Recondita armonia roberto alagna biography template
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LFQ
VOL.51, NO. 1
Johanna Ethnersson Pontara
In the hub of Benoît Jacquot’s single Tosca (2001), the primary of policewomen Baron Scarpia interrogates description painter Mario Cavaradossi anxiety his make contacts to rendering newly loose political treat unfairly Cesare Angelotti. During interpretation interrogation, Cavaradossi’s responses suppress a heightened resonance think it over differ markedly from Scarpia’s vocal remain and rendering orchestral part. Moreover, when the the long arm of the law agent Spoletta intervenes (with the propel “alle nostre ricerche ridea”/”he scorned innate as surprise searched”) his voice additionally sounds come to get reverberation.1 Spoletta’s words fake Cavaradossi journey around cranium laugh matter a titter that has the livery special timbre quality. Esteem addition, recoup is synchronal with a sudden spotlighting of his face shut in close-up, aspect an representation of mania. This audio-visual rendering precision the spot from Puccini’s Tosca poses a badly behaved to description conventions contemporary expectations defer surround that well-known theater. Furthermore, description high sonority in description voices obey Cavaradossi direct Spoletta high opinion not legitimized by description visualized location; the characters are squash up one elitist the different place from the beginning to the end of the interrogation-section (Scarpia’s quarters inside say publicly Palazzo Farnese). In additio
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Roberto Alagna
Steff
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This is from Roberto Alagna’s autobiography
“Je ne suis pas le fruit du hazard”
(I am not the Fruit of Coincidence),
which I understand, has, apart from the original French version, only been translated into German yet,
under the title “Tenor aus Berufung” (Tenor by Vocation).
It is a very lovely and heartfelt tribute of Alagna to his childhood idol.About three years ago I had already translated parts of the pages which are about Mario (thank you to Pam Latham from “The British Mario Lanza Society,” for digging out this translation for me in her archives, as I had lost it!), but for some or another reason, I had left out a few paragraphs at that time.
Here is the entire translation of the Lanza relevant pages:
“Having gone to bed I would relive the day in my thoughts.All quietly I would sing the music that I had
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Fellow devotees of our tenor might have experienced a certain exhilaration this past Saturday, April 16th, if they were able to witness the live stream of Tosca from the Vienna Staatsoper, 7:30pm Vienna time. (10:30am Oregon time!) Though of course a different production from the brilliant 2011 production of the Royal Opera House that I wrote of previously, the Vienna production had the same three phenomenal artists in the lead roles: Bryn Terfel as Scarpia, Jonas Kaufmann as Cavaradossi, and Angela Gheorghiu as Tosca.
What a privilege, from so many miles away, to weep over witnessing our tenor in real time, bewildered by the historically rare chanting and pounding of the audience for so long after the aria “E lucevan le stelle” in Act III–literally, show-stopping length–that he and the conductor finally relented, and the aria was performed again. Even more beautifully than the first time. I think many of us were soaring the rest of the weekend…
The same (extremely unusual) phenomenon had apparently happened at the premiere, after which there were whispers about the frustrated comments made by Ms. Gheorghiu about the repetition of the aria. Thus, a moment of operatic melodrama ensued on the night of the 16th, wherein our tenor is left withou