Anna Netrebko, Joyce DiDonato - I Capuleti - Duet
ฝัง
- เผยแพร่เมื่อ 24 ก.ค. 2008
- I Capuleti e i Montecchi (Bellini-1830), Paris
Opéra Bastille June 2008.
Anna Netrebko, soprano (Giulietta) - Joyce DiDonato, mezzo (Romèo), Evelino Pidò, conductor - Chorus & Orchestre de l'Opéra national de Paris - Robert Carsen, Michael Levine & David Cunningham (Designs).
ACTE I, Scene 2
« Giuletta tries to explain why she cannot flee her home with Romèo because of her duty to her family. This comes in the middle of a ravishing and draining 14 minute duet in the first act. Performing with Anna Netrebko was wonderful, because it felt as though we were really creating a very realistic dramatic tension which the audience felt - because in these moments the silence in the theater pulsed with energy. As the duet continues, Romèo pleads his case again to his beloved Giuletta, not understanding how she can believe that there is a power greater than the love they share together. It's a wonderfully crafted scene, because we get insight to the youth of Romèo as his wounds escalate due to his inability to see her very real dilemma - for him, his undying love for her is the answer for all, and all she should need. Of course, to drive home the point of this pure love, Bellini gives us those delicious thirds for them to sing in perfect, harmonic unison. (For the record, as a performer, these kinds of moments are the "Holy Grail" moments!). »
- Joyce DiDonato's comment -
Photos. ONP, E. Mahoudeau, C. Leiber, S. Mathè - เพลง
I agree that we should celebrate that we have artists of this calibre today, rather try to compare them with favourites of previous generations to denigrate them. Netrebko's Donna Anna and Violetta are two of the finest, most moving performances I've ever seen. As for Joyce, words fail. Has there has ever been a finer or more committed Rossini mezzo? And she is an unfailing personification of grace, charm, generosity and artistic intelligence who never, ever lets her audience down.
Could not agree with you more re Joyce.
I also couldn't agree with you more. BTW, if you haven't yet seen videos (here on TH-cam) of her master classes, I found them simply fantastic. She has such an attitude of support and affection, not to mention expertise, towards the students, I felt I learned as much as the participants.
I think a select bunch of sopranos and mezzos are on a par with the best ever: Joyce & Anna (Netrobko) included - along with Angela (Georghiu): the tenors and baritones tend to have voices that "spread" a bit more than before and that's not ideal.
ANNA NETREBKO, JOYCE DiDONATO - I CAPULETI Wonderful düet
I take pleasure of the present.... I love Netrebko & DiDonato... Love them all!
This is wonderful! I 'd love to see this live... I always loved Didonato but I did not think that she and Netrebko would make such a breathtaking romeo and giuletta... beautiful... many thanks for posting!!
brave!
che bellezza la musica di Bellini.
She is wonderful!!! Everthing what she sings is beautiful and perfekt!!! I love her and her voice!
MARAVILLOSO DUO
Wonderful singing!
I heard Sills & Troyanos do this opera in Boston (twice) -- amazing. But the utterly different voices of Netrebko & DiDonato here are also fantastic. More, please!
I actually worked on that production, as director of the children's choir, but unfortunately was unable to see an entire performance. It was a thrill to see and hear Sills. There was a point where she sang while lying in a coffin. The effect was ethereal. Also, I loved how convincing Troyanos looked, as Romeo, in her costume.
Восхитительно:)ڰۣ✿Браво...Браво:)
Wundervoll...
sublime
Прекрасные дамы я Вас люблю и обожаю!
For some reason, this duet leaves me unmoved. I hear two wonderfully talented and healthy singers, but that is it.
Does anyone know why Bellini chose to write the part of Romeo as a mezzo-soprano? Were there castrati still active during Bellini's active years? Or was there a compelling reason to include a particular woman vocalist?
Romeo is a mezzo because he is a teenaged boy, and the tradition in opera is to write those roles for mezzo’s as ‘pants roles.’ This is similar to how Mozart wrote Cherubino (Nozze di Figaro) and Idamante (Ideomeneo) for mezzo’s, and how Strauss wrote Octavian (Rosenkavalier) for mezzo’s.
The castrati existed up until the beginnings of the recorded era. However, their heyday was really earlier during the baroque era. Castrati roles were actually heroic roles (e.g., military generals). The idea was that the castrati combined a man’s power with a woman’s range.
It also adds to the tragedy of Romeo and Juliet as star-crossed lovers in a world defined by war and hate: Theirs are the only two female voices in the whole opera. They are isolated both by the libretto and the music.
@BelCantoTennis if you were to post a recording of Sills and Troyanos, some older opera queen would say, Oh this is nothing compared to Toti dal Monti's great performances, and the older opera queens before him would spell out on a Ouija board, oh but you should have shared with me the great honor of hearing Tetrazzini..." and so on and so on.
With so few able to take pleasure in the present, it is no wonder that Opera is a dying art.
what is the name of this aria?
"REQUIRED" emotional dedication?? REQUIRED?? Do you realize how absolutely ridiculous that sounds? It doesn't even make sense.
I must agree...it is sung beautifully, but for me the emotion isn't quite palpable.
Merci pour la Video Anna chante bien, mais elle n'est pas belcantiste, quant a la mezzo (mezzo''') Hum,,,,
very bad attacks?
Yes emotional diction is required. Opera is. Not only music but acting. However it is my opinion that JDD is very astute in her acting has the required voice. Netrebko however is not only an over actor but she also lacks the voice for many of the roles she chooses or is chosen for and that is partly why the Met is sliding from a high standard, which is...
Singers do not perfect their technique before they're hurdled onto the operatic stage. Sorry but thats my opinion. We have become so starved of talent and not only that but commercialized in the recent years that we give anyone who can achieve a high C an operatic career. Btb I am not over dramatizing the situation it is true.
Di Donato has very bad attacks and sing this music without any taste, as for Nebrebko, if the voice is beautiful, the style is far from" belcanto" and often out of tune ! Poor Bellini, he deserves more respect.
This is good but not good enough for the MET (they need better Italian coaching )