Mariella Devia - Rossini: SEMIRAMIDE, Bel raggio lusinghier, Pescia recital 1991, High E
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- เผยแพร่เมื่อ 8 ก.ย. 2024
- THE SONGBIRD: Here is the legendary Mariella Devia, one of the great coloratura sopranos of our -- or any -- era. She was born in 1948, made her debut as Despina at the Spoleto Festival in 1972, and was still singing concerts in good form through 2020 (acknowledging the pandemic has halted or altered many venue bookings). Devia is a bel canto specialist bar none, but also sings baroque works and lyric-coloratura roles of Mozart and several French composers. This is taken from a recital in December 1991 with Paola Molinari at the piano.
THE MUSIC: Rossini's "Semiramide" is based on a Voltaire play and premiered in Venice in 1823. It was not his last opera, but was his last original opera written in Italian, as he moved to Paris after its premiere. The leading role was written for his wife, the great soprano Isabella Colbran and was his last opera for her (her voice was in considerable decline at this point). Despite wide success in the decades following its premiere and occasional diva-driven productions here or there (in Cincinnati in 1882 for Adelina Patti, at The Met in 1894 for Nellie Melba), it faded far into the background. It was produced anew at La Scala in 1962/63 as a showcase for Joan Sutherland (alongside Giulietta Simionato), and has since become a more frequently produced, though still rare, vehicle for the top-tier of accomplished bel canto divas. "Bel raggio lusinghier" is sung by Semiramide, Queen of Babylon, in the famed Hanging Gardens as she waits for Arsace, the object of her affections.
One of the GREATEST coloraturas of all time! Her High E's/F's are a thing of beauty, power and pure perfection!
She is utterly magnificent! What a truly great singer Devia is. Someone who is right up there with the greatest of coloraturas.
Perfection
I love her!
Aveva 43 anni
..quando adesso le cantanti cominciano ad avere problemi...
thank you for this gift. Would you have walked the entire concert?
Hi -- I do have the entire concert and may post another selection down the road. There is at least one other clip from this recital on YT of her doing obscure aria by Pacini. Pescia is the city where Pacini died and the theater there is named after him, so I assume when Devia sang this recital there, she deliberately programmed some of his arias. Here is the link: th-cam.com/video/UWzjBPaZvRs/w-d-xo.html
Love her approach: as a (somewhat) dramatic coloratura, not a "soprano leggero."
Well said! She's not quite a dramatic coloratura, it's almost like she is "spinto-coloratura" (oh no, I just made up another vocal sub-classification! Sorry ...). Her incredibly solid and consistent support allows for that legato and sense of fullness, float, and forceful reserves in her approach across the whole range!
I hear a competent leggero singing very much like a leggero. There's nothing remotely dramatic about this performance or her voice.
Every time she ventured into the dramatic coloratura repertoire, it was as clear as day that her voice was not quite up to the task.
@@stefanocautavera I said "somewhat dramatic" ie her voice is not so light as that of a "soprano leggero": it's somewhat heavier and heftier despite her ability to make it float and go up and down the scale. This doesn't mean that she's a DRAMATIC SOPRANO.
@@edwardamosbrandwein3583 Yeah, and I said there's nothing _remotely_ dramatic about this voice. It's a fairly well projected sound, especially at the top of the range, but it's light all over.
Even other light-lyric sopranos such as Serra and Gruberova happen to sound heftier than Devia. But your description doesn't fit them either.
@@stefanocautavera in fact, those who classify mariella deviate as a slight WRONG. His vocality is on the border between the lyrical and the light.
Tous les rôles féminins de Rossini sont coloratura . Soprano, mezzo, contralto. Mais pour les soprano ce sont des coloratura dramatique. Pour les mezzo nous avons les deux, mezzo plus léger comme Angelina plus dramatique comme Arsace. Et la contralto coloratura c'est Isabella de l'Italienne à Alger.
Les voix les plus marquantes Callas la divine, Joan Sutherland, June Anderson qui rêvait de chanter tous les rôles de son illustre devancière Isabella Colbran. Tereza Berganza, Eva Powdles, Maryline Horne, Mariella Devia bien sûr, Edita Gruberova, Nelly Miriciou...
Les coloratures ne sont pas toujours dramatiques pour les sopranos chez Rossini. Il a composé des opéras bouffes avec des vocalises aériennes pour soprano (Comte Ory, Signor Bruschino, Turco in Italia etc...). Sumi Jo par exemple est un soprano léger qui est merveilleuse dans Rossini. La musique de Rossini a evolué avec le temps. Il n’y a plus de vocalises (ou si peu) dans Guillaume Tell
@@oliviero.m750 Vous avez le regard du XXe et XXIe siècle. Il faut se replacer dans le contexte du début du XIXe. Rossini dans son écriture musicale n'a jamais écrit pour des soprani leggero sauf Jenny de Guillaume Tell. La comtesse Adèle créé par Laure Cinti Damoreau est bien ce qu'on appelait à cette époque un coloratura dramatico. Sumi Jo qu'au demeurant j'admire, est hors propos dans Rossini. Sa voix convient mieux (même époque) pour Zerline (Fra Diavolo Auber). Ne pas oublier que des cantatrices mais surtout les directeurs de Théâtres s'emploient dans Rossini alors qu'elles sont des Suzanne, Despina etc.... Même Annick Massis que je connais personnellement, peine dans la comtesse Adèle dans le bas médium qu'exige le rôle.
Horrible pianist left her hanging at 5:00 and got lost! She sounds spectacular
Everybody do mistakes.