Potevo esserci ed ancora sto a flagellarmi per aver mancato l'occasione. Blake è clamoroso, tecnica ed espressione in ogni singola nota. Visto l'estasi che mi procura il video credo che a teatro avrei rischiato la salute.
A mio avviso una delle migliori Semiramidi presenti su TH-cam, insieme a quella del Met del 1989 con Sam Ramey. Ottimi tutti i cantanti (Blake in grande forma) e la scenografia doveva essere originale, da quanto si riesce a vedere. Gasdia e Dupuy insieme sono incredibili. 💐☄☄
Wow ! The loudness of the brass section ! Exciting ! What a dramatic compliment to Rossini's genius ! What a powerful conductor ! I love this overture, my favorite by Rossini. I have never heard it played like this ... exhilarating ! The audience should have been on their feet after that powerful performance !
Aria di Idreno "Ah dov'è il cimento" (Atto I) 1:09:52 Coro di Donne e Cavatina di Semiramide"Serena i vaghi rai - Bel raggio lusinghier" (Atto I) 1:18:51 Aria di Idreno con coro (Atto II) "La speranza più soave" 2:47:13
Glorieuse époque. Nous avons chacun nos références (Blake, Gasdia…) Pour moi, Dupuy est la référence absolue du rôle. La beauté de la voix, la maîtrise de l’art, la noblesse de l’intonation. Une très grande dame,assurément.
Semiramide, Queen of Babylon, Widow of King Nino: Cecilia Gasdia, soprano Arsace, Commander of the Assyrian army: Martine Dupuy, mezzo soprano Assur, a Prince, Descendant of Baal: Michele Pertusi, bass Idreno, an Indian King: Rockwell Blake, tenor Azema, a Princess, Descendant of Baal: Ornella Bonomelli, soprano Oroe, High Priest of the Magi: Luciano Leoni, bass Mitrane, Captain of the Guard: Jacek Laszczkowski, tenor Nino's Ghost: Riccardo Ferrari, bass Act 1 Temple of Baal, Babylon The High Priest Oroe invites all to enter the temple, and Babylonians (along with others from abroad, including Idreno the Indian King) do so carrying offerings to Baal. Assur states that the day has come for the Queen to choose a successor and he reminds all of his own valor. Idreno expresses surprise at Assur's aspirations and all express their individual concerns and fears. Semiramide enters to the acclaim of all, but Idreno and Assur individually speculate as to who will be chosen. They press the queen to announce her decision, but at the same time Semiramide herself is fearful about making that decision, especially as she appears to be expecting someone's arrival. Suddenly, the temple is plunged into darkness and there is general consternation amidst fears of its imminent collapse. All desert the temple. Arsace, a warrior, enters. He has been told by his dying father to go to the temple in Babylon, and he was also urgently sent for by Semiramide. He brings with him a casket belonging to his father, but he is puzzled as to why he has been called back to Babylon. He declares his love for Princess Azema who loves him though she has been promised to the dead King Nino's lost son, Ninia. Arsace states his unwillingness to support Assur in his bid for the throne: (Aria: Eccomi alfine in Babilonia... Ah! quel giorno ognor rammento / "Oh, I shall ever remember the day of glory and happiness..."). Arsace asks to see the High Priest. Oroe enters, opens the casket, and exclaims upon seeing it that it contains the holy relics of the dead king. He hints to Arsace about some treachery that had been involved. Seeing Assur approach, Oroe leaves with the relics. Assur arrives and questions the reason for Arsace's return. The two men discuss Azema, with Arsace reaffirming his love for her (Duet: Bella imago degli dei / "Beautiful, divine image, Azema alone do I adore") while Assur states that he too loves her. "You have no idea what love is", the younger man tells the older: (Aria/duet: D'un tenero amor / "That fierce heart of yours is not capable of tender love...") Azema enters, happy that Arsace is now in Babylon. Idreno follows her and asks for her hand; she tells him that this must be Semiramide's decision. "What of your heart?" he asks, assuming that his rival can only be Assur. Scornfully told that it will never be Assur, Idreno is comforted, although he expresses his desire "to punish the wicked boldness of a rival" and continues to express desire for Azema: (Aria: E, se ancor libero / "And, if your fair heart is still free, at least feel some pity in your breast...") Having fallen in love with Arsace and believing that he loves her, Semiramide waits for his arrival: (Aria: Bel raggio lusinghier / "A beautiful, enchanting ray of hope and contentment has shone for me at last"). She receives a message from the Oracle, telling her that a wedding will make a new king. She believes this to be a sign from the gods that they approve of her plans, and orders preparations for a wedding. When Arsace arrives, he alludes to his love for Azema without specifically naming her, but he also declares that he will die for his queen if necessary. Semiramide still believes that he really loves her, and vows that she will give him all he desires: (Aria: Serbami ognor sì fido / "Keep your head and your affections ever as devoted to me"). They leave separately. All enter to await Semiramide's arrival and her announcement of her choice of successor. Arsace, Idreno, Oroe, and Assur all swear to obey her command, no matter what she decides: (Ensemble: Semiramide, Arsace, Idreno, Oroe and Assur: ( Giuri ognuno, a' sommi Dei / "Let each of you swear to the most high gods to obey my commands..."). She demands loyalty to the man she chooses and they are told that he will also be the queen's husband. When Semiramide names Arsace as her chosen one, Assur is outraged and Idreno accepts the decision but requests Azema's hand, which is granted. After asking Oroe to unite Semiramide and Arsace, Semiramide is horrified by the uproar which emits from the near-by tomb of King Nino: (Aria: Qual mesto gemito Da quella tomba / "What a melancholy groaning from the tomb there..."). All are horrified as King Nino's ghost appears, warning of the crimes to be expiated, telling Arsace that he will reign and to respect the High Priest's wisdom, and commanding him to come down into his tomb. Each character expresses his or her own anguish. Act 2 A hall in the palace In a brief encounter, Mitrane warns the royal guard to keep Assur under surveillance and not to allow him to leave the palace. Then Semiramide enters, followed shortly after by Assur. Conflict between the two soon emerges. She reminds him that it was he who gave the cup of poison to Nino, thus causing his death, and he reminds her that it was she who had prepared it: "Who handed me the cup of death?" he asks.[18] Recalling that at that time she had a son, Ninia, she speculates that he might have been killed by the same man who killed Nino. Assur continues to pressure Semiramide to make him king. In turn, she threatens to reveal the crime, and they sing an extended duet: (Se la vita ancor t'è cara / "If you still hold life dear, go, get yourself out of my sight") recalling the terror and retribution that each could inflict upon the other if the truth came to light. Semiramide continues to demand that Assur acknowledge Arsace as his king. Rejoicing is heard in the distance, and while Semiramide regains some of her former happiness, Assur becomes resigned to his fate. Oroe and the Magi are assembled in the tomb. The High Priest urges Arsace to come forward but makes him aware that there may be some unpleasant news awaiting him. Upon his arrival, Oroe tells him that he is Ninia, Nino's son, who had been saved by Fradate (one of the priests) and brought up as his own. Aghast at this news, Arsace then learns that Semiramide is his mother. To reinforce this news, Oroe hands him a scroll, written by the King before his death, the reading of which confirms the Priest's statements. The final blow comes when Arsace reads Nino's words, and realises that his mother and Assur were the ones who killed his father: "Assur was the traitor". Almost collapsing in grief into Oroe's arms, he asks for comfort: (Aria: In sì barbara sciagura / "In such barbarious misfortune"), but the priests quickly reinforce his need to take immediate revenge. They equip him with armour and a sword and give him the determination to proceed: (cabaletta: Si, vendicato, il genitore / "Yes, my father avenged"). Sword in hand, Arsace leaves. Azema and Mitrane are alone, the former complaining that she has lost everything now that Arsace, the love of her life, is due to marry the queen. Entering, Idreno overhears this and is distraught. Azema promises him her hand if he so desires it, but he wishes that she would love him: (Aria: La speranza più soave / "This soul of mine once entertained the fondest hopes"). Two choruses of Maids, Lords, and Indians lead them all to the temple. Semiramide confronts Arsace, who finally hands her the scroll which has revealed all. Horrified, she then understands Arsace's real identity, and becomes remorseful, offering herself to his revengeful blows. He swears filial loyalty, expressing the wish to spare his mother: (Duet: Ebben, a te... Giorno d'orrore... Madre, addio! / "Well then - go on, strike; fulfill a god's behest!/ Let the gods vent their entire wrath upon me first"). Together, they each accept the reality: (Giorno d'orror! E di contento / "Day of horror...and of joy!"), but Arsace declares that he must go to his father's tomb and take whatever action is necessary. Knowing what is in store, Semiramide urges him to "Return to me victorious". Defiantly, Assur enters and proclaims that this will be Arsace's last day on earth. Learning from his men that the people have turned against him, he still vows to kill Arsace. He moves towards the tomb only to find some unknown force, some apparition holding him back: (Deh ti ferma...Que numi furenti / "Oh, stay, be pacified, forgive"). His men urge him on, but still the apparition remains in his mind. His men are puzzled, until he seems to recover and then, with his men beside him, vows to fight on: (cabaletta: Que' Numi furenti, Quell' ombre fremente / "Those wrathful gods, those quivering shades"). Along with Oroe, Arsace enters the tomb. He awaits his rival. Assur enters, also awaiting Arsace. Semiramide then comes in to pray at Nino's tomb, asking for forgiveness and protection for her son: Aria: Al mio pregar t'arrendi: il figlio tuo diffendi / "Yield to my prayer: protect your son"). In the confusion of the darkness, all three - Arsace, Semiramide, and Assur - express some bewilderment as to the loss of their courage at this crucial moment: (Trio: L'usato ardir / "My wonted daring, my courage, where has it gone?"). But in the darkness and seeking to strike Assur, Arsace strikes Semiramide as she steps between them to stop the fight. Surprised to learn Arsace's real identity, Assur is arrested, Semiramide dies, and to general acclaim by the people, Arsace reluctantly accepts that he shall be King.
@@BaroneVitellioScarpia1 He had the coloratura, the agility and the trills (Ramey was never able to trill). Although I do concede that Ramey has the superior voice quality, I have to side with Pertusi on the technique. Any counter arguments?
Rockwell Blake is an amazing (Bel Canto) Tenor and I love his performances in other Rossini Opera's. However, i vastly prefer Stanford Olsen's performance of "Ah dov' è" (th-cam.com/video/-WEJV14lCgo/w-d-xo.html) and "La speranza più soave" (th-cam.com/video/oCs0gJliAaQ/w-d-xo.html); always brings me to the verge of tears. Just, much more emotion in his performance.
cantava bene, pur con voce piccola, usava la tecnica antica della proiezione del suono concentrato sul sostegno, che le permetteva anche di colorare. Oggi è perduta, e si sentono voci da orchesse
![BOWKYLION - วิงวอน (ex-change) [Official MV]](http://i.ytimg.com/vi/cLdnZWDaO-w/mqdefault.jpg)
Mai più un'emozione cosi bella e profonda. Uno spettacolo irripetibile. Ovazioni a scena aperta per Blake. Questo era negli anni passati il ROF!
Un ricordo indelebile. Bellissima produzione nel complesso, con un Blake stratosferico.
È un capolavoro
Potevo esserci ed ancora sto a flagellarmi per aver mancato l'occasione. Blake è clamoroso, tecnica ed espressione in ogni singola nota. Visto l'estasi che mi procura il video credo che a teatro avrei rischiato la salute.
A mio avviso una delle migliori Semiramidi presenti su TH-cam, insieme a quella del Met del 1989 con Sam Ramey. Ottimi tutti i cantanti (Blake in grande forma) e la scenografia doveva essere originale, da quanto si riesce a vedere. Gasdia e Dupuy insieme sono incredibili. 💐☄☄
Magnifique spectacle, quel dommage qu'il n'ait pas été filmé et enregistré au mieux... Cécilia Gasdia est sublime sublime sublime
InstaBlaster...
Je suis d'accord avec vous ! J'aime beaucoup Cécilia Gasdia, pour sa voix mais aussi pour les émotions qu'elle savait transmettre au spectateur.
Grazie mille e di cuore! Bravissimo!
2nd that!!
Io c'ero! Rockwell insuperabile!
MERCI !!!
Blake e la Dupuy sugli scudi! Eccezionali e travolgenti!
billy budd si, ottimi "rossiniani", ma rimane che Blake ha una voce per me insopportabilmente brutta.
Wow !
The loudness of the brass section ! Exciting ! What a dramatic compliment to Rossini's genius ! What a powerful conductor ! I love this overture, my favorite by Rossini. I have never heard it played like this ... exhilarating ! The audience should have been on their feet after that powerful performance !
Aria di Idreno "Ah dov'è il cimento" (Atto I) 1:09:52
Coro di Donne e Cavatina di Semiramide"Serena i vaghi rai - Bel raggio lusinghier" (Atto I) 1:18:51
Aria di Idreno con coro (Atto II) "La speranza più soave" 2:47:13
Glorieuse époque. Nous avons chacun nos références (Blake, Gasdia…) Pour moi, Dupuy est la référence absolue du rôle. La beauté de la voix, la maîtrise de l’art, la noblesse de l’intonation. Une très grande dame,assurément.
Semiramide, Queen of Babylon, Widow of King Nino: Cecilia Gasdia, soprano
Arsace, Commander of the Assyrian army: Martine Dupuy, mezzo soprano
Assur, a Prince, Descendant of Baal: Michele Pertusi, bass
Idreno, an Indian King: Rockwell Blake, tenor
Azema, a Princess, Descendant of Baal: Ornella Bonomelli, soprano
Oroe, High Priest of the Magi: Luciano Leoni, bass
Mitrane, Captain of the Guard: Jacek Laszczkowski, tenor
Nino's Ghost: Riccardo Ferrari, bass
Act 1
Temple of Baal, Babylon
The High Priest Oroe invites all to enter the temple, and Babylonians (along with others from abroad, including Idreno the Indian King) do so carrying offerings to Baal. Assur states that the day has come for the Queen to choose a successor and he reminds all of his own valor. Idreno expresses surprise at Assur's aspirations and all express their individual concerns and fears. Semiramide enters to the acclaim of all, but Idreno and Assur individually speculate as to who will be chosen. They press the queen to announce her decision, but at the same time Semiramide herself is fearful about making that decision, especially as she appears to be expecting someone's arrival. Suddenly, the temple is plunged into darkness and there is general consternation amidst fears of its imminent collapse. All desert the temple. Arsace, a warrior, enters. He has been told by his dying father to go to the temple in Babylon, and he was also urgently sent for by Semiramide. He brings with him a casket belonging to his father, but he is puzzled as to why he has been called back to Babylon. He declares his love for Princess Azema who loves him though she has been promised to the dead King Nino's lost son, Ninia. Arsace states his unwillingness to support Assur in his bid for the throne: (Aria: Eccomi alfine in Babilonia... Ah! quel giorno ognor rammento / "Oh, I shall ever remember the day of glory and happiness..."). Arsace asks to see the High Priest. Oroe enters, opens the casket, and exclaims upon seeing it that it contains the holy relics of the dead king. He hints to Arsace about some treachery that had been involved. Seeing Assur approach, Oroe leaves with the relics. Assur arrives and questions the reason for Arsace's return. The two men discuss Azema, with Arsace reaffirming his love for her (Duet: Bella imago degli dei / "Beautiful, divine image, Azema alone do I adore") while Assur states that he too loves her. "You have no idea what love is", the younger man tells the older: (Aria/duet: D'un tenero amor / "That fierce heart of yours is not capable of tender love...") Azema enters, happy that Arsace is now in Babylon. Idreno follows her and asks for her hand; she tells him that this must be Semiramide's decision. "What of your heart?" he asks, assuming that his rival can only be Assur. Scornfully told that it will never be Assur, Idreno is comforted, although he expresses his desire "to punish the wicked boldness of a rival" and continues to express desire for Azema: (Aria: E, se ancor libero / "And, if your fair heart is still free, at least feel some pity in your breast...") Having fallen in love with Arsace and believing that he loves her, Semiramide waits for his arrival: (Aria: Bel raggio lusinghier / "A beautiful, enchanting ray of hope and contentment has shone for me at last"). She receives a message from the Oracle, telling her that a wedding will make a new king. She believes this to be a sign from the gods that they approve of her plans, and orders preparations for a wedding. When Arsace arrives, he alludes to his love for Azema without specifically naming her, but he also declares that he will die for his queen if necessary. Semiramide still believes that he really loves her, and vows that she will give him all he desires: (Aria: Serbami ognor sì fido / "Keep your head and your affections ever as devoted to me"). They leave separately. All enter to await Semiramide's arrival and her announcement of her choice of successor. Arsace, Idreno, Oroe, and Assur all swear to obey her command, no matter what she decides: (Ensemble: Semiramide, Arsace, Idreno, Oroe and Assur: ( Giuri ognuno, a' sommi Dei / "Let each of you swear to the most high gods to obey my commands..."). She demands loyalty to the man she chooses and they are told that he will also be the queen's husband. When Semiramide names Arsace as her chosen one, Assur is outraged and Idreno accepts the decision but requests Azema's hand, which is granted. After asking Oroe to unite Semiramide and Arsace, Semiramide is horrified by the uproar which emits from the near-by tomb of King Nino: (Aria: Qual mesto gemito Da quella tomba / "What a melancholy groaning from the tomb there..."). All are horrified as King Nino's ghost appears, warning of the crimes to be expiated, telling Arsace that he will reign and to respect the High Priest's wisdom, and commanding him to come down into his tomb. Each character expresses his or her own anguish.
Act 2
A hall in the palace
In a brief encounter, Mitrane warns the royal guard to keep Assur under surveillance and not to allow him to leave the palace. Then Semiramide enters, followed shortly after by Assur. Conflict between the two soon emerges. She reminds him that it was he who gave the cup of poison to Nino, thus causing his death, and he reminds her that it was she who had prepared it: "Who handed me the cup of death?" he asks.[18] Recalling that at that time she had a son, Ninia, she speculates that he might have been killed by the same man who killed Nino. Assur continues to pressure Semiramide to make him king. In turn, she threatens to reveal the crime, and they sing an extended duet: (Se la vita ancor t'è cara / "If you still hold life dear, go, get yourself out of my sight") recalling the terror and retribution that each could inflict upon the other if the truth came to light. Semiramide continues to demand that Assur acknowledge Arsace as his king. Rejoicing is heard in the distance, and while Semiramide regains some of her former happiness, Assur becomes resigned to his fate. Oroe and the Magi are assembled in the tomb. The High Priest urges Arsace to come forward but makes him aware that there may be some unpleasant news awaiting him. Upon his arrival, Oroe tells him that he is Ninia, Nino's son, who had been saved by Fradate (one of the priests) and brought up as his own. Aghast at this news, Arsace then learns that Semiramide is his mother. To reinforce this news, Oroe hands him a scroll, written by the King before his death, the reading of which confirms the Priest's statements. The final blow comes when Arsace reads Nino's words, and realises that his mother and Assur were the ones who killed his father: "Assur was the traitor". Almost collapsing in grief into Oroe's arms, he asks for comfort: (Aria: In sì barbara sciagura / "In such barbarious misfortune"), but the priests quickly reinforce his need to take immediate revenge. They equip him with armour and a sword and give him the determination to proceed: (cabaletta: Si, vendicato, il genitore / "Yes, my father avenged"). Sword in hand, Arsace leaves. Azema and Mitrane are alone, the former complaining that she has lost everything now that Arsace, the love of her life, is due to marry the queen. Entering, Idreno overhears this and is distraught. Azema promises him her hand if he so desires it, but he wishes that she would love him: (Aria: La speranza più soave / "This soul of mine once entertained the fondest hopes"). Two choruses of Maids, Lords, and Indians lead them all to the temple. Semiramide confronts Arsace, who finally hands her the scroll which has revealed all. Horrified, she then understands Arsace's real identity, and becomes remorseful, offering herself to his revengeful blows. He swears filial loyalty, expressing the wish to spare his mother: (Duet: Ebben, a te... Giorno d'orrore... Madre, addio! / "Well then - go on, strike; fulfill a god's behest!/ Let the gods vent their entire wrath upon me first"). Together, they each accept the reality: (Giorno d'orror! E di contento / "Day of horror...and of joy!"), but Arsace declares that he must go to his father's tomb and take whatever action is necessary. Knowing what is in store, Semiramide urges him to "Return to me victorious". Defiantly, Assur enters and proclaims that this will be Arsace's last day on earth. Learning from his men that the people have turned against him, he still vows to kill Arsace. He moves towards the tomb only to find some unknown force, some apparition holding him back: (Deh ti ferma...Que numi furenti / "Oh, stay, be pacified, forgive"). His men urge him on, but still the apparition remains in his mind. His men are puzzled, until he seems to recover and then, with his men beside him, vows to fight on: (cabaletta: Que' Numi furenti, Quell' ombre fremente / "Those wrathful gods, those quivering shades"). Along with Oroe, Arsace enters the tomb. He awaits his rival. Assur enters, also awaiting Arsace. Semiramide then comes in to pray at Nino's tomb, asking for forgiveness and protection for her son: Aria: Al mio pregar t'arrendi: il figlio tuo diffendi / "Yield to my prayer: protect your son"). In the confusion of the darkness, all three - Arsace, Semiramide, and Assur - express some bewilderment as to the loss of their courage at this crucial moment: (Trio: L'usato ardir / "My wonted daring, my courage, where has it gone?"). But in the darkness and seeking to strike Assur, Arsace strikes Semiramide as she steps between them to stop the fight. Surprised to learn Arsace's real identity, Assur is arrested, Semiramide dies, and to general acclaim by the people, Arsace reluctantly accepts that he shall be King.
3:19:26, Deh ti ferma
It's so pity that Samuel Ramey is not in the cast.
Pertusi is an amazing Rossini bass.
@@jaybee2838 No
@@BaroneVitellioScarpia1 He had the coloratura, the agility and the trills (Ramey was never able to trill). Although I do concede that Ramey has the superior voice quality, I have to side with Pertusi on the technique. Any counter arguments?
@@jaybee2838 If you think Ramey was never able to trill, then you probably don’t know who Ramey is. And Ramey’s coloratura is way better.
@@jaybee2838I agree. Ramey knew how to show-off, but Pertusi knows what is important.
Best part 00:00 - 3:56:49
Rockwell Blake is an amazing (Bel Canto) Tenor and I love his performances in other Rossini Opera's. However, i vastly prefer Stanford Olsen's performance of "Ah dov' è" (th-cam.com/video/-WEJV14lCgo/w-d-xo.html) and "La speranza più soave" (th-cam.com/video/oCs0gJliAaQ/w-d-xo.html); always brings me to the verge of tears. Just, much more emotion in his performance.
a Gasdia...mio Dio...e uno doveva andare a Pesaro per ascoltare queste robe? Che poi vicino a cio' che si produce oggi sembra l'Armida con la Callas.
cantava bene, pur con voce piccola, usava la tecnica antica della proiezione del suono concentrato sul sostegno, che le permetteva anche di colorare. Oggi è perduta, e si sentono voci da orchesse
2:15:17
2:36:07
3:26:11