Nicola Tacchinardi Vídeos
cantante de ópera italiano
- violonchelo, voz
- tenor
- Gran Ducado de Toscana
- cantante de ópera, cantante, maestro
Última actualización
2024-05-16
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Andrée Esposito Esposito Donizetti Rossini Bellini Verdi Fanny Tacchinardi Persiani Persiani Mathilde Marchesi Nellie Melba Amaro Olympia 1835 1837 1889 1934 1952 1956 1959 1973
THE SONGBIRD: Andrée Esposito is a French lyric-coloratura soprano, born in Algiers in 1934. She studied music there and made her concert debut in 1952. She continued her studies at the Paris Conservatoire, with an operatic debut in 1956 in Nancy. She sang in opera houses across France and debuted at the Paris Opera as Violetta in 1959. Naturally, she specialized in the core French lyric-coloraturas roles (Manon, Marguerite, Mireille, Thaïs, Philine, Leila, Olympia, and so on), but also took lead roles in some Italian works and in the premieres of many contemporary works. This is a live recording from Toulon, with two High E-flats (rare notes for her). THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano / it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success / Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mentally unstable young woman appears in a bloodied gown and sings a long, complex, and haunting "mad scene" mixing delusion and grief that is a tour-de-force of bel canto vocalism and gripping tragedy. The primary section of the mad scene culminates in a long cadenza with a flute (and occasionally the glass harmonica). Donizetti allowed the original Lucia, Fanny Tacchinardi Persiani, to improvise her own cadenza (she apparently had a talent for this). The most commonly performed cadenzas for the past 100+ years are based closely on three that were written and published by Mathilde Marchesi, including one for her famous student Nellie Melba when she sang the role in Paris in 1889. The cabaletta "Spargi d'amaro pianto" is included in this recording.
Pizzo Donizetti Rosetta Pampanini Benedetto Marcello Maria Carbone Maria Chiara Giuseppe Verdi Bizet Procopio Ricci Rossini Bellini Fanny Tacchinardi Persiani Persiani Mathilde Marchesi Nellie Melba 1835 1837 1889 1966 1967 1977
THE SONGBIRD: Italian soprano Rosetta Pizzo was named in honor of the famed soprano Rosetta Pampanini. She attended Benedetto Marcello Conservatory in Venice where she studied with Maria Carbone and Maria Chiara, as well as taking courses at the Giuseppe Verdi Conservatory in Milan, graduating in 1966. She did well in several voice competitions including winning in Spoleto in 1967, which led to her debut as Rosina in Rome that same year. Pizzo sang the standard Italian coloratura repertoire in Italy and other European cities for over 20 years, as well as revivals of some obscure works such as Bizet's "Don Procopio" and Ricci's "Crispino e la Comare." She was also a specialist in Italian art song. This recording originates from a concert in Verona April 13, 1977, Armando Gatto conducting. THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano / it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success / Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mentally unstable young woman appears in a bloodied gown and sings a long, complex, and haunting "mad scene" mixing delusion and grief that is a tour-de-force of bel canto vocalism and gripping tragedy. The primary section of the mad scene culminates in a long cadenza with a flute (and occasionally the glass harmonica). Donizetti allowed the original Lucia, Fanny Tacchinardi Persiani, to improvise her own cadenza (she apparently had a talent for this). The most commonly performed cadenzas for the past 100+ years are based closely on three that were written and published by Mathilde Marchesi, including one for her famous student Nellie Melba when she sang the role in Paris in 1889.
Devinu Donizetti Anna Bolena Andrea Rost Rossini Bellini Verdi Fanny Tacchinardi Persiani Persiani Mathilde Marchesi Nellie Melba 1835 1837 1889 1960 1982 1997 2007
THE SONGBIRD: Italian soprano Giusy Devinu +••.••(...)) was born in Sardinia and received her musical training at the Cagliari Conservatory. She made her debut as Violetta in 1982 in Spoleto (under her given name Giuseppina Devinu). This was a role she would sing nearly 300 times in her career. In the 1980s, she appeared across Italy (Genoa, Ravenna, Rome, Trieste, Bologna, Pesaro, etc.) in roles such as Oscar, Queen of the Night, Rosina, and Gilda. In the 1990s, she sang Norina and Mozart's Countess in Venice, Marie in Rome, Violetta in Paris and Vienna, Anna Bolena in Brussels, Amina in Warsaw, Giulietta in Genoa, Liu and Maria Stuarda in Turin, and Donna Anna in her hometown, Cagliari. Her U.S. debut as Gilda came in 1997 in San Francisco, replacing Andrea Rost on short notice. Sadly, Devinu died at age 46 from an incurable disease that she had fought and kept private for at least three years. THE MUSIC: Donizetti's "Lucia di Lammermoor" has become one of the quintessential operas for a coloratura soprano / it's one of the most widely produced bel canto operas in the world and the title character is a benchmark role for this voice type. Donizetti composed it in 1835, which was a peak of his artistic and popular success / Rossini had recently retired, Bellini had just died, and Verdi had not yet had his first premiere ("Oberto" in 1837). Based on Walter Scott's novel, the opera premiered in Naples. The plot in a nutshell: after being tricked into marrying a man she doesn't love, and lied to that her true love has betrayed her, Lucia loses her mind and murders the groom on her wedding night. The mentally unstable young woman appears in a bloodied gown and sings a long, complex, and haunting "mad scene" mixing delusion and grief that is a tour-de-force of bel canto vocalism and gripping tragedy. The primary section of the mad scene culminates in a long cadenza with a flute (and occasionally the glass harmonica). Donizetti allowed the original Lucia, Fanny Tacchinardi Persiani, to improvise her own cadenza (she apparently had a talent for this). The most commonly performed cadenzas for the past 100+ years are based closely on three that were written and published by Mathilde Marchesi, including one for her famous student Nellie Melba when she sang the role in Paris in 1889.
Giuseppe Persiani Bartolucci Santarelli Tacchinardi Persiani Rubini Lablache Benda Cari Sereni Rossini Malibran Bellini Carnevale 1799 1826 1835 1839 1840 1869 2016 2017 2018 2019
PERSIANI RITROVATO - Evento musicale celebrativo del compositore belcantista recanatese Giuseppe Persiani (Recanati 1799 - Parigi 1869), nei 220 anni dalla nascita ed i 150 anni dalla scomparsa - Il M° Mattia Peli invita il pubblico italiano ed internazionale alla conferenza-concerto che avrà luogo a Recanati il 28 dicembre 2019, ore 21.00, alla Sala della Musica di Controvento, a coronamento delle Celebrazioni per Giuseppe Persiani, con il Patrocinio della Regione Marche - Non fatevi scappare quest'occasione unica di poter sentire eseguiti dal vivo brani strumentali ed arie d'opera (da "Ines de Castro") e di musica sacra (da "Abigaille") composte da Persiani, oggigiorno di rarissimo ascolto, nell'interpretazione del Belcanto Italiano Duo - Astrea Amaduzzi, soprano e Mattia Peli, pianoforte - al quale si aggiungerà anche il baritono anconetano Davide Bartolucci. La narrazione è affidata al ricercatore e musicologo Paolo Santarelli che guiderà il pubblico, tra una musica e un'altra, lungo la serata musicale. PROGRAMMA : Selezione di brani dall'opera "Ines de Castro" di Persiani, nella seconda versione del 1839 scritta per la moglie Tacchinardi-Persiani, Rubini e Lablache : Sinfonia dell'opera "Ines de Castro" Aria di Alfonso IV re del Portogallo - "Oh Dio, qual benda...Le tue smanie...L'indegna ripulsa" Scena e Cavatina di Ines - "Trascorsa è l'ora...Quando il core in te rapito...Nell'ebbrezza dell'amor" Romanza di Ines - "Cari giorni a me sereni" Scena ed aria ultima di Ines - "Quelle lagrime scorrenti" Persiani - Introduzione, Tema, 5 variazioni brillanti e coda, per pianoforte solo (sul tema "La madre rea punisci" nella "Semiramide" di Rossini) Persiani - Cavatina di Abigaille, dall'oratorio "Abigaille" del 1826 - Oh stoltezza...Ma piegar quel duro core...Ma qual fiamma" Belcanto Italiano Duo Astrea Amaduzzi, soprano Davide Bartolucci, baritono Mattia Peli, pianoforte Presentazione e letture a cura di Paolo Santarelli Negli ultimi anni il soprano Amaduzzi si è distinto a Recanati per aver interpretato in concerto al Teatro Persiani, il 7 maggio 2017, in duo soprano-pianoforte, la celebre romanza "Cari giorni", dal capolavoro operistico del Persiani "Ines de Castro" - esecuzione in prima mondiale in tempi moderni nella versione riscritta per la moglie Tacchinardi-Persiani nel 1839 - dopo che aveva già cantato in concerto all'Auditorium del Centro Mondiale della Poesia, il 22 giugno 2016, l'aria "Cari giorni" nella prima versione del 1835 composta per la Malibran. Del compositore recanatese "la voce del belcanto" ha eseguito in concerto nella Basilica di Santa Teresa d'Avila in Roma, il 16 luglio 2017 (riproposta poi a Recanati nella suggestiva Cattedrale di S. Flaviano il 30 agosto 2017) - sempre in prima mondiale in tempi moderni - in versione soprano-organo, anche la Cavatina sopranile del bellissimo oratorio "Abigaille" composto da Persiani nel 1826. Inoltre, il soprano belcantista ha cantato la Cavatina iniziale di Ines "Quando il core in te rapito", dall' "Ines de Castro", con la cabaletta conclusiva "Nell'ebbrezza dell'amor", all'Auditorium del Villaggio delle Ginestre, il 20 ottobre 2018, in duo soprano-pianoforte (riproposto in seguito il 31 dicembre 2018 al Teatro Parvum di Alessandria ed il 30 maggio 2019 alla sala Armonia Cordium di Napoli): l'unico brano di Persiani che sia stato mai eseguito a Recanati, quando era in vita l'autore - fu la prima donna Teresa Asdrubali di Ancona alla sua "beneficiata", avvenuta in occasione dell'apertura del Teatro di Recanati, con l'opera di Bellini "Beatrice di Tenda", ad eseguire nel carnevale del 1840 questa Cavatina di Persiani. La riproposta dell'Amaduzzi è avvenuta a Recanati dopo 178 anni di assenza. (http•••)
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- cronología: Cantantes líricos (Europa). Intérpretes (Europa).
- Índices (por orden alfabético): T...