/01/23-january-20014-rusalka-by-antonin.html
Piotr Beczala was wonderful as the Prince, his tenor elegant and impassioned. Zachary Woolfe(http://www.nytimes.com)
« The Polish tenor Piotr Beczala is splendid as the Prince, strikingly handsome and with a strong voice that is full of passion yet tender in his duets with Fleming. His phrasing of the Czech text is delicate and poetic. » Wilborn Hampton ( http://www.huffingtonpost.com)
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Schiller sur I Masnadieri de Verdi

Friedrich Schiller

Friedrich Schiller (Photo credit: swanksalot)

Verdi et son librettise Andrea Maffei se sont basés sur l’ouvre de Schiller intitulé Die Räuber en 1847,  dont ce dernier ne savait trop qu’en faire,  pour créer l’opéra I Masnadieri.  Schiller dit:

Je ne peux penser à une autre œuvre littéraire qui se prêterait si bien au traitement musical.

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Liudmyla Monastyrska — An Interview

She has a clear dramatic conception of the role. “Shakespeare’s Lady Macbeth is a pure incarnation of evil, but in Verdi she has more of a conscience; in her final aria the audience actually see her going out of her mind, and thus they don’t judge her as much as in the play. The music is her inner consciousness. In the duet with Macbeth, when he has murdered Duncan, Lady Macbeth takes the knife and goes to make sure that the deed has been done; when she comes back and looks at her hands, from that moment she realises her crime— she has sinned and is immediately tormented by her guilty conscience. This troubling remorse arrives much later in the play, in Act 4.”

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Rosa Ponselle au sujet de la voix de Elisabeth Rethberg

De la voix d’Elisabeth Rethberg il peut être dit, comme pas moins un juge que Toscanini a fait remarquer, que sa voix était peut-être la plus parfaite lirico-spinto jamais entendue. Ceux qui connurent au cours des années suivantes la qualité fluide de la voix de Renata Tebaldi, et le merveilleux pianissimi de Zinka Milanov, auraient trouvé ces deux qualités dans le chant limpide et chatoyant de Rethbergs. Son arrivée au Metropolitan dans la saison 1922-23 a avancé immesurablement l’art du bel canto.

– Rosa Ponselle

Autobiographie de Rosa Ponselle, page 91

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