The "Nacqui all'affanno" Contest - Victoria de los Angeles
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- Опубликовано: 14 окт 2024
- "How to end an opera?" That was surely one of the quetions composers asked themselves in the good old days (circa 1800s). The possibilities were endless, but the most "popular" opera ending certainly was an aria for the heroine: Anna Bolena, Amina, Elvira, Zoraide, Elena... This is only a short list of opera heroines, who get the final word in their respective operas. Rossini's La Cenerentola also ends with a final aria for the title heroine. Angelina's "Nacqui all'affanno" is a wonderful example of the rondo aria form: it starts with a gentle cantible, where there is much room for expression, and ends with a brilliant cabaletta, that was used by Rossini two times before "La Cenerentola". I do hope that you enjoy this new voting (the system is the same: the marks range from 1 to 5; there are two categories: singing/characterization; so your mark (+ comment :-) ) should look like this: (*/*)). Next - the lovely Victoria de los Angeles.
Fantastic singing, truly amazing ❤
Light and beautiful as always. She is very comfortable in the range and that is relaxing to listen to. The lower part becomes boring cause of the tender timbre, but I liked this. It sounds that she is singing with a smile, very laid back! Not as forced as Genaux or Kassarova. ****/***
I would agree with you: this particular version is one of the most tender I know. You can believe that this is Cinderella. Only Von Stade in the Ponelle film is another example of a singer able to comminucate this felling :-).
Fantastic rendition ❤❤
For all the faults discussed, this version radiates joy and sunshine like few others. I personally prefer this to the machine-gun approach of Bartoli. Her voice is very forward and exposed in the recording. In the theatre she sounded far, far more beautiful... If only they had used her for the Glyndebourne EMI recording...
Victoria could sing in both the soprano rep as well as the mezzo-soprano rep (a very rare talent nowadays). She was in that rare class of singers, who like Maria Callas (although not on the same scale as Maria), could sing beyond the soprano rep into the mezzo-soprano rep. I think this is a beautiful rendition by Victoria, one of the finest. :)
Around 5:20 she is exceptional. I love her interpretation even she is not a mezzo. We find the perfection in Teresa Berganza.
De los Angeles had good chest tones and a beautifully even middle, but what she lacked was range (anything over a High Bb5 was struggle) and the agility although quite decent here, isn't naturally part of her instrument.
an otherwise great singer who really doesn't do this aria justice. having said that, I liked the different tempo, and but for the ending thought the characterization was reasonable 4/4
Lovely singing... but I hated the tempo, it ruined the whole cabaletta. The overall result is really poor, I think. */*
Oh no. Listened a second time and the ending is awful and destroys the good feeling. My points **/**
RE: The ending - she actually sings what Rossini wrote
No, no, no. Ceneretola is for a Mezzo. I don´t like the tempo and the end is quite inexpected... 3 stars for a great soprano