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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 20 Abr 2020 21:24 
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Enlazo un puñado de versiones del aria "En fermant les yeux", a modo de repaso de los Des Grieux metropolitanos del período 1933-1965. ¿Qué interpretación les gusta más?

Sydney Rayner.

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"Instant charmant... En fermant les yeux" (1937).


Richard Crooks.

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Plattsburgh Daily Press, 14 de julio de 1937.

"Instant charmant... En fermant les yeux" (1940).


Charles Kullman.

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"En fermant les yeux" (1943).


Giuseppe di Stefano.

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"En fermant les yeux" (1951).


Cesare Valletti.

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"Instant charmant... En fermant les yeux" (1954).


Nicolai Gedda.

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"En fermant les yeux" (1959).

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 20 Abr 2020 21:54 
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Pippo, esos pianissimi y diminuendos son una preciosidad. Después no sé, todos me gustan.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 20 Abr 2020 22:55 
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Pues yo me quedo con Gedda, aunque el amigo Rayner me ha gustado mucho. Si pareciera que desea estar con Manon en vez de llevársela al huerto incluso en el confinamiento, sería la elegida.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 21 Abr 2020 7:13 
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Pues yo también iba a decir Gedda, pero la voz de Di Stefano esos años es una pasada. Empate.


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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 25 Abr 2020 18:34 
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En la década de 1950, tras la retirada metropolitana de Lauritz Melchior, el papel de Siegmund fue heredado por una serie de cantantes que, por diversas razones, no alcanzaron el nivel de décadas anteriores. Set Svanholm, el más interesante de todos ellos, estaba en decadencia vocal tras una larga carrera. Günther Treptow y Ramón Vinay presentaban limitaciones técnicas y expresivas. Wolfgang Windgassen cantó un par de funciones con la compañía en 1957 en las que no brilló especialmente, a juicio de las críticas de la época. La llegada de Jon Vickers al Met en 1960 restituyó esa calidad perdida en el rol de Siegmund, que ofreció en 44 ocasiones en el período 1966-1984, siendo el segundo tenor que más veces lo ha interpretado con la compañía tras Lauritz Melchior (83) y por delante de Ernest van Dyck y Plácido Domingo (quienes, empatados con 30 funciones, ocupan la tercera posición). Respecto a su primer Siegmund metropolitano puede leerse la siguiente reseña en la revista Musical America (marzo de 1960):

"Perhaps the most noteworthy of the many outstanding factors of the evening was Mr. Vickers' Siegmund. No tenor at the Metropolitan for decades has been able to encompass both the heroic and lyric elements of the role with such mastery. He was equally effective in such tremendous outbursts as the "Wälse! Wälse!" and in the softly tender expressions of his devotion to Sieglinde in Act II".

De su etapa en el viejo Met se conservan tres broadcast de su Siegmund, siendo el más interesante el último de ellos, en opinión de Paul Jackson, quien en su libro Sign-off for the Old Met (p. 415) escribe lo siguiente:

"If any singer warrants the designation of charismatic, Jon Vickers is the man. His Siegmund was a revelation in the 1960 broadcast and even is more impressive in this 1965 performance. No vagaries of tonal production or excessive crooning intrude to blight the perfection of his portrayal. Baritonal security in the many low-lying phrases of the role, complete freedom at the top of the range, command of dynamics from intimate mezza voce to full-throated splendor –all these technical properties, splendid as they are in themselves, are merely the servants of his quest for interpretive truth in characterization. His reading contains many specific expressive and vocal excellences: the ability to transform a phrase from rhythmic narration to emotional significance merely by a change of vocal color (as he does repeatedly in Siegmund's biographical narrative); the crescendo applied to the 'Wälse' pair, which converts them into living entities rather than examples of tenorial bravado; the aura of quietude he evokes when Brünnhilde predicts Siegmund’s fate; the infinite tenderness of the head tone he voices as he bids his beloved farewell. When Vickers is in full command of his instrument, as he is on this afternoon, he is an inspiring artist".

Como muestra del broadcast del 6 de marzo de 1965 de Die Walküre, enlazo el final del acto primero, a partir del “Winterstürme”. Junto al tenor canadiense encontramos a la Sieglinde de Leonie Rysanek, con sus habituales irregularidades en la afinación y carencias en la zona grave, pero destacable por la intensidad de su interpretación. Dirige William Steinberg.

Jon Vickers & Leonie Rysanek. Die Walküre, final del acto 1º (Met, 1965).


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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 26 Abr 2020 16:08 
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Carl Tunner escribió:
El valenciano Antonio Cortis fue el rival de Hackett en su exitoso periodo de Chicago. Yo prefiero con mucho al gran tenor español.


Como curiosidad diré que mi bisabuelo conocía personalmente a Cortis. No viene muy a cuento, lo sé.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 26 Abr 2020 16:20 
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Muy interesante lo de su bisabuelo. ¿Y tiene alguna anécdota al respecto? :)

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 26 Abr 2020 16:53 
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Mi bisabuelo vivía en Dénia, donde mucha gente conocía a Cortis. Arreglaba bicicletas, y, por lo que me dicen, debido a su profesión tuvo un trato un poco más personal con él.

Otra cosa que me han contado, no sé hasta que punto es verdad, es que una vez escuchó a mi bisabuelo cantar (le gustaba mucho) y le dijo que gente con la mitad de voz hacía carrera. Mi familia es muy dada a la fanfarronería, pero podría ser, tal vez le dijese algo y lo exageraran un poco, o que la historia, que ha pasado por dos generaciones, haya sido desvirtuada. No sé.

Después se decía que Cortis iba a la montaña de vez en cuando y cantaba, y que metía la cabeza en pozos para escuchar como resonaba.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 26 Abr 2020 17:28 
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Gracias por compartir esos recuerdos.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 11 May 2020 14:38 
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Il barbiere di Siviglia, que ocupa el duodécimo lugar en el ranking de óperas más representadas del Met (632 funciones), fue un título popular en el viejo teatro de la calle 39: se estrenó durante la primera temporada del mismo, en noviembre de 1883, con un reparto encabezado por la aplaudida Rosina de Marcella Sembrich, que cantó con frecuencia el papel hasta su despedida de la compañía en 1909. Otros títulos del compositor también fueron estrenados durante aquellos primeros años del coliseo neoyorquino: el Stabat Mater en 1883, Guillaume Tell (en alemán) en 1884 y Semiramide en 1892 (con Adelina Patti de protagonista, papel del que se acabó adueñando la soprano australiana Nellie Melba en posteriores funciones). La versión italiana de Guillaume Tell se estrenó en 1894 cantando el rol de Arnoldo Franceso Tamagno. Aquella producción de 1894, exitosa para el tenor, tuvo estreno muy accidentado, a causa de la soprano Libia Drog, quien cantó el papel de Matilde por la cancelación de la cantante inicialmente prevista: a causa de los nervios, olvidó el texto a mitad del aria "Selva opaca" y acabó abandonando el escenario. El suceso fue recogido en prensa: The New York Times, 22 de noviembre de 1894:

"WILLIAM TELL AT THE OPERA

The Performance of 'William Tell' at the Metropolitan Opera House last night would undoubtedly have been very interesting if it had not been for one of those misfortunes that cannot be foreseen. This misfortune was the utter collapse of the prima donna. The role of Mathilde was to have been sung by Miss Lucille Hill, but she was taken sick two or three days ago and Mme. Libia Drog, a dramatic soprano of the company, agreed to sing the part, which she had never sung before. She made her entrance at the proper time in the second act, and sang the recitative preceding the air 'Sombre foret' with smoothness and ease.

Then she embarked upon the aria, and sang the first stanza in a manner that promised only fairly but still could not be called distinctly bad. She made an attempt to begin the second stanza, whose melody is the same as that of the first, when her memory utterly failed her. She stood and glared at Signor Mancinelli, who stopped the orchestra and glared at her. He gave her a chord, and she began again, but again she could not go on. Then she and Signor Mancinelli conversed in an animated manner. But still she was songless. Then she walked off the stage, came back and looked helpless. Signor Tamagno entered and endeavored to induce her to jump to the duet with him. She turned her back to him and spoke to some one off stage, who presently came to the wing with a glass of water for her. Signor Tamagno ran off the stage. Then Mme. Drog calmly walked off. The stage was empty. The audience applauded. In Italy they would have torn up the seats and thrown them on the stage.

Presently Signor Tamagno returned to the stage and was joined by Signor Ancona, as William Tell, and Edouard de Reszke as Gualtiero. The three men jumped into the big trio, and Signor Tamagno promptly proceeded to electrify the house with a piece of magnificent declamation on a high note. Mme. Libia Drog was thenceforward a nonentity in the minds of an audience that had come to hear some big men. The lady reappeared in the finale, but her duet passages were all carefully cut. If the stage manager had had his wits about him, he would have lowered the curtain when she broke down.

In the circumstances, no fair criticism of the performance can be written. Signor Tamagno was received warmly, and after he had treated the audience to some of his splendid declamation and some genuinely passionate singing he was applauded enthusiastically. The scenery, costumes, and stage pictures were admirable, and when a smooth performance is ready 'William Tell' will be one of the features of the season".


Y otra crónica de The New York Press:

"A SILENT PRIMA DONNA

Performance Without Precedent in the Annals of Music

MLLE. DROG'S STAGE FRIGHT

Could Not Recall Words or Music, and Was Forced to Retire

An extraordinary and distressing incident was witnessed at the Metropolitan Opera House last night. Miss Lucile Hill, the Mathilde, was taken ill with influenza and Mlle. Libia Drog was selected to take her place. In Rossini's opera the heroine does not come on until the second act. Hence the [first] scene went off with the usual success. But when the curtain arose on the second act an unparalleled accident happened. Mathilde came out, sang the first bars of her aria, hesitated, faltered, blushed, trembled, and became silent.

The music continued, but the prima donna was voiceless. Signor Mancinelli looked up inquiringly and asked Mlle. Drog in testy Italian what was the matter. Mlle. Drog did not reply. She seemed in an agony of emotion, but had neither lyric nor dramatic words to express her feelings. She had completely forgotten the score, and the prompter could not help her out of her difficulty. The conductor tapped his orchestra into silence and looked dismally at the Alps. Mlle. Drog gazed into the auditorium in which the vast audience was buzzing with excited conversation. This extraordinary system of opera continued for several minutes, until at last Signor Mancinelli cut the scene, started his orchestra at a later passage and summoned Tamagno for the duo.

At the entrance of the great tenor Mlle. Drog's courage failed her altogether and she started on a run off the stage. Tamagno held her firmly. He tried to encourage her, and hummed over the part she should have sung. Still she was silent. Then the tenor dropped her arm and ran confusedly into the wings. Mlle. Drog looked after him pitifully for a moment and walked off the other side of the stage. Once more Sig. Mancinelli cut the scene and tapped for the trio. Then Tamagno returned, bringing with him Ancona and Edouard de Reszke, and the opera was resumed without a prima donna, a performance without precedent in the annals of music.

Apart from this extraordinary accident the performance was highly successful. Sig. Tamagno has come back to us in finer voice than ever, and his phenomenal notes frequently electrified the house. His Arnoldo was a superb effort, both lyrically and dramatically, and in more than one passage the audience cheered him enthusiastically. It was a wonderful performance, which more than atoned for the disappointment occasioned by the prima donna. Sig. Tamagno was admirably supported by Sig. Ancona, M. Edouard de Reszke and M. Plançon.

At a late hour an apology was made for Mlle. Drog, and she recovered sufficient composure to sing an aria in one of the succeeding acts. But so far as the soprano music was concerned the first performance of "William Tell" was a distinct and startling failure".


Una nueva producción de Guglielmo Tell se presentó en 1923, con un reparto lleno de grandes nombres: Rosa Ponselle, Giovanni Martinelli, Giuseppe Danise, José Mardones, y Adamo Didur. Aunque la ópera más representada de Rossini seguía siendo Il barbiere di Siviglia, se estrenaron otros títulos del compositor en aquellas primeras décadas del siglo XX: L'italiana in Algeri en 1919 e Il signor Bruschino en 1932 (que se interpretó en programa doble junto a otros estrenos del teatro: Elektra de Strauss y The Emperor Jones de Gruenberg), pero las representaciones apenas tuvieron recorrido.

Del 23 de enero de 1932 data el primer broadcast de Il barbiere di Siviglia, que desgraciadamente se ha perdido, privándonos de poder escuchar a un maduro Giuseppe de Luca como Fígaro. Sí se conserva grabación del segundo broadcast (22 de enero de 1938), donde quedan en evidencia algunas carencias interpretativas de la época: cantantes fuera de estilo, cortes e intrusiones en la partitura, bufonadas varias y bastante descoordinación. Un reparto similar encontramos en el cuarto broadcast (1 de marzo de 1941), con nuevas incorporaciones (Josephine Tuminia como una interesante Rosina y Salvatore Baccaloni como Don Bartolo) y manteniéndose John Charles Thomas (un Fígaro de voz poderosa, pero perdido en la dicción y tosco en el canto), Bruno Landi (Almaviva) y Ezio Pinza (Don Basilio). Landi canta su parte con una elegancia y ligereza un tanto pasada de moda, pero tiene su encanto y mantiene la línea de algunos de sus antecesores metropolitanos en el papel: Alessandro Bonci, Charles Hackett, Tito Schipa, etc. Propongo la escucha de su aria del acto primero:

Bruno Landi. "Ecco, ridente in cielo" (Met, 1941).


Por su parte, Ezio Pinza se suma a la lista de grandes nombres que cantaron la parte de Don Basilio antes que él: Édouard de Reszke, Andrés de Segurola, Marcel Journet, Fyodor Chaliapin, Adamo Didur, José Mardones y Léon Rothier. Su "Calunnia" tiene un estilo algo veristoide -las payasadas de Baccaloni tampoco ayudan-, pero resulta efectiva y el público aplaude divertido.

Ezio Pinza. "La calunnia" (Met, 1941).


El siguiente broadcast de esta ópera procede de Cleveland y en él destaca la Rosina de Bidu Sayão, a juicio de Paul Jackson (Saturday Afternoons at the Old Met, pp. 231-232):

"Bidù Sayão is herself a diminutive package, but her impact on this performance is immense. Could any Rosina excel Sayão’s portrayal in this broadcast? She plays her not as a coloratura plaything but as a young lady with a mind of her own who can charm or scheme or be bored or petulant or bewitching as necessary to gain her ends. She turns every moment of song, every word of recitative, to account and makes Rosina a vivid personality. And how fluently she sings the music, her tone constantly pure and lovely, the fioriture not only accurate but given a musical life of their own –every phrase is knowingly shaped. She is able to convey the grand musical gesture as easily as though her resources were unlimited (the opening of ‘Dunque io son’ is a prime example). In the lesson scene she stays with Rossini (at least his Semiramide) and her ‘Bel raggio’ shows her mastery of bel canto: in the opening section the cantilena is firm and the drama intense; later her coloratura, while perhaps not quite the ultimate in brilliance during rapid passage work, is nevertheless on a high level; the top voice is a constant joy as he offers tones of limpid float or pointed brilliance at will. A well-coordinated ensemble performance remains the ultimate delight for opera lovers, but lacking that, all resistance crumbles before the star performer who achieves a perfect union of voice and technical skill, musical thought and dramatic believability. Sayão is just a complete operatic artist on this afternoon".

Bidu Sayão. "Una voce poco fa" (Cleveland, 1943).

Bidu Sayão. "Bel raggio lusinghier" (Cleveland, 1943).


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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 11 May 2020 21:30 
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Gracias, muy interesante como siempre. El broadcast más antiguo de Barbero del MET que conocía es el de 1950 con Lily Pons, Valdengo, Baccaloni, Hines y Di Stefano, que había debutado allí 2 años antes con Rigoletto.

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 12 May 2020 12:08 
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Carl Tunner escribió:
Gracias, muy interesante como siempre. El broadcast más antiguo de Barbero del MET que conocía es el de 1950 con Lily Pons, Valdengo, Baccaloni, Hines y Di Stefano, que había debutado allí 2 años antes con Rigoletto.


Que gran fenómeno era el Pippo de finales de los 40s y primeros 50s! :aplauso: :aplauso:


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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 12 May 2020 12:27 
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No se si ha salido ya, creo que si, pero lo reitero por si acaso

El debut del tenor Richard Tucker en el viejo Met, el 25 de enero de 1.945, como Enzo
[Met Performance] CID:138630
La Gioconda {143} Metropolitan Opera House: 01/25/1945.

(Debuts: Richard Tucker, Ann Lee
Review)



Metropolitan Opera House
January 25, 1945


LA GIOCONDA {143}
Ponchielli-Boito

La Gioconda.............Stella Roman
Enzo....................Richard Tucker [Debut]
Laura...................Bruna Castagna
Barnaba.................Richard Bonelli
Alvise..................Nicola Moscona
La Cieca................Margaret Harshaw
Zuàne...................John Gurney
Isèpo...................Lodovico Oliviero
Monk....................William Hargrave
Steersman...............John Baker
Singer..................Osie Hawkins
Singer..................Richard Manning
Dance...................Ann Lee [Debut]
Dance...................Marina Svetlova
Dance...................Leon Varkas
Dance...................Alexis Dolinoff

Conductor...............Emil Cooper

Director................Désiré Defrère
Set designer............Antonio Rovescalli
Set designer............Joseph Novak
Costume designer........Mathilde Castel-Bert
Choreographer...........Laurent Novikoff

La Gioconda received six performances this season.


Review of Noel Straus in The New York Times

'GIOCONDA' REVIVED AT METROPOLITAN

Last Heard in the 1939-40 Season, Ponchielli Opera Introduces Tucker Here

After an absence from the repertoire since the season of '39-'40, Ponchielli's "La Gioconda" was revived last night at the Metropolitan Opera House. The work was conducted by Emil Cooper for the first time here. Heading the cast were Stella Roman, who had not assumed the title role previously in this city, and Richard Tucker, who made his debut with the company as Enzo.

Despite the absurdities of its violently melodramatic plot, there is decided dramatic forcefulness in this opera when it is sung by voices capable of meeting its exactions. At this latest performance only Richard Bonelli as Barnaba and Nicola Moscona as Alvise possessed adequate vocal power for the parts assigned them. All of the other principals struggled with music demanding a wealth of tone that was not forthcoming, with the result that those who were hearing the work for the first time could obtain little conception of the real possibilities of the score.

"Ah, Pescator" Pleases

In fact, during the entire first two acts the sole number sung by any of the leading artists of the personnel that was completely up to requirements in all respects was the barcarolle, "Ah, Pescator," as delivered by Mr. Bonelli, though in general his portrayal of the villainous spy of the Inquisition was neither sharply defined nor sufficiently sinister.

Special interest naturally centered in the company's new tenor, Mr. Tucker, who had the misfortune to make his initial appearance in a formidable role too heavy for his essentially lyric type of voice. Nevertheless, he made a definitely favorable impression and was enthusiastically received by the large audience. Although inexperienced in opera, he sang Enzo's music with poise and assurance. His tones were steady and of pleasing quality, boasting special richness and resonance above the staff, where the sounds produced were more "forward" than in the thinner lower half of the scale. He sang with warmth and expressiveness and his acting was natural and easy. Besides these virtues he had an agreeable stage presence. But he must be heard in a part more congenial to him before final judgment can be made of his capabilities.

Miss Roman's Part

Miss Roman was beyond her depths in the name part, which asks for a far more brilliant and dramatic type of voice. Her work was extremely uneven. Some of the top tones were well produced, but too often they were spread and off-pitch, while much of her singing in the lower reaches of the scale was frequently too light to be audible.

Bruna Castagna was formerly far more impressive as Laura than at present, her voice having acquired lack of proper support with her recent loss of weight, and though Margaret Harshaw brought feeling to her impersonation of La Cieca, she was vocally undistinguished in the role.

The chorus made the most of its many opportunities and the orchestra played well, but the entire performance was handicapped by the conducting of Mr. Cooper, who dragged tempi consistently and provided a support having a dearth of carefully articulated melodic outline.


Photograph by The New York Times Studio of Richard Tucker as Enzo in La Gioconda:


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Carl Tunner escribió:
El broadcast más antiguo de Barbero del MET que conocía es el de 1950 con Lily Pons, Valdengo, Baccaloni, Hines y Di Stefano, que había debutado allí 2 años antes con Rigoletto.


Una grabación interesante a priori, pero que aún hereda algunos de los problemas de broadcasts anteriores, empezando por la Rosina de Lily Pons, papel en el que no se encuentra demasiado cómoda (circunstancia que ya quedaba evidencia en su broadcast de 1938) y siguiendo con el molesto Bartolo de Baccaloni. Hines bastante perdido como don Basilio. Los cantantes más prometedores de la función, Di Stefano y Valdengo, tampoco se encuentran en su elemento: el primero, algo incómodo en la zona aguda y con una coloratura bastante torpe; el segundo, con la voz no del todo liberada, no parece estar en su mejor noche (de todas formas, se agradece un Figaro con italianitá, tras el "rossinicidio" que perpetran en broadcasts anteriores John Charles Thomas y John Brownlee). Me gusta más el siguiente broadcast: tampoco es perfecto, pero el reparto funciona mejor.

Metropolitan Opera House
March 6, 1954 Matinee Broadcast

IL BARBIERE DI SIVIGLIA {246}

Figaro..................Robert Merrill
Rosina..................Roberta Peters
Count Almaviva..........Cesare Valletti
Dr. Bartolo.............Fernando Corena
Don Basilio.............Cesare Siepi
Berta...................Jean Madeira
Fiorello................George Cehanovsky
Sergeant................Alessio De Paolis
Ambrogio................Rudolf Mayreder
Notary..................Rudolf Mayreder

Conductor...............Alberto Erede

tucker escribió:
No se si ha salido ya, creo que si, pero lo reitero por si acaso

El debut del tenor Richard Tucker en el viejo Met, el 25 de enero de 1.945, como Enzo


Lástima que haya testimonio sonoro de su Enzo en el año de su debut, pues el del broadcast del 3 de marzo de 1945 cayó en manos de Frederick Jagel. Aparte de la ya conocida grabación del año siguiente (16 de marzo de 1946), también se conserva otra Gioconda metropolitana cantada por Tucker, con buen sonido, de 1959:

Metropolitan Opera House
January 10, 1959 Matinee Broadcast

LA GIOCONDA {182}

La Gioconda.............Zinka Milanov
Enzo....................Richard Tucker
Laura...................Nell Rankin
Barnaba.................Robert Merrill
Alvise..................Cesare Siepi
La Cieca................Belén Amparan
Zuàne...................George Cehanovsky
Isèpo...................Alessio De Paolis
Monk....................Norman Scott
Steersman...............Louis Sgarro
Singer..................Calvin Marsh
Singer..................Robert Nagy
Dance...................Lupe Serrano
Dance...................Scott Douglas

Conductor...............Fausto Cleva

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 Asunto: Re: Grandes momentos del viejo Met.
NotaPublicado: 12 May 2020 15:01 
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Registrado: 12 Ene 2016 4:29
Mensajes: 1044
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.


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