Registrado: 30 Oct 2008 19:23 Mensajes: 2498 Ubicación: Burgos.
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Últimos lanzamientos del sello Immortal Performances, que incluyen un par de grabaciones del sello Met. Lo más interesante, el broadcast de Boris Godunov de 1943, con un histórico Alexander Kipnis (el único del reparto que canta en ruso, el resto lo hace en italiano). A juicio de Paul Jackson, una de las mejores creaciones del Met de la época ("Saturday Afternoons at the Old Met", pp. 365-367): "One particularly radiant occasion was the broadcast of Boris on 13 February 1943. Not only did George Szell offer a completely integrated, dynamic performance of this diffuse masterwork but New York audiences, as well as the radio public, heard for the first time the awesome Boris of Alexander Kipnis. His portrayal must be counted among the most memorable creations of this Metropolitan era. Kipnis, like Chaliapin, was Russian, and his native tongue is a powerful aid, as it was for his remarkable predecessor in the 1921 revival. Then, and now, all other participants sang in Italian, a wrenching reminder of the bilingual opera not uncommon in earlier times. [...] Slavic sonority is what Kipnis supplies in abundace. He unleashes a flood of tone, but without any of that lugubrious extra ballast which overburdens most Slavic basses. One marvels at his variety of color, ranging from the profoundly opaque to clarified, even sweet, head tones. His voicing of the coronation scene, fine as it is, is mere prelude to the tragic power he displays within the Kremlin. (Again we are denied the crucial cathedral scene.) Tender with Xenia, commanding as he teaches Fyodor his responsibilities, Kipnis knows the value of the touching vignette. But the power monologue reveals the full scope of his interpretive gifts. His range of feeling is enormous, the command of vocal technique absolute -and all without Chaliapinesquerie- yet the troubled monarch's anguish is fully exposed. (He allows himself only one bit of staginess: 'Aha! Schouisky' he squeezes out at lenght when the traitor enters- a marvelously theatrical coup.) By now Szell is equally persuasive, weaving the orchestral web in the clock scene for maximum effect; Boris normally boasts a duality of protagonists(czar and populace), but Szell's orchestra makes it a triumvirate. Kipnis brings the act to a conclusion with a moving (and songful) prayer for forgiveness. He exposes the heart of Boris even as the czar is racked with terror. The Kromy scene is perfect fodder for Szell's genius. His musical landscape is alive with the exuberance of a people roused; no drab gray musical colors clothe these revolutionaries. As Boris faces death, Kipnis again proves his right to the czar's crown, offering a rendering superbly varied in timbre, vocal weight, and coloration. Realistic outcries judiciously interrupt the faultless legato phrases; 'I am still czar', he majestically cries at the end -who could dissent? Yet it is Pinza who will open the following season as Boris and sing the next two broadcasts. Undoubtedly the Italian had a vocal droit du seigneur earned by tenure and his own enormous gifts. But for the Kipnis to portray Boris on only two occasions in New York is incomprehensible. Though fifty-two years old at the time of this broadcast, Kipnis' powers are undiminished, and of equal importance, his portrayal is devoid of the caricature which, fostered by time and repetition, so often creeps into even the greatest characterizations. Once again, the preserved aircheck of a broadcast is invaluable, especially when Kipnis' Boris is captured under Szell's superbly disciplined, dramatically taut direction".Aquí el final del broadcast de 1943, en la edición noventera e incompleta del sello Music & Arts (que, hasta ahora, es la que mejor sonido ofrecía, superando en este aspecto a las integrales de los sellos The Fourties y Walhall): https://www.youtube.com/watch?v=k_ZcwiEZXA0&tDel otro broadcast metropolitano (el Ernani de Schippers de 1965), existe una edición alternativa de Premiere Opera Italy, con muy buen sonido que, además de los comentarios de Milton Cross, incluye los programas emitidos en los intermedios: Opera News On The Air (con Maria Callas), Opera Quiz y un episodio de Biographies in Music dedicado a la contralto Marian Anderson. En YouTube está el final de la función: https://www.youtube.com/watch?v=ZQkTlzjgGjo&t
_________________ Anche l' idea muor, tu non muori giammai, tu, l' Eterna canzon!
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