Martina Arroyo: Verdi - Macbeth, 'Una macchia è qui tuttora!'

Martina Arroyo (born February 2, 1937) is an operatic soprano of Puerto Rican and African-American descent who had a major international opera career during the 1960s through the 1980s. She was part of the first generation of black opera singers to achieve wide success and is viewed as part of an instrumental group of performers who helped break down the barriers of racial prejudice in the opera world. Arroyo first rose to prominence at the Zurich Opera between 1963--1965, after which she was one of the Metropolitan Opera's leading sopranos between 1965 and 1978. During her years at the Metropolitan Opera she was also a regular presence at the world's best opera houses, performing on the stages of La Scala, Covent Garden, the Opéra National de Paris, the Teatro Colón, the Deutsche Oper Berlin, the Vienna State Opera, the Lyric Opera of Chicago, and the San Francisco Opera to name just a few. She is best known for her performances of the Italian spinto repertoire and in particular her portrayals of Verdi and Puccini heroines. Her last opera performance was in 1991, after which she has devoted her time to teaching singing on the faculties of various universities in the United States and Europe. Having performed in the major opera houses and with the greatest symphony orchestras of the world, she has left a legacy of recordings, including: Handel's Judas Maccabeus (twice) and Samson, Mozart's Don Giovanni (Donna Elvira for Karl Böhm and Donna Anna for Sir Colin Davis), Beethoven's Missa solemnis and Ninth Symphony, Rossini's Stabat mater, Verdi's Un ballo in maschera, La forza del destino (in both the St. Peterburg and revised versions), and the Messa da requiem and Mahler's massive Eighth Symphony (the Symphony of a Thousand). She has also recorded important 20th century music, including Schoenberg's Gurre-Lieder and Carlo Franci's African Oratorio and two works she "created" in their world premieres: Karlheinz Stockhausen's Momente and Samuel Barber's Andromache's Farewell. Arroyo's discography (which also includes an aria recital), though enviable, does not encompass anything like the full range of roles she essayed onstage. At the Metropolitan Opera alone, these are the operas she performed but never recorded commercially: Verdi's Ernani, Macbeth, Il trovatore, Don Carlos (the Celestial Voice as well as Elizabeth, both in Italian), and ; Wagner's Lohengrin and Der Ring des Nibelungen (featured roles in all four operas); Ponchielli's La Gioconda; Giordano's Andrea Chénier; and Puccini's Madama Butterfly and Turandot (as Liù; she played the title role in Toronto)... en.wikipedia.or...
Lyrics & English Translation
LADY MACBETH
There's still a spot here.
Away, I tell you, curse you!
One, two, it is time!
Are you shaking? Don't you dare go in?
A soldier and so cowardly?
Shame! Come on, hurry!
Who would have thought that there would be
So much blood in that old man?
DOCTOR
What did she say?
LADY MACBETH
The Thane of Fife
Was he not recently a husband and father?
What happened?
GENTLEWOMAN and DOCTOR
Oh, horror!
LADY MACBETH
(looking at her hands)
Shall I never be able
To clean these hands?
There's still human blood here.
The perfumes
Of all Arabia could not clean
This little hand.
Alas!
DOCTOR
Is she moaning?
LADY MACBETH
Put on your nightgown.
Come on, wash yourself!
Banquo is dead and no-one
Has ever come back from the grave.
DOCTOR
This too?
LADY MACBETH
To bed, to bed ...
What's done cannot be undone.
Someone is knocking! Come on, Macbeth,
Do not let your pallor accuse you.
GENTLEWOMAN and DOCTOR
Oh, horror!
Lord, have mercy on her!
A link to this wonderful artists personal Website: martinaarroyofd...
Please enjoy!
I send my kind and warm regards,