Este tenor canto maravillosamente esta aria para ser uno de los ganadores de un importante concurso de canto en el Metropolitan este año. Concurso que en años anteriores ganó Renee Fleming.

El tenor tiene una página web en donde se puede escuchar un patético Granada o una canción creo que en Tagalo, el tenor es Filipino.

Lo sorprendente es que tiene una agenda con sus próximos comprosimos y sólo tiene cumpleaños programados

El aria en cuestión pertenece a la ópera The Ghosts of Versailles de John Corigliano, compositor que ganó un oscar por la música de la película el violín rojo.

Agradecería cualquier información sobre este tenor que borda el "Aria of the worm" o sobre el aria en concreto que me parece fantástica.

Saludos

Esto es lo que he encontrado:

John Corigliano
The Ghosts of Versailles (1991)
A Grand Opera Buffa in Two Acts
Libretto by William M. Hoffman
Suggested by Beaumarchais' La mère coupable

Synopsis:

The Ghosts of Versailles is set in Marie Antoinette's private theater in Versailles. The ghost of the playwright Beaumarchais, author of The Barber of Seville and The Marriage of Figaro, has fallen madly in love with the ghost of the executed Queen Marie Antoinette, who after two centuries still grieves for her lost life. Although Beaumarchais' love is unrequited, he offers to cure the queen's melancholy through a performance of his new opera, which features the latest exploits of Figaro and the Almaviva family, who attempt to change history and save the queen from death in the French Revolution. The other ghosts at Versailles warn Beaumarchais that this will endanger his soul, but he wishes only Marie Antoinette's happiness. Through Beaumarchais' willingness to sacrifice himself during a performance of his opera, Marie Antoinette realizes the depth of his love for her and learns to love him. Just as Beaumarchais is about to successfully save Marie Antoinette, she rejects "salvation" and allows history to continue as it was. The two are joined for eternity.

Players in Opera:
Beaumarchais: Bass-Baritone
(Ghost of) Marie Antoinette: Soprano
Figaro: Baritone
Susanna: Mezzo-soprano
Count Almaviva: Tenor
Rosina: Soprano
Léon: Tenor
Florestine: Coloratura Soprano
Patrick Honoré Bégearss: Tenor
Wilhelm: Speaking Role
Cherubino: Mezzo-soprano
Suleyman Pasha: Bass
British Ambassador: Baritone
Samira: Mezzo-soprano
Duchess (doubles with Woman with Hat): Mezzo-soprano
Living Marie Antionette: Sung by Ghost of Marie

The Aria of the Worm (Bégearss)

Oh, the lion may roar,
And the eagle may soar,
And man may sail the darkest sea,
But the worm lives on eternally.
Long live the worm.

Cut him in two,
Each part'll renew.
Slice him to bits,
The worm persists.
He still crawls on,
Scales walls on
Sheer will and
Burrows burning sand
Long live the worm.
He travels on by
The poor man's sty,
Groveling past
The royal palace,
And enters the coffin
Of the red-haired dauphin.
Long live the worm.
The wind whistles
And the storm bristles,
And mud covers the ground.
The worm wanders round and round
Morning and night,
Hidden from sight,
Over mountain and shore,|
Wanting more and more,
Devouring city and plain,
Enduring snow and rain,
Long live the worm!

Oh, the lion, dies,
The eagle dies,
And man . . . man dies,
But the worm lives on eternally.
Long live the worm.

En un concierto en que dieron una selección de arias de esta ópera programaron este aria con otras dos, de las que hacen este comentario:

In "As Summer Brings a Wistful Breeze" Susanna and Rosina sing about their lost youth. In "The Aria of the Worm," Bégearss, supposedly Count Almaviva's best friend and confidant, plans to steal the jewels the count is planning to sell, which would indirectly ruin Beaumarchais' attempt to save Marie Antoinette from the guillotine. In "They Wish They Could Kill Me" Figaro momentarily eludes a motley group of men, women, and children-all of whom he has deceived in some way or another-by hiding in a closet. As Figaro relates the story of his life, the group keeps banging on the door and the aria concludes with the pursuers finally managing to break in.



P.D. Se puede comprar en varios sitios, por ejemplo en: http://www.sheetmusicplus.com/store/smp ... em=3186003

Otra ópera en la que "aparezco", a ver si me hago con ella.

Almaviva, el fantasma de maria Antonieta, un embajador inglés y un Pachá en la misma ópera....vaya refrito de barbero de Sevilla, Andrea Chenier, Viaggio a reims y Rapto del serrallo, no???

Pues a mí eso de que el fantasma de Beaumarchais se enamore del de María Antonieta me parece un buen argumento (o tan bueno como otro cualquiera en la ópera... )

Ópera, Revolución francesa, personajes ficticios y reales mezclados, un amor (presuntamente desesperado)... si lo tien tó!!!

Pero lo que más me ha gustado al investigar esta ópera (que desconocía completamente) ha sido encontrar este tipo de comentarios entre las diversas (muy buenas) críticas:
The libretto is marvelously adapted to the needs of the voice, and adorned with bons mots, subtle allusions, and evocative images. Without imitating, the music conceals its innumerable references to the past and makes use of a very large palette, from the most surprising dissonances to the sweetest melodies. Solidly anchored in the Romantic tradition, it connects recitatives, arias, ariosa and concerted passages, indelibly printing itself in the minds of the listeners.
-- Carla Maria Verdino-Süllwold, Opéra International (Paris)


Mira que igual hasta me animo...

Yo he encontrado el argumento. En inglés, eso sí.


ACT I. Marie Antoinette's private theater at Versailles, the present. The ghosts of Louis XVI's court assemble for a new opera by the ghost of Beaumarchais. The spirits gossip about the queen, who still mourns the life she lost at the guillotine, and mock the playwright, who is in love with Marie Antoinette. The queen and Beaumarchais enter. She repulses his romantic overtures, reliving the day of her execution. He promises his opera will cheer her up and orders a preview to begin. The curtain opens on a chase scene: Figaro, servant of Count Almaviva, locks his pursuers in a closet and reflects on his life. The ghosts are enthusiastic, but Marie Antoinette weeps. Beaumarchais tells her his art can change history and bring her back to life. The other ghosts warn that he risks losing his soul if he tampers with the past, but Beaumarchais cares only for the queen's happiness. Using her necklace as a charm, he commands his opera to begin.

Paris, autumn 1793. The imprisoned queen awaits her execution. The Almavivas, fleeing revolution in Spain, have been trapped in France. The count hopes to sell the queen's necklace at a diplomatic reception and buy her freedom. Beaumarchais interrupts to tell his audience what has happened to the Almavivas since Le Mariage de Figaro: the countess, Rosina, has had an affair with Cherubino that resulted in a son, Léon; the count had a liaison that produced a daughter, Florestine. The young people have fallen in love, but Almaviva has promised Florestine to his friend Bégearss. When the opera resumes, Figaro warns Almaviva that Bégearss' servant, Wilhelm, has been searching his room, but Almaviva, refusing to believe him, banishes Figaro from the house, then leaves. As Bégearss and Wilhelm approach, Figaro and his wife, Susanna, hide. Bégearss plots to expose Almaviva's plan to the revolutionaries, then seize the necklace and marry Florestine. Figaro vows to foil his schemes.

Moved by Florestine's plight, Marie Antoinette weeps. When Beaumarchais comforts her, the jealous king challenges him to a duel. Beaumarchais quickly brings on a new scene. Rosina begs Almaviva to permit the children to marry. Bégearss hypocritically sides with her, but the count refuses to reconsider. When the men leave, Rosina bursts into tears.Watching her vision of the mutual seduction of countess and page, Marie Antoinette and Beaumarchais are so affected that they are about to kiss. The outraged Louis draws his sword.

In the ensuing duel, Louis runs Beaumarchais through -- but the playwright reminds the king that they are dead already. The ghostly courtiers gleefully stab each other until Beaumarchais' opera resumes.

At a reception for the English ambassador at the Turkish embassy, Léon flirts with Florestine, as Rosina and Susanna try to dissuade the count from selling the jewels. Bégearss and revolutionary guards enter, followed by the English ambassador. Just as he and the count are about to make their exchange, the Egyptian singer Samira enters with dancing girls, among them Figaro in disguise. Figaro flirts with Almaviva, then snatches the jewels and jumps off a balcony to freedom.

ACT II. At intermission of his opera, Beaumarchais repeats that he intends to change history. When the curtain rises, Figaro stymies Beaumarchais by refusing to return the necklace. He says the queen is not worth saving; he will rescue the Almavivas instead. He runs off. Beaumarchais, furious at this rebellion, closes the curtain. Hurt, Marie Antoinette decides to leave. Begging her to stay, the playwright enters the opera to force Figaro to obey the plot.

The opera resumes, with the women assuring Almaviva that Figaro will return the jewels. The count leaves with Florestine. Rosina and Susanna commiserate about their husbands. When Rosina leaves, Figaro enters through the window, pursued by Beaumarchais, who tries to frighten him into returning the necklace. Marie Antoinette is heard summoning Figaro. Beaumarchais uses his powers to transport Figaro and Susanna to the ghost world.

Marie Antoinette has summoned them to try to convince Figaro to return the jewels. To prove her innocence, Beaumarchais conjures up her trial. Playing the part of the public prosecutor, he accuses the queen of high treason and incest with her eight-year-old son. The injustice of the trial wins Figaro over. He promises to return the necklace.

Back in the opera, Figaro and Susanna hide as Begéarss urges a mob of revolutionaries to raid the count's ball.

The splendor of the monarchy lives once more in the Almavivas' ballroom. Léon, Florestine and their parents reminisce about their love. Bégearss bursts in with the mob, demanding the necklace in the name of the Revolution. Only now does the count believe he has been betrayed. Figaro and Beaumarchais arrive, surrendering the necklace. Bégearss demands Florestine's hand in marriage. Refused, he orders the group arrested. Figaro urges Beaumarchais to use his powers to set everyone free, but the playwright has become mortal. Wilhelm leads the group off to prison but Susanna helps Figaro and Beaumarchais to escape. As the ghosts dance a spectral ball, the queen realizes how much Beaumarchais loves her.

In prison, the Almavivas await execution. The count begs his family's forgiveness. As they pray, the queen, in a nearby cell, asks God to forgive those who have harmed her. Exhausted, they fall asleep. At dawn, Figaro and Beaumarchais enter, disguised as executioners. The women summon Wilhelm and steal his keys. Bégearss enters with soldiers, but Figaro denounces him for keeping the necklace. As soldiers drag Bégearss away, Figaro leads the group to freedom. Beaumarchais is about to unlock the queen's cell when the spectral Marie Antoinette stops him. She does not want him to change history, for that would mean losing him now. She declares her love as the prisoner queen is led away.

Marie Antoinette and Beaumarchais are oblivious to a crowd assembled for the queen's execution. As her head falls, the Almavivas, Figaro and Susanna escape to the New World in a balloon. Beaumarchais places the jewels around Marie Antoinette's neck.

Bien, así que al Conde le coronaron... aunque él no se quedó corto. Hijos por todas partes.



No, si algo de esto ya me suponía yo...



Conclusión: la idea del Barbero de Madrid de irse en globo al final, tiene un claro "antecedente". O no?

Gracias a todos por las aportaciones

Saludos