Vivi tu, te ne scongiuro - Gregory Kunde - Anna Bolena (Amsterdam, 1989)
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- Опубликовано: 13 сен 2024
- Anna Bolena
Giovanna
Enrico VIII
Riccardo Percy
Smeton
Lord Rochefort
Sir Harvey
Nelly Miricioiu
Chyntia Clarey
Jean-Philippe Courtis
Gregory Kunde
Helene Schneidermann
Mark Glanville
James Doing
Radio Symfonie Orkest
Groot Omroep Koor
Conductor: Kenneth Montgomery
Amsterdam, Koninklijk Concertgebouw, 9 December 1989
Great! The great Percy ever! Fantastic Gregory Kunde
sempre magnifico! grande Gregory!!
His best recording.
Magnifiek!
“ ... resti in terra a lagrimar ... “
The best version of this song
@Barone Vitellio Scarpia Perhaps thers is no high D is truly a better performance, you are right
@Barone Vitellio Scarpia I wrote badly the other message, theres is no high d, but, (i know it is falsetto), still a better performance
@@Bulacio_Elias Chris Merritt is better, and he added a high D in the end of the cabaletta. But I prefer Hadley.
@@BaroneVitellioScarpia1Listen to Celso Albero. He is truly magnificent. This is surely beautiful, but Albero is a true tenore drammatico d'agilita, which I profer Donizetti intended. Just my humble opinion.
@@tencontento9177 tenore drammatico? Ahahahahahahahah! Celso Albelo is nasal and constricted. Hadley is way better.
BRAVO !!!
Bravo
BRAVO.
💜
Another tenor voice that might/should have had larger fame....along with Bruce Ford, and Rockwell Blake. Though each had a slight grain to their voice, not the tenor di grazia bell like purity, I submit there came with this a sense of character, a person inhabiting the role, not just a voice. Any chance one had to be Italian, or Italianate to be promoted?
A certain British tenor on the recoding with Beverly Sills used a detached falsetto to manage some of the high notes & instead of using a mixed falsetto/ head voice combination as Kunde does here. It is not easy for many tenors to manage this. Pavarotti for one in his I PURITANI recording with Sutherland also uses a full falsetto to reach the high F towards the end of the opera whereas Kunde, Gedda & others are able to use the mix described above therefore blending this in the process of descending from the written high F. We have no audio evidence of course as to what Rubini did at the I PURITANI premiere so perhaps he used a detached falsetto as well. What tenors such as Gedda accomplished with this falsetto/head voice mix is more acceptable, IMO, anyway but does take some expertise to bring off. I have to check but I am not certain if Kunde manages this in the PURITANI moment or not. In THIS excerpt from ANNA BOLENA Kunde & John Alexander on the Souliotis recording sing the aria with the combination described above which for many listeners nowadays (this one for one) is better, though more problematic for some others. What is interesting is that from around 1960 to the present one finds more tenors trained & able to do this than earlier in the 20th Century.
you mean rockwell blake, who is american as well. Kunde just was a master of fusione dei registri.
grande!
Okay so I did some research. This is from 1989 in Amsterdam. The entire recording, as well as the cast list, is available at www.opera-club.net/release.asp?rel=806
+PhilosophicalDance thanks!!!!
oh my god!
The rest of the performance is fabulous - legato, acuti etc. It's just a pet peeve of mine when Percy hangs on to that A, which is notated as part of a sixteenth-note triplet, with no fermata.
its belcanto singers were allowed - no - ENCOURAGED to do the very things that showed them off the best, and to NOT simply repeat performances they heard or merely do a "correct" reading of what was on the page.
think of how today's popular artists cover pop and rock songs. nobody wants to hear a 1:1 cover of ANY song. the same should be with performances of italian opera from the very beginnings up through early verdi.
@@kstonum BRAVO, well said!!!!
I've given it a like, but it was a tad rapid
PERCY
Vivi tu, te ne scongiuro,
tu men tristo, e men dolente.
Vivi tu, ecc.
Cerca un suolo in cui sicuro
abbia asilo un innocente:
cerca un lido un cui vietato
non ti sia per noi pregar.
Ah! qualcuno il nostro fato
resti in terra,
ah! resti in terra a lagrimar.
Ah! tu vivi, e il nostro fato
resti in terra a lagrimar.
Vivi tu, e il nostro fato, ecc.
Don't take my word for it. Check the score.
I understood what you said, but I don't know the name. Sorry :)
What is this recording from?
+PhilosophicalDance I'm sorry, I don't know. This is the only fragment I have.
I don't know, sorry !
Meh. Too many fermatas over high notes that are meant to be parts of phrases 1:07
this complaint address unto the conductor or director not the singer,m`dear.
As though you have a clue what Donizetti wanted. Spare us.