I think the page around 2:58 may be the largest leap in pitch between consecutive notes in classical music. A4 to D2, its closer to three octaves than 2!! Can anyone else tell me if theres a bigger one? I cant think of any
The dacapo part of this interpretation is probably the way to start the aria as a whole.. light and confused. In the B part we want the strong unbelief. An in the final dacapo confusion and anger why she couldnt love me... more bariton, less bass with affect of the huge range...the bariton that can sing this aria with the emotion it deserves will become the best handel singer ever.
Mr. Thomas has plenty to find fault with but he was singing this repertoire 30+ years ago well before it had its current popularity. I love this aria, I love his interpretation, still poignant so many years later
Who in gods name did he write this for lol. Like the Bass equivalent of Michael Spyres?? I guess his C2 is good enough he could probably technically do it, but an actual Bass/bass-baritone singing D2-A4 is absurd lol. A4 is the equivalent difficulty of *F5* for a tenor, assuming the standard kind of C3-C5, E2-E4 conversion. And with the D2, its like if "Credeasi" also had a Bb2 for arturo lol Edit: Yeah more I think about it theres 0 chance Spyres hasn't at least sang this in private. Probably with a D5 thrown in at some point. Probably floated towards this score like a cartoon character smelling a fresh baked pie...
Fra l'ombre e gl'orrori farfalla confusa già spenta la face non sa mai goder. Così fra timori quest'alma delusa non trova mai pace né spera piacer. Literally, trying to translate as much as possible word by word which is not pretty at all and might sound off in the recieving language (the syntax might look especially funny): [standing] between shadows and horrors a bewildered butterfly, extinguished already the splendour/torch/light, she can never be happy/enjoy [herself]*. Likewise between worries this soul disappointed cannot find ever peace nor hopes for pleasure *godere might also strongly imply a kind of pleasure linked to bodily pleasures and especially to carnal pleasures I was trying a more poetic tanslation but I actually found one online, I'll try linking it here to you.
(12. Aria) POLYPHEMUS Among the shades and the horrors the dazed moth, already dying, shall never know the pleasure of the flame. Likewise among its fears, this soul disappointed never finds peace nor hopes for pleasure. translation: Susan Gould and Richard Stone, 2009
I like this poetic translation very much, it manages to sound pretty and to convey the meaning felt in ancient italian (that "già spenta la face" might be referred to a torch, to a hope, to the sun or to the very life itself of the subject, hence the repetition in this translation " already dying, shall never know the pleasure of the flame." is to me totally correct)
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I think the page around 2:58 may be the largest leap in pitch between consecutive notes in classical music. A4 to D2, its closer to three octaves than 2!! Can anyone else tell me if theres a bigger one? I cant think of any
David was a master of this type of music.
The dacapo part of this interpretation is probably the way to start the aria as a whole.. light and confused. In the B part we want the strong unbelief. An in the final dacapo confusion and anger why she couldnt love me... more bariton, less bass with affect of the huge range...the bariton that can sing this aria with the emotion it deserves will become the best handel singer ever.
Dit is een van de mooiste atlas die ik ken.die hoogtes en laagtes met die stem.ongelooflijk!
Absoluut. Händel had een echt geniaal talent voor het vinden van unieke texturen. Deze aria heeft geen enkel aanknopingspunt .
Anche se la voce non mi piace moltissimo, pero' che straordinaria estensione...wow
Mr. Thomas has plenty to find fault with but he was singing this repertoire 30+ years ago well before it had its current popularity. I love this aria, I love his interpretation, still poignant so many years later
It had massive popularity 30 years ago. DT was one of the pioneers of baroque informed style.
Who in gods name did he write this for lol. Like the Bass equivalent of Michael Spyres?? I guess his C2 is good enough he could probably technically do it, but an actual Bass/bass-baritone singing D2-A4 is absurd lol. A4 is the equivalent difficulty of *F5* for a tenor, assuming the standard kind of C3-C5, E2-E4 conversion.
And with the D2, its like if "Credeasi" also had a Bb2 for arturo lol
Edit: Yeah more I think about it theres 0 chance Spyres hasn't at least sang this in private. Probably with a D5 thrown in at some point. Probably floated towards this score like a cartoon character smelling a fresh baked pie...
Seriously why is noone talking about this
Beautiful. I played a bass clarinet arrangement of this piece at a concert. Where can I get an. English translation of all the lyrics?
Fra l'ombre e gl'orrori farfalla confusa
già spenta la face non sa mai goder.
Così fra timori quest'alma delusa
non trova mai pace né spera piacer.
Literally, trying to translate as much as possible word by word which is not pretty at all and might sound off in the recieving language (the syntax might look especially funny):
[standing] between shadows and horrors a bewildered butterfly,
extinguished already the splendour/torch/light, she can never be happy/enjoy [herself]*.
Likewise between worries this soul disappointed
cannot find ever peace nor hopes for pleasure
*godere might also strongly imply a kind of pleasure linked to bodily pleasures and especially to carnal pleasures
I was trying a more poetic tanslation but I actually found one online, I'll try linking it here to you.
Here:
tempestadimare.org/enews/TempestaWebImages/AciTranslationWeb.pdf
(12. Aria)
POLYPHEMUS
Among the shades and the horrors
the dazed moth, already dying,
shall never know the pleasure of the flame.
Likewise among its fears,
this soul disappointed never finds
peace nor hopes for pleasure.
translation: Susan Gould and Richard Stone,
2009
I like this poetic translation very much, it manages to sound pretty and to convey the meaning felt in ancient italian (that "già spenta la face" might be referred to a torch, to a hope, to the sun or to the very life itself of the subject, hence the repetition in this translation " already dying,
shall never know the pleasure of the flame." is to me totally correct)
2:53
I hope I can sing this by my senior year of college
Who is singing?
david thomas
who sings?
David Thomas, is in the description
david thomas
Well sung but too slow.