In the cabaletta portion of duet, Mimica’s stacatto lines showcased a calmer and more in-control Duke who turned on Lucrezia with a cynical glance. The grim subject is reflected in the generally dark color of the vocal writing; there are few female voices in the chorus, and among the leads, only Lucrezia is a soprano. Haydn Her ensuing cabaletta “Si voli il primo a cogliere” reflected her commanding coloratura lines as she sang through each roulade with precision and clarity. Romani remained the librettist, basing his story on the play Lucrèce Borgia by the French author Victor Hugo. Fidelio was given an anguished quality that really delved into the dramatic qualities of the text,  forgoing polished vocalism in favor of more complex shading. Andrea Bernard directed the production, providing grittiness and realism that one rarely sees anymore. As Lucrezia Borgia it was hard to hate her but it was also hard to love her. Those who are familiar with the double arias present throughout his oeuvre may find themselves surprised when he eschews them altogether. Chopin My brother you did poison, the while he was sleeping). 19th C French Opera In Act two the violence and anger of Anduaga’s Gennaro climaxed as he threw Remigio to the ground in a sexual manner before calming down upon hearing that Lucrezia is his mother. However, at the Donizetti Opera Festival, “Lucrezia Borgia” finally got its due with a remarkable cast and conductor that relied on dramatic force and a new critical edition that is said to be Donizetti’s final intentions for the opera. Her “Tu pur qui? The same goes for other scenes in which Donizetti seems to be testing the line between traditional opera language and a potential for a newer and more direct one. Gennaro turns from her in loathing. But Lucrezia has he antidote; and, the Duke having left her with Gennaro, in order that she shall have the pleasure of watching the death of the man of whom he suspects her to be enamored, she gives it to Gennaro, and bids him flee from Ferrara. There is no repetition making for more immediacy. Also worthy of note in Anduaga’s performance was his onstage chemistry with Remigio. Nursery Rhymes. Act II is laid in the Negroni palace, and is the scene of the banquet, which has already been described. When "Lucrezia Borgia" was produced in Paris, in 1840, Victor Hugo, author of the drama upon which the libretto is based, objected. Opera is thriving. Her famous brindisi “Il Segreto per esser felice” was sung with allure, brightness and clear coloratura. Then there was the final act. You could see it in her eyes as she glanced at Don Alfonso in a lustful way. Throughout these setpieces, Frizza never stopped for a pause. Faust His cadenza also revealed some raw emotions with the tenor imbuing the legato line with a purity of color. She regards him with deep affection. So Donizetti was contracted to compose a new work based on the life of Lucrezia Borgia instead. In her complex duet with Don Alfonso, she turned a threat of rape into a moment of power for herself, throwing her rival to the floor and standing over him as if ready to murder him on the spot. Remigio’s Borgia was the ultimate contradiction with a number of complex facets explored throughout the opera. The music which brings audiences a step closer to early Verdi, sees Donizetti in experimental mode with some of the traditional forms. In answer to her questions he tells her that he has been brought up by a poor fisherman "Di pescatore ignobile" (Deem’d of a fisher’s lowly race). (adsbygoogle = window.adsbygoogle || []).push({}); He has two solos. In the pit Riccardo Frizza conducted his second opera with the Donizetti Opera Festival since taking the position of Music Director. Mozart On one side a palace. But those layers started shredding and as she took off her black cloak, the yellow dress returned as she attempted to use her power to convince Gennaro to drink her potion. Every detail in scoring serves this end: when Lucrezia appears among her victims to announce that they all have been poisoned, we are truly horrified. Finally Donizetti gave in to Meric-Lalande and wrote her a showcase aria; when the opera was revived in 1840, however, he took out the aria and gave Lucrezia an arioso solo instead, creating an ending filled with pathos and horror. Other supporting characters were solidly played by Roberto Maietta, Edoardo Milletti, and Rocco Cavalluzzi. During the first half Remigio brought a burnished tone filled with security and a manipulative spirit. He sang his “madre se ognor lontano” on the floor, stretching out of the phrases with a sustained and smooth legato line, his tone filled with desperation. Tristan and Isolde According to program notes, Donizetti always wanted the Paris 1840 version to be presented as his final intentions. Misc. But as he continued to sing through the long vocal line, his intonation suffered and his vocal quality dried up. Finally there was a more violent side. But you also feared her violent nature and brutality, noting that she was ready to match violence with even more violence. With Carmela Remigio’s commitment, Xabier Anduaga’s ardent sound, and Riccardo Frizza’s impeccable conducting, this production ranks among the best all year. Lucrezia Borgia was the most popular of all of Donizetti's operas during the nineteenth century, for its dark subject matter and somber tone appealed powerfully to Romantic sensibilities. il veleno bevesti.”. Middle Ages Music She quickly sang the lines in a staccato phrase that added more tension to the scene, emphasizing the conversational approach that Donizetti sought in the music. Full List: He towered over Remigio’s Lucrezia as they dueled for power both in vocal fireworks and in their acting. Lucrezia Borgia is truly an ensemble opera; there are 12 significant roles, and while he retained the traditional four principals, he elevated the other eight characters to nearly equal status. When an opera, without actually maintaining itself in the repertory, nevertheless is an object of occasional revival, it is sure to contain striking passages that seem to justify the experiment of bringing it forward again. During her repetition of the section, she interpolated some higher notes that were seamlessly placed within the coloratura runs. Hugo wrote of Lucrezia that her character is one of "moral deformity purified by motherhood." ("Aye, though the fourth of my husbands, you lord it.") Beethoven Quotes Anduaga caressed each phrase with a melancholic touch and sustained bars with gorgeous color and immense sound. The tenor role of Gennaro also has tempted to occasional revivals of the work. During the duet with Gennaro, she displayed the motherly delicacy she looked at Xabier Anduaga’s Gennaro with care and tenderness before filling up with remorse as she was attacked by Orsini and his entourage. There was a defiant nature to the song that made it all the more interesting. The first of these was the suffering mother. The original 2 volumes are completely messed up. Like the youth himself, he is ignorant that Lucrezia is his mother, and is persuaded that he is her paramour. ciel” as he repeated them, trying to convince himself of his fate. Perhaps the most dramatic and intense moment in the evening came in the Act one finale which is made up of a duet, trio and a cabaletta. Prologue. She is a monster, but she wins our sympathy in the end. Handel From the aforementioned rape attempt on Act one to Lucrezia’s blood flowing out as she cut her breast, one saw grit, depravity, and brutality that was gripping and intense at every moment. Lucrezia Borgia was the most popular of all of Donizetti's operas during the nineteenth century, for its dark subject matter and somber tone appealed powerfully to Romantic sensibilities. Turn of Century Music, Bach Quotes But on this night, there was no doubt that he has already arrived. Opera Pictures, Buy Guitar Lucrezia now pleads for his life. There is no doubt that this was the most suspenseful and explosive moment of the entire evening. The first of these was the suffering mother. Explore Piano Brands Anduaga has a bright tenor with a plush sound that can easily go from his bottom notes to glimmering high notes with evenness and ease. His ascension in his upper register was also impeccable with the high note gleaming with power and revealing a suffering in Gennaro that had not been seen to that point. And then there was “Era desso.” In the hands of Remigio this was a lament as she sustained each line with a rich and deep quality. In their first duet, Anduaga sang with ardor and confidence in his “Di Pescatore ignobile” and the subsequent “Ama tua made.” While Remigio brought a sadness to her phrases, Anduaga brought a brightness that lightened the duet and which saw the tenor full of passionate love for her. “Lucrezia Borgia” is perhaps one of Donizetti’s most dramatic operas with arguably some of the most unlikeable characters in the artform. See also: Jazz Quotes On one hand, you admired her power as she freed herself from the abusive Don Alfonso. Historians will debate the exact extent of Lucrezia's involvement in her brother's and father's crimes, but this opera is not concerned with historical fact. All in all this production proved that “Lucrezia Borgia” is a masterpiece worth seeing and one that every major theater should be performing on a frequent bases. Play Popular Music, Aida It generated a sense of drive and dramatic tension that would have evaporated with applause in between each number. 19th C German Opera Buy Piano It also reappeared in the third act as Gennaro’s friends actually drank the poison. FRANCISCO SALAZAR, (Publisher) worked as a reporter for Latin Post where he has had the privilege of interviewing numerous opera stars including Anita Rachvelishvili and Ailyn Perez. Their exchange was filled with tension as the lines were sung as an argument, their voices reaching forte dynamics and the orchestra immaculately rising with the syncopation in the violins. Her horrid depraved manner only got worse when she entered in Act two. But it wouldn’t last long as her anguish returned when he awakened and disappeared. Flying Dutchman Pictures Rolling Stones Quotes Madame Butterfly Pictures There is here a strong trio for Lucrezia, Gennaro, and Alfonso, as Alfonso pours wine for himself and Lucrezia from a silver flagon, while he empties the poisoned contents of a gold vessel, "the Borgia wine," into Gennaro’s cup. Carmela Remigio Triumphs In The Title Role While Xabier Anduaga Cements Himself As A Promising Voice. Mozart Quotes That would eventually turn to desperation in the cabaletta portion “O a te bada.” During the first repeat Remigio sang with authority and drive and with a breathy sound that also added grit to her singing. At the beginning the top one had a golden ceiling representing Lucrezia’s bedroom; at the end of the Prologue it would be knocked down to turn into the coat of arms that Gennaro disfigures.

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