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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 12 May 2020 21:52 
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Rubini escribió:
Ciertamente nada más fuera de estilo, aunque espectacular, lo de Di Stefano en ese Barbero, en el trío del acto segundo:

https://youtu.be/5HDYEB0C7vs

No sé si hoy algo así sacado de repente en un teatro, sería abucheado o sacado en andas el autor.


Más que fuera de estilo, pero espectacular :lol:
( Pippo era..especial )


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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 17 May 2020 21:59 
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Uno de los broadcasts más celebrados de la era Johnson, casi exclusivamente por la pareja de cantantes principales, es el de Roméo et Juliette del 1 de febrero de 1947, protagonizado por Jussi Björling y Bidu Sayão (varias ediciones discográficas, la primera de 1959, han contribuido a su fama y difusión). Por desgracia, poco después la obra desapareció del Met hasta la nueva producción de 1967, con Franco Corelli y Mirella Freni. Menos conocido que el broadcast de 1947 es del año anterior, a cargo de Raoul Jobin y la jovencísima Patrice Munsel (por entonces conocida como "baby coloratura"), que habían encabezado la reposición de la ópera en 1945, tras 7 años ausente en el teatro. Esta pareja artística tuvo cierto recorrido y, aparte de cantar la ópera en Nueva York, también la ofrecieron en otras ciudades de Estados Unidos. Es el caso, por ejemplo, de Nueva Orleans, donde aparecieron en un par de funciones en octubre de 1947. Sobre la actuación de Jobin podía leerse lo siguiente en el periódico The Times-Picayune:

"As Romeo, Tenor Jobin displayed his usual vocal and dramatic abilities. His voice was well controlled. His phrasing and French diction was clean and clear. He was at home on the stage and invested the role of Romeo with a passionate warmth".

Respecto a Patrice Munsel, aunque no tiene las cualidades vocales y dramáticas de Bidu Sayão, su Juliette es más que adecuada. Volviendo al Met, y a modo de comparación de ambas grabaciones, he escogido un par de fragmentos de la ópera: el aria del tenor del segundo acto y el último tramo del conmovedor dúo final de la ópera. En ambos broadcasts dirige Emil Cooper:

Raoul Jobin. "L'amour!... Ah! lève-toi, soleil!" (Met, 1946).

Jussi Björling. "L'amour!... Ah! lève-toi, soleil!" (Met, 1947).


Raoul Jobin & Patrice Munsel. "Console-toi, pauvre âme" (Met, 1946).

Jussi Björling & Bidu Sayão. "Console-toi, pauvre âme" (Met, 1947).


Imagen

Extracto del programa de Roméo et Juliette de la New Orleans Opera House Association.
Temporada 1947-1948.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 09 Jun 2020 0:20 
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Al hilo de la afición de Franco Corelli por algunos papeles de tenor lírico -asunto que se mencionó en el foro hace unos días-, traigo por aquí una de sus óperas predilectas: La Bohéme de Puccini, título que abordó por primera vez en el Met y que cantó hasta el final con la compañía, siendo la ópera que ocupa el quinto lugar, por número de funciones (34), en su ranking metropolitano. Han sobrevivido varias grabaciones piratas de Corelli cantando Rodolfo, acompañado de grandes sopranos (Tebaldi, Kabaivanska, Pilou, etc.), y un broadcast algo tardío (1974) junto a Montserrat Caballé. Menos conocida es la grabación de su debut en el papel de Rodolfo, el 29 de febrero de 1964, inolvidable ocasión según la reseña de John Ardoin en la revista Musical America:

"The February 29 "La Bohème" is one of those performances that will be talked about for many years. Everything clicked and produced that special brand of magic and excitement that radiates from a superbly sung performance of a favorite like "Bohème." Franco Corelli sang his first Rodolfo anywhere, and never at the Met has he seemed so at ease and so convincing. His was no wooden-Indian portrayal. He looked the part and moved with ardor and spirit. Then too it was wonderful to hear a lusty Radames-Manrico voice in the part. Far from being overly heroic, Corelli's singing was wonderfully virile, and the emotions of the final act combined the exact amount of sobbing and singing. For my money there hasn't been such a Rodolfo since Björling.

Another first at the Met was Gabriella Tucci's Mimi. If Mr. Corelli was all masculinity, Miss Tucci was the essence of fragility. Some reservations had been lodged in this corner about her return this season in "Trovatore," but the tentativeness that marred her Leonora was absent at this "Bohème." Her singing was impassioned and glorious in sound. She added a touching bit of business in Act I which was typical of the general way in which she underplayed her characterization and cleared away many years of cobwebs which have accumulated on the part. Being seated during "Che gelida manina," she began "Mi chiamano Mimi" quietly in her chair and told her story in a gentle way. But at "Ma quando vien lo sgelo," when Mimi sings of thawing snow and the return of spring and the sun's warmth, Tucci rose slowly from her chair, raised her arms and moved to the footlights as she released a flood of glowing sound which sent rays of warmth through the Met. Like Mr. Corelli's, Miss Tucci's trim form was as visually convincing as her lovely voice, and together they created a pair of lovers rare in "Bohème" annals, I am sure.

Elisabeth Söderström sang her first Musetta of the season, adding another stellar element to the cast and stressing again for me, her incredible versatility. The other Bohemians (Frank Guarrera, Bonaldo Giaiotti, William Walker) joined into the high spirits which swept through the performance, and the cast was completed by Fernando Corena's marvelous Benoit and Alessio de Paolis' equally marvelous Alcindoro. In fact, Mr. de Paolis almost stole Act II away from Miss Söderström with his irresistible byplay and appropriately bumbling characterization. The only element of the evening that was not in a class with the general proceedings was the sloppy work of the chorus, but even this could not dampen this great evening at the Met. Fausto Cleva conducted".


Una crítica menos entusiasta, pero también favorable, se publicó en el New York Times el 2 de marzo de 1964:

"‘BOHEME’ AT MET MARKED BY FIRSTS; Corelli Heard as Rodolfo—Gabriella Tucci ls Mimi

The season's 10th performance of “La Boheme” at the Metropolitan Opera on Saturday night was anything but routine. In the cast were Franco Corelli, singing the part of Rodolfo for the first time anywhere; Gabriella Tucci, singing her first Mimi with the company, and three artists singing their roles for the first time this season—Elisabeth Soderstrom as Musetta, Frank Guarrera as Marcello and Alessio De Paolis as Alcindoro.

Mr. Corelli was—well, Mr. Corelli, but this time with a Puccini score to back him up. After a few strained opening phrases, the tenor was able to turn his voice loose, with the result that he offered some striking, beautiful vocalism at many points during the evening, even if there was no artistic subtlety to it.

As handsome as ever, he made a sincere effort to enter wholeheartedly into the dramatic action, joining valiantly in the Bohemian high jinks and enjoying an emotional outburst at the end of the opera that must have been soul‐shaking even in the last row of the Family Circle.

It was Miss,Tucci's Mimi that gave the evening its warmest glow. The soprano does not have the most seductive of voices, but—barring a couple of off‐pitch notes—she put it to affecting use in many an exquisite phrase. Slim and lovely to look at, she created a whole character, now shy, now pathetic, now ecstatic, always believable.

Miss Soderstrom's Musetta may well be the most interesting at the Metropolitan, since she resolves the seemingly disparate elements in the part. She was good‐humored, rather than shrewish or waspish; she even treated Alcindoro with offhand affection. Thus Marcello's love for her became understandable; so did her concern for Mimi in the last act. And it gave her anger in the third‐act quarrel with Marcello more depth than usual.

Mr. Guarrera never seems to stop adding to his portrait of Marcello. Its completeness and vocal smoothness on this occasion were admirable. Mr. De Paolis's Alcindoro remains one of the great characterizations at the Metropolitan; time does not dim its luster.

William Walker at Schaunard, Bonaldo Giaiotti as Colline and Fernando Corena made strong contributions to the performance. All the singers could be grateful that Fausto Cleva was conducting. He protected their musical interests without letting the score lose its unity or momentum".


Para recordar aquella histórica función de La Bohème, enlazo el cuarteto del acto tercero, con un Corelli de canto matizado y acorde con el lirismo del momento:

Corelli, Tucci, Guarrera & Söderström. "Dunque è proprio finita?" (Met, 1964).


Imagen

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 04 Sep 2020 16:52 
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El barítono Richard Bonelli debuta en el Met en 1932, tras la bancarrota de la Civic Opera de Chicago (donde había cantado con regularidad desde 1925) y en una etapa delicada para las finanzas del teatro neoyorquino. Su presentación con La Traviata, tras casi 20 años de carrera en América y Europa, fue un éxito a juicio de las críticas en prensa. Por ejemplo, en el Syracuse Journal del 2 de diciembre de 1932 puede leerse lo siguiente:

“Bonelli wins ovations in Metropolitan debut.

Acting and singing ability combined by former Syracuse newsboy.

By John D. Greene.
International News Service Staff Correspondent.

New York, Dec. 2 – The rafters rang at the Metropolitan Opera House last night. They rang when Richard Bonelli making his debut in Verdi’s "La Traviata" as Giorgio Germont, lent an amazingly rich and dramatic baritone to his role. They rang several times after young Bonelli’s first exit as boxholders, gallery sitters and standees called him back again and again with thunderous applause.
Finally, Rosa Ponselle, in the role of Violeta, had to go off stage and lead the former Syracuse, N.Y., newsboy to the footlighs before the opera could continue.
Critics, enthusiastically acclaiming last night’s "Traviata" as a glamorous performance, were quick to give full credit to the Young american baritone, who made his debut in it.
Bonelli is the seventh singer and the fourth of american birth to make his first appearance at the Metropolitan during the current season, now 10 days old.
As Germont, Bonelli’s presence was engaging and dignified. As he progressed in his role the packed house became aware of the big range and adroit utterance which made the american baritone a favorite of operagoers in Chicago during his six years with the Chicago Civic Opera Company.
Operatic connoisseurs pointed out that Bonelli the artist supplements Bonelli the vocalist, and that hidden behind the rich, ringing baritone stanzas was a faithfulness to detail amazing in a comparative beginner.
It was pointed out that while many baritones can send a high F ringing through the house, as Bonelli did last night, few are capable of projecting mezza-voce and piano passages with the purity of line which Bonelli gave, for instance, to "Di Provenza il mar", a passage which sent an electric thrill through the audience.
Perhaps the most striking personal tribute of the evening was that give to the american-born Bonelli when several italians, viewing the performance from among the standees in the back of the auditorium, shouted at the conclusión of the first act: "Bravo, Dick!".
Gatti-Casazza, director of the Metropolitan Opera Company, announced after the performance that while there has been some demand for Bonelli to appear in American roles which he popularized in Chicago, the Young baritone will be saved to appear chiefly in french and italian opera”.


Imagen

Ida H. Bunn, madre de Richard Bonelli, y el barítono ataviado como Germont.
Syracuse Journal, 4 de diciembre de 1932.


Bonelli permaneció en el Met hasta 1945, compaginando sus apariciones allí con las de San Francisco (donde cantó con frecuencia en el período 1926-1942) y con su regreso a una resucitada Ópera de Chicago en 1936. Como curiosidad, antes de dedicarse al canto, Bonelli, muy aficionado a los coches, desempeñó una gran variedad de trabajos, como señala el periódico Buffalo Courier-Express en un artículo de 1928:

“He was born in Port Byron, this State, and moved to Syracuse when three years old. He had to help in the family finances when he was nine years of age. Newsboy, bundleboy, circulation clerk (of the Syracuse Journal), solicitor of magazine subscriptions, farmer’s helper in harvest time, bank messenger, bookkeeper, telephone accountant, pushing a lawn mower in a cemetery, auto mechanic’s helper, accident insurance investigator and zinc miner –there were some of the professional jobs which kept the future opera star busy during the years when he was going to school. He won a scholarship in Syracuse University, and entered there as a mechanical engineer”.

Imagen

El empresario J. Allen Fusca, la contralto Myrtle Leonard, el barítono Richard Bonelli
y la soprano Virginia Rea en el Hotel Statler de Buffalo, durante un acto promocional.
Buffalo Courier-Express, 16 de marzo de 1936.


Volviendo al Metropolitan, el papel que más veces cantó con la compañía fue el Valentin de Faust (21 funciones). Richard Bonelli tuvo una relación especial en esta ópera, con la que debutó el 21 de abril de 1915 en la Academy de Brooklyn y que mantuvo en repertorio hasta el final de su carrera, ofreciéndola en numerosas ciudades norteamericanas. Bonelli participó en la transmisión radiofónica (parcial) de este título desde la Ópera de Chicago (21 de enero de 1927), junto a Charles Hackett (Faust), Vanni Marcoux (Méphistophélès), Edith Mason (Marguerite), dirección de Giorgio Polacco y comentarios de un joven Milton Cross, histórico evento para el que se emplearon un total de 15 micrófonos. Una semana después aparece en otro broadcast, esta vez con fragmentos de Il Trovatore. Algunas de sus interpretaciones como Valentin fueron reseñadas en prensa, como la que tuvo lugar en el Consistory Auditorium de Buffalo, de gira con la Civic Opera de Chicago (Buffalo Courier-Express, 12 de febrero de 1929).

“Richard Bonelli’s superb baritone voice and his abilities as a singing actor enabled him to bring the role all the virtues that go to make up an artist. His eloquent vocal presentation of the Dio Possente, and the moving intensity of his work in the death scene brought him deserved approbation. Every phrase was delivered with a smooth velvety legato and beauty of tone that was the result of admirable vocal technique”.


Imagen

El Metropolitan Opera Quartet (Edward Johnson, tenor; Grace Moore, soprano; Rose Bampton, mezzo y Richard Bonelli, barítono)
durante un concierto en el English Theatre de Indianapolis.
The Indianapolis Times, 27 de marzo de 1934.


Afortunadamente, se conserva un broadcast metropolitano, poco conocido, del 20 de marzo de 1937, gracias al cual podemos valorar las cualidades del barítono estadounidense en el papel de Valentin. Como muestra, el aria "O sainte médaille... Avant de quitter ces lieux".

Richard Bonelli. "O sainte médaille... Avant de quitter ces lieux" (Met, 1937).


Otro papel que acompañó a Bonelli durante casi toda su carrera fue Enrico Ashton de Lucia de Lammermoor. En el Met lo cantó en 7 ocasiones, sobreviviendo para la posteridad la transmisión radiofónica del 3 de febrero de 1940. La grabación está colgada en YouTube; pero, al igual que ocurre con las ediciones discográficas de Great Opera Performances (1998) y Cantus Classics (2004), aparece interpolada la voz de otro barítono en un breve fragmento del aria "Cruda, funesta smania", en concreto en la frase "Fora men rio dolor!".

Papi, Pons, Jagel & Bonelli Live: Donizetti: Lucia di Lammermoor (New York 03-02-1940).


El CD "Opera stars sing on radio, vol. II" (The Radio Years, 1995), que incluye un par de fragmentos del Enrico de Bonelli, no presenta este problema, aunque están cortados el recitativo inicial y el coro "Come vinti da stanchezza", previo a la cabaleta "La pietade in suo favore".

Richard Bonelli. "Cruda, funesta smania... La pietade in suo favore" (Met, 1940).


Imagen

Tito Schipa y Richard Bonelli ensayando Manon para la Ópera de San Francisco.
Calexico Chronicle, 13 de octubre de 1939.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 23 Nov 2020 15:14 
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Recordando un post anterior, Licia Albanese es, por número de funciones, la Violetta más relevante de la historia del Met (87 funciones completas y 1 parcial en el período 1942-1963). Se conservan varias grabaciones de La Traviata protagonizadas por la soprano italo-estadounidense, incluyendo la de su presentación en el papel de Violetta el 5 de diciembre de 1942. Poco más de un año después la encontramos en su segundo broadcast de esta ópera (1 de enero de 1944), que en opinión de Paul Jackson (“Saturday afternoons at the old Met”, p. 340) es incluso superior al de su debut:

“Albanese is in superb vocal form, and her mastery of both dialogue and song is even more satisfying than in her debut broadcast. Now the concious aura of the prima donna sits ever so lightly on her manner, just enough to heighten romantic projection without endangering the honesty of her portrayal. An expansive air permeates her work; one inhales it in her command of vocal climaxes, in the fervor with which she rejects, holds tenaciously to, and finally renounces love. About this time in her career, Albanese begins to wrap herself in the raiment of the tragic singing actress. The vocal and dramtic gestures are inched toward grandeur: ‘L’uomo implacabile’ fairly tumbles out of her mouth, ‘Non sapete’ is a flash of anger directed at her persecutor, ‘Amami, Alfredo’ is passionately extended with a bit of chest voice to heighten the drama, and the farewell aria ends with a series of overtly tragic cries of ‘tutto’. Here we have the diva in her natural habitat, and quite thrilling it is. Happily there is no lessening of Albaneses’s command of delicate, pathetic effects when she chooses: the tonal warmth of ‘Alfredo, di questo core’ is most affecting, the debolezza of the wakening Violetta is tellingly suggested, the letter is simply perused (and what a striking effect follows when she cries ‘Ah, con tal morbo!’), and the fragile cantilena of Violetta’s final moments with Alfredo are as immaculate as one could desire. Albanese’s vocal control is indeed impressive”.

Positiva, pero menos entusiasta, es la crítica de Robert Lawrence en The New York Times (2 de enero de 1944):

"TRAVIATA" HEARD AT METROPOLITAN

Licia Albanese, Jan Peerce, Lawrence Tibbett in Opera - Waves Sing National Anthem

Licia Albanese's Violetta in Verdi's "La Traviata" at the Metropolitan Opera House yesterday afternoon shared honors with Jan Peerce's Alfredo and Lawrence Tibbett's Giorgio Germont, if it did not, indeed, outshine them. From the duet in the first act with Mr. Peerce, and the aria, "Ah, fors è lui," to the farewell aria in the last act (fourth in the Metropolitan's version) and the following duet, "Parigi, o cara," Miss Albanese gave a superb vocal performance.

The soprano's singing, however, was not without its flaws, for there were rough spots, especially in the first act, with tones definitely off pitch. Sometimes, in the expression of passion, the lovely lyrical voice became not merely dramatic but a trifle hard. On the other hand, there were places of exquisite delicacy and in the ecstatic moments the voice took on a velvety quality and richness that gave unusual dramatic force to the singing. Miss Albanese received deserved ovations.

Mr. Peerce and Mr. Tibbett, both in fine voice, did their usual excellent singing and aroused enthusiasm in the audience that filled the house. George Cehanovsky gave a laudable performance as Baron Duphol, and Thelma and Mona Paulee as Flora Bervoix and Annima, respectively. Louis D'Angelo replaced John Baker as the Marquis D'Obigny and Lorenzo Alvary took Mr. D'Angelos's place as Dr. Grenvil.

Cesare Sodero conducted. The orchestra deserves special praise.

Forty-one "Singing Waves" replaced the Metropolitan chorus in singing the "Star Spangled Banner" at the beginning of the performance. The young women, who come from seventeen States, are members of the Twenty-First Regiment of Waves. They were the guests of the Metropolitan Opera Guild and of George A. Sloan, president of the Metropolitan Opera Association, at the performance.


En aquella función acompañó a la soprano el legendario barítono estadounidense Lawrence Tibbett, de quien se conservan 6 broadcasts metropolitanos de su Germont: los que le muestran en todo su esplendor son los de 1935 y 1939, aunque en este último se perciben signos de una incipiente crisis vocal. En los de 1941 y 1942 aparece un canto errático y a veces sofocado, con algún destello de buen gusto en el fraseo. En 1944 la voz de Tibbett había recuperado parte del brillo de la década anterior, aunque su canto es menos flexible y los agudos no tienen la calidad de antaño. No he escuchado el broadcast de 1945, con idéntico trío protagonista, en el que Tibbett parece estar en mejor forma aun, según puede leerse en el citado libro de Paul Jackson (p. 336). Como muestra del mencionado broadcast del 1 de enero de 1944 propongo el dúo de Violeta y Germont del acto segundo:

Licia Albanese & Lawrence Tibbett. "Madamigella Valéry?" (Met, 1944).


Imagen

Licia Albanese y Lawrence Tibbett en la producción de La Traviata de Désiré Defrère.

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