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sexta-feira, 26 de março de 2010
(keep it for you)
Encontrei este artigo na "candonga" ;-)
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Aproveitando a Lava vamos dar os parabéns à grande cantora MAGDA OLIVERO que anteontem fez 100 anos. Transcrevo aqui o que dela diz a Wikipedia: Magda Olivero
From Wikipedia, the free encyclopedia:
Magda Olivero (born March 25, 1910) is considered by many to be one of the greatest sopranos of the verismo-school of singing. She was born in Saluzzo, Italy. Her early teachers found her voice wanting. Yet, she persevered, eventually studying with Luigi Gerussi. Olivero made her operatic debut in 1932 on Turin radio in Cattozzo’s oratorio I misteri dolorosi. She performed widely and increasingly successfully until 1941, when she married and retired from performing. She returned to the stage ten years later, at the request of Francesco Cilèa, who asked her to sing the title role in his opera Adriana Lecouvreur.
From 1951 until her final retirement, Olivero sang in opera houses around the world. With her return to the stage, her voice seemed even more passionate and nuanced, as well as considerably more powerful, than it had previously seemed. Among her most renowned interpretations were the leading parts in Adriana Lecouvreur, Iris, Fedora, La bohème, La fanciulla del West, La traviata, La Wally, Madama Butterfly, Manon Lescaut, Mefistofele, and Turandot (as Liù.)
She sang in Cherubini's Medea in Dallas in 1967 and in Kansas City in 1968. In 1975, already an international star for four decades, she made her début at the Metropolitan Opera House in Tosca. Her last performances on stage were in March 1981 in the one-woman opera, La voix humaine by Poulenc. Thus, her stage career ended at age 71 and spanned nearly 50 years. She continued to sing church music locally and, well into her eighties, made a recording of several arias. This recording shows that, despite the aging of the voice, her interpretive skills and technical aplomb never deserted her. Fortunately, recordings exist of many of her great performances of both full operas and arias and scenes.
Olivero’s voice is at once rich and beautiful though perhaps difficult to appreciate at first. She did not always strive to make sounds conventionally beautiful, but they were always expressive. Expressivity was always her first concern. The range of her tone amazes for its ability to capture every emotion with individual intensity. She, perhaps more than almost any other singer, could colour the tone of her voice to the meaning of the words. As with Maria Callas and Leyla Gencer, this ability to meld drama and music into one seamless whole made Magda Olivero one of the greatest singers of all time. Her acting style is equally intense.
Among her studio recordings are Turandot (as Liù, with Gina Cigna, for Cetra, 1938), Fedora (with Mario del Monaco and Tito Gobbi, conducted by Lamberto Gardelli, for Decca, 1969) and highlights from Francesca da Rimini (with del Monaco, conducted by Nicola Rescigno, for Decca, 1969). At the age of 86 she still managed to sing Adriana's monologue in Jan Schmidt-Garre's film Opera Fanatic, and into her nineties was still making occasional singing appearances. Olivero celebrated her 100th birthday on March 25, 2010.
Existem gravações no youtube bastante recentes da Olivero a cantar música religiosa. Tenho um cd em que canta várias arias, que já tive o prazer de mostrar ao Raúl, em que dá uma belissima interpretação do Sempre Libera. Que seja muito feliz e goze de boa saúde.
Relativamente à Simone Kermes, não a quis misturar com a Olivero por respeito para com a cantora italiana, comprei o cd na Alemanha devido ás boas criticas e impressionado com alguns clips do youtube. O reportório é muito interessante, é raro encontrar arias do Pergolesi, a cantora tem extraordinarios dotes expressivos mas a voz é "magra" e feia apesar de extensa e ágil. Sinceramente não gostei depois duma audição mais atenta.
Simon Kermes tomou parte numa leitura "historicamente informada" da ópera Il Trovatore. Sinceramente, não soube o que dizer após ouvir a sua Leonora. Estilisticamente alheia parece-me, francamente, um eufemismo.
Olá, Conheço a voz de Kermes de várias outras gravações: Rodelinda, Athalia, Deidamia, Lotario, Davi, La Primavera, Arias for Cuzzoni... Não considero sua voz "magra" e "feia", claro que todos dão livres para terem suas opiniões, mas vamos lembrar algumas coisas: Kermes é uma coloratura ligeira, sem inflexões interpretativas ou tons médios; seu repertório centraliza-se no barroco, não no romantismo, principalmente italiano; e suas escolhas de repertório ficam sob a égide dos "barroquistas". Gosto do seu trabalho, de sua voz, e torço para que ela evolua interpretativamente. Abraços. Cesar
5 comentários:
Aproveitando a Lava vamos dar os parabéns à grande cantora MAGDA OLIVERO que anteontem fez 100 anos. Transcrevo aqui o que dela diz a Wikipedia:
Magda Olivero
From Wikipedia, the free encyclopedia:
Magda Olivero (born March 25, 1910) is considered by many to be one of the greatest sopranos of the verismo-school of singing. She was born in Saluzzo, Italy. Her early teachers found her voice wanting. Yet, she persevered, eventually studying with Luigi Gerussi. Olivero made her operatic debut in 1932 on Turin radio in Cattozzo’s oratorio I misteri dolorosi. She performed widely and increasingly successfully until 1941, when she married and retired from performing. She returned to the stage ten years later, at the request of Francesco Cilèa, who asked her to sing the title role in his opera Adriana Lecouvreur.
From 1951 until her final retirement, Olivero sang in opera houses around the world. With her return to the stage, her voice seemed even more passionate and nuanced, as well as considerably more powerful, than it had previously seemed. Among her most renowned interpretations were the leading parts in Adriana Lecouvreur, Iris, Fedora, La bohème, La fanciulla del West, La traviata, La Wally, Madama Butterfly, Manon Lescaut, Mefistofele, and Turandot (as Liù.)
She sang in Cherubini's Medea in Dallas in 1967 and in Kansas City in 1968. In 1975, already an international star for four decades, she made her début at the Metropolitan Opera House in Tosca. Her last performances on stage were in March 1981 in the one-woman opera, La voix humaine by Poulenc. Thus, her stage career ended at age 71 and spanned nearly 50 years. She continued to sing church music locally and, well into her eighties, made a recording of several arias. This recording shows that, despite the aging of the voice, her interpretive skills and technical aplomb never deserted her. Fortunately, recordings exist of many of her great performances of both full operas and arias and scenes.
Olivero’s voice is at once rich and beautiful though perhaps difficult to appreciate at first. She did not always strive to make sounds conventionally beautiful, but they were always expressive. Expressivity was always her first concern. The range of her tone amazes for its ability to capture every emotion with individual intensity. She, perhaps more than almost any other singer, could colour the tone of her voice to the meaning of the words. As with Maria Callas and Leyla Gencer, this ability to meld drama and music into one seamless whole made Magda Olivero one of the greatest singers of all time. Her acting style is equally intense.
Among her studio recordings are Turandot (as Liù, with Gina Cigna, for Cetra, 1938), Fedora (with Mario del Monaco and Tito Gobbi, conducted by Lamberto Gardelli, for Decca, 1969) and highlights from Francesca da Rimini (with del Monaco, conducted by Nicola Rescigno, for Decca, 1969). At the age of 86 she still managed to sing Adriana's monologue in Jan Schmidt-Garre's film Opera Fanatic, and into her nineties was still making occasional singing appearances. Olivero celebrated her 100th birthday on March 25, 2010.
RAUL
Existem gravações no youtube bastante recentes da Olivero a cantar música religiosa.
Tenho um cd em que canta várias arias, que já tive o prazer de mostrar ao Raúl, em que dá uma belissima interpretação do Sempre Libera. Que seja muito feliz e goze de boa saúde.
Relativamente à Simone Kermes, não a quis misturar com a Olivero por respeito para com a cantora italiana, comprei o cd na Alemanha devido ás boas criticas e impressionado com alguns clips do youtube. O reportório é muito interessante, é raro encontrar arias do Pergolesi, a cantora tem extraordinarios dotes expressivos mas a voz é "magra" e feia apesar de extensa e ágil. Sinceramente não gostei depois duma audição mais atenta.
Simon Kermes tomou parte numa leitura "historicamente informada" da ópera Il Trovatore. Sinceramente, não soube o que dizer após ouvir a sua Leonora. Estilisticamente alheia parece-me, francamente, um eufemismo.
Olá,
Conheço a voz de Kermes de várias outras gravações: Rodelinda, Athalia, Deidamia, Lotario, Davi, La Primavera, Arias for Cuzzoni...
Não considero sua voz "magra" e "feia", claro que todos dão livres para terem suas opiniões, mas vamos lembrar algumas coisas: Kermes é uma coloratura ligeira, sem inflexões interpretativas ou tons médios; seu repertório centraliza-se no barroco, não no romantismo, principalmente italiano; e suas escolhas de repertório ficam sob a égide dos "barroquistas". Gosto do seu trabalho, de sua voz, e torço para que ela evolua interpretativamente.
Abraços.
Cesar
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