Esto ocurria. , porque los maestros de canto , eran antiguamente muy buenos. Ahora los alumnos salen a medio cocinar y rapidamente se van a cantar , por esto muchos han arruinado su voz tempranamente.
I don't the piece sung by Georgia Jarman is from L'elisir D'amore. It's nothing I've heard and I know the opera pretty well. The music doesn't fit, the tenor has a heavier voice than usually associated with Nemorino.
I'm trying to figure out why anyone ever thought we needed a cabaletta from Oroveso in Norma, let alone Wagner. I'd be curious to see the dramatic context and text of this. It also just musically doesn't sound like it fits in with Bellini's music, at all.
See the video "CHRIS MERRITT - G. Meyerbeer: Robert le Diable - recitativo, aria e cabaletta (Pesaro, 1988)" here on RUclips. I think this is the 1988 Carnegie Hall performance, and is mistakenly labeled as at Pesaro(?). Meyerbeer wrote this aria for the great tenor Mario for a later production of the opera. Here's the libretto: -------(Récitatif) Où me cacher? Quel horreur! Quel supplice! Seul, perdu, réprouvé, comment vivrai-je ainsi? Et rien sur mon message envoyé par Alice! Hélas! Tremblant j'attends ici, Hélas! Tu m'abandonnes aussi! Mon Isabelle! Tu m'abandonnes aussi! Ah! C'est pour chercher un bonheur éphémère, moi-même j'ai quitté le chemin de l'honneur! C'est que j'ai de ma sainte mère oublié les leçons, source du vrai bonheur! Ma sainte mère! ------(Prière) Oh! Ma mère, ombre si tendre, sur mon front criminel, ah! daignez répandre la paix de votre ciel! Je fus bien coupable mais je vous aime toujours Voyez! Tout m'accable, pitié de mes tristes jours! Emporté par l'orage j'ai perdu mon chemin! Au milieu du naufrage tendez moi votre main! Ma mère adorée! Tendez moi votre main! -- -----(Marche) Ciel, qu'entends-je? Du tournoi c'est la marche guerrière. Mon Isabelle, ils vont se disputer ton coeur. Ah! Je sens que la prière me rend la force première. Je me réveille vainqueur. Ah! Venez tous! Je vous défie, chevaliers. Je suis vos pas. Fiers rivaux, je suis vos pas! À mon glaive, je confie mon amour plus que ma vie. Il ne la trahira pas. Ah, je sens que la prière me rend la force première. Je me réveille, je suis vainqueur. Le ciel parle à mon coeur. Je me réveille, je suis vainqueur. Ah! Fiers rivaux! Ah! Venez tous!
Harald Sævik a cabaletta is usually the last part of an aria and tends to be fast and in a rapid tempo. The term “cabaletta” is derived from the word for “horse” in Italian (think of a gallop). Cabalettas were prominent in bel canto and Verdi operas.
@@prosdocimo Thanks, theres a song Pavarotti sings which often refers as Cabaletta. And I was wondering about is this an original name, until I saw other songs called thus.
It is part of the 'cavatina-cabaletta' form which comes after the opening accompagnato in a scena. In Violetta's scena that closes Act I, E strano is the accompagnato, Ah fors è lui is the cavatina, and Sempre libera is the cabaletta.
At least some of these are recent recordings. I can't vouch for all the names, but Christoyannis and Spyres are active, and Merritt either still is or is fairly recently retired.
The Bianca e Fernando cabaletta from Bellini is not rare at all. This opera has been brought to the stage in modern times, at least 2 times, because CD-recordings excist. Beginning 1976 in Torino (Gala discs). Furtheron there was a performance in Catania in 1991 (Nuova Era discs). Spyres' performance of this aria+cabaletta is complete on youtube:ruclips.net/video/-vbp59gn7c4/видео.html. What really is rare is the recent performance of the original Bianca e Fernando (1828), called Bianca e Gernando (1826). The aria+cabaletta from that original starts as the Fernando-version but has a cabaletta of its own. It is outstanding sung by Maxim Mironov: ruclips.net/video/2APldmW156k/видео.html.
@@clefnoteproductions6695 Very True, there are No Baritones today who would match the real Greats. I am 102 years old I heard many great Baritones live, including Tibbett Granforte, Schlusnuss , Warren and Bastianini, Bechi Gobbi and Guelfi, Warren Bechi certainly sang the High B in the Opera House and it was very Virile and Manly, Schlusnuss certainly had the range and the German Josef Metternich whom I heard in Graz did sing it, especially in Hoffman. diolch yn Fawr, Prynhawn Da.
Thanks.
I heard Florian Sempey singing this aria at the philharmonie in Paris. It was a great concert full of rare arias. Thanks again.
Thanks so much, especially for Pavlo Carrer!
Cabaletta in Greek.
Thank you!
Realmente impresionante
The Forza Cabaletta was performed by Caruso in some performances and also Martinelli did the same, I do not believe many tried after them.
wow
Would it be possible to list the singer's names in order and the operas these cabalettas aretaken from?
The Norma's cabaletta composed by Wagner is more like Verdi's early works than Bellini. lol
Unglaublich!!!
If you haven't already done one, how about one for sopranos, mezzos and contraltos? More tenors as well
Voz ligera pero con poder. ..muy pocos son los virtuosos@
Esto ocurria. , porque los maestros de canto , eran antiguamente muy buenos.
Ahora los alumnos salen a medio cocinar y rapidamente se van a cantar , por esto muchos han arruinado su voz tempranamente.
Ces airs resteront inconnus si on ne leur donne pas un titre ???
That cabaletta by Wagner really has his signature: better than what it sounds :-)
It is Rienzi Wagner
Nel dolce in canto is the only cabletta I know from L'elisir that follows her aria and final duet. Where can the music be found?
I don't the piece sung by Georgia Jarman is from L'elisir D'amore. It's nothing I've heard and I know the opera pretty well. The music doesn't fit, the tenor has a heavier voice than usually associated with Nemorino.
I'm trying to figure out why anyone ever thought we needed a cabaletta from Oroveso in Norma, let alone Wagner. I'd be curious to see the dramatic context and text of this. It also just musically doesn't sound like it fits in with Bellini's music, at all.
Rienzi Wagner
do yu have the name of the aria of Robert le diable or a link for a video ? i can't find it
See the video "CHRIS MERRITT - G. Meyerbeer: Robert le Diable - recitativo, aria e cabaletta (Pesaro, 1988)" here on RUclips. I think this is the 1988 Carnegie Hall performance, and is mistakenly labeled as at Pesaro(?). Meyerbeer wrote this aria for the great tenor Mario for a later production of the opera. Here's the libretto:
-------(Récitatif)
Où me cacher? Quel horreur! Quel supplice!
Seul, perdu, réprouvé, comment vivrai-je ainsi?
Et rien sur mon message envoyé par Alice!
Hélas! Tremblant j'attends ici,
Hélas! Tu m'abandonnes aussi!
Mon Isabelle! Tu m'abandonnes aussi!
Ah! C'est pour chercher un bonheur éphémère,
moi-même j'ai quitté le chemin de l'honneur!
C'est que j'ai de ma sainte mère oublié les leçons,
source du vrai bonheur!
Ma sainte mère!
------(Prière)
Oh! Ma mère, ombre si tendre,
sur mon front criminel,
ah! daignez répandre
la paix de votre ciel!
Je fus bien coupable
mais je vous aime toujours
Voyez! Tout m'accable,
pitié de mes tristes jours!
Emporté par l'orage
j'ai perdu mon chemin!
Au milieu du naufrage
tendez moi votre main!
Ma mère adorée!
Tendez moi votre main!
--
-----(Marche)
Ciel, qu'entends-je?
Du tournoi c'est la marche guerrière.
Mon Isabelle, ils vont se disputer ton coeur.
Ah! Je sens que la prière
me rend la force première.
Je me réveille vainqueur.
Ah! Venez tous!
Je vous défie, chevaliers.
Je suis vos pas.
Fiers rivaux, je suis vos pas!
À mon glaive, je confie
mon amour plus que ma vie.
Il ne la trahira pas.
Ah, je sens que la prière
me rend la force première.
Je me réveille, je suis vainqueur.
Le ciel parle à mon coeur.
Je me réveille, je suis vainqueur.
Ah! Fiers rivaux! Ah! Venez tous!
do you haave the name of Merritt cabaletta ?
Im not familiar with the term. Is Cabaletta a special song, or type of form?
Harald Sævik a cabaletta is usually the last part of an aria and tends to be fast and in a rapid tempo. The term “cabaletta” is derived from the word for “horse” in Italian (think of a gallop). Cabalettas were prominent in bel canto and Verdi operas.
@@prosdocimo Thanks, theres a song Pavarotti sings which often refers as Cabaletta. And I was wondering about is this an original name, until I saw other songs called thus.
In opera there is rarely a piece in "song" form. Songs would be for chamber recitals (like Italian art songs or lieder).
It is part of the 'cavatina-cabaletta' form which comes after the opening accompagnato in a scena. In Violetta's scena that closes Act I, E strano is the accompagnato, Ah fors è lui is the cavatina, and Sempre libera is the cabaletta.
is a type of form, very used in romantic Opera 1800 century
Is any of this cabalettas performed nowadsys?
At least some of these are recent recordings. I can't vouch for all the names, but Christoyannis and Spyres are active, and Merritt either still is or is fairly recently retired.
The Bianca e Fernando cabaletta from Bellini is not rare at all. This opera has been brought to the stage in modern times, at least 2 times, because CD-recordings excist. Beginning 1976 in Torino (Gala discs). Furtheron there was a performance in Catania in 1991 (Nuova Era discs).
Spyres' performance of this aria+cabaletta is complete on youtube:ruclips.net/video/-vbp59gn7c4/видео.html.
What really is rare is the recent performance of the original Bianca e Fernando (1828), called Bianca e Gernando (1826). The aria+cabaletta from that original starts as the Fernando-version but has a cabaletta of its own.
It is outstanding sung by Maxim Mironov: ruclips.net/video/2APldmW156k/видео.html.
It would have been better if in the third example - Pierre-Ives Pruvot had not attempted the high B.
Ruffo always sang this note in this opera, this man certainly hits the note well.
In my opinion it had to much muscle and no brilliance
@@clefnoteproductions6695 Very True, there are No Baritones today who would match the real Greats. I am 102 years old I heard many great Baritones live, including Tibbett Granforte, Schlusnuss , Warren and Bastianini, Bechi Gobbi and Guelfi, Warren Bechi certainly sang the High B in the Opera House and it was very Virile and Manly, Schlusnuss certainly had the range and the German Josef Metternich whom I heard in Graz did sing it, especially in Hoffman. diolch yn Fawr, Prynhawn Da.
And I can hear Chris Merritt is past his best