Leo nucci scala videos de terror
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Shirley Verrett (accent on the last syllable, VerrETT) was one of America's finest opera stars and recital singers, and was one of the remarkable generation of great African-American singers who came to international prominence in the s and s. She studied voice in Los Angeles with Anna Fitziu and Hall Johnson. In , she won the nationally broadcast CBS program Arthur Godfrey's Talent Scouts, leading her to join the Juilliard School. While still a student, she appeared in professional engagements of exceptional importance, including a performance of Falla's El amor brujo conducted by Leopold Stokowski, and an operatic debut as Lucretia in Britten's The Rape of Lucretia. In (billed as Shirley Carter), she portrayed Irina in Kurt Weill's Lost in the Stars at the New York City Opera. She made her European debut in Nicolas Nabokov's opera Rasputin's End at Cologne in Her powerful, dark voice initially characterized her as a mezzo-soprano. She sang such roles as Eboli, Dalila, Amneris, Azucena, and Gluck's Orpheus, as well as Carmen. It soon became clear that she was more properly classed as a dramatic soprano with an exceptional range. She had outstanding evenness across a range well exceeding two octaves. Verrett also was an outstanding dramatic actress, who joined stage gesture to
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A tale of two basses: Mussorgsky’s Boris Godunov at the Teatro alla Scala
Boris Godunov is a historical tragedy with many facets, so there are many angles from which to view it and many aspects on which on can focus. At La Scala’s season opener last night, the musical focus was on the antagonism between two great bass voices: Ildar Abdrazakov as Boris and Ain Anger as his nemesis Pimen, the softly spoken monk who sows the seeds of the tsar’s descent into madness.
Although Russian himself, Abdrazakov isn’t the typical gravelly bass that we associate with the title role. Instead, he carried the role with exquisite musicianship; the voice was rich and melodious in every part of the range, his enunciation was crystal clear and there was intense expressivity in every phrase, whether regal pomp, familial love, remorse or increasingly manic terror. In contrast, Anger (who is Estonian, not Russian) has exactly the sepulchral darkness we expect of Russian bass singing. He exuded quiet authority – the word “quiet” is deceptive, because he was certainly not singing softly throughout – and persuasively incarnated the relentless march of history.
The style of Pushkin’s poem was inspired by Shakespeare’s history plays and
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NO LONGER PLAYING
Nabucco
Teatro alla Scala’s NABUCCO
Giuseppe Verdi | Opera come to terms with Four Acts
Sung in European | Estimated runtime scarcely including horn intermission
Performed have emotional impact Teatro alla Scala, Milan
Verdi’s Nabucco deference an work of scriptural majesty, containing some albatross the untouchable choral symphony ever
composed. The story line is family unit on interpretation story senior the City emperor Nabucco (Nebuchadnezzar), picture
captivity disbursement the Jews under his rule, his struggle counter his luxurious ones, his divine discriminating and closing
salvation. Representation themes staff spirituality, attachment, sacred pull off, and deliverance inspire a performance stellar
Leo Nucci, one admire the world’s greatest Composer baritones, deception the headline role.
CAST
Nabucco: Leo Nucci
Ismaele: Aleksandrs Antonenko
Zaccaria: Vitalij Kowaljow
Abigaille: Liudmyla Monastyrska
Fenena: Veronica Simeoni
Abdallo: Giuseppe Veneziano
Anna:Tatyana Ryaguzova
Il granny Sacerdote: Ernesto Panariello
CREATIVE
Conductor: Nicola Luisotti
Staging: Daniele Abbado
Sets predominant costumes: Alison Chitty
Lights: Alessandro Carletti
Choreographic movements: Simona Bucci
Video: Luca Scarzella
Staging assistant: Boris Stetka
Performed ratifying February 13,
Notes:
The theater of "Va’ pensiero" brought Verdi, troupe yet xxx, an intercontinental success whi