NOTIZIA ANSA – E’ morta a New York, all’eta’ di 101 anni, la leggenda della lirica Licia Albanese. Lo ha reso noto il figlio, Joseph Gimma, il quale ha aggiunto che la madre e’ deceduta serenamente nel suo appartamento a Manhattan. Soprano italiano, naturalizzato statunitense, Licia Albanese, era celebre per le sue interpretazioni nei capolavori di Puccini ‘Madama Butterfly’ e ‘La Traviata’ e ha cantato all’epoca di Arturo Toscanini.
(ANSA) – PARMA, 26 LUG – E’ morto il tenore Carlo Bergonzi, 90 anni compiuti il 13 luglio, uno dei più grandi interpreti della musica lirica italiana. L’artista si è spento all’istituto Auxologico di Milano. Originario di Vidalenzo di Polesine Parmense, Bergonzi è stato eletto come il ‘tenore verdiano del secolo’ (da http://www.ansa.it/)
Sunday’s turn of Kraus’ interpretations, showing his wonderful and impeccable technique, and unfortunately for our ears second round with Villazon.
Alfredo Kraus‘ rendition of “Una furtiva lagrima” can be described in 2 words: wonderful perfection!
Wonderful legato line, bright timbre, mezzevoci, messe di voce, high notes … Simply wonderful! Let’s listen to it instead of wasting time
And now, one of the most ridiculous, ear-aching perfomance I’ve ever heard: Rolando Villazon in Baden Baden. He simple burps the sound, pushing, stretching, tearing the notes, ruining the legato line and giving the idea that Nemorino is more a rude and vulgar harbour clerk than a loving and in-love young man!
Sixth round of my beloved Kraus in comparison with Filianoti.
Kraus‘ rendition of “Dalla sua pace” from Don Giovanni
Giuseppe Filianoti‘s rendition is corrupted by three tremendous faults:  pushed passaggio notes (listen to those horrible stretched G4),  many intonation problems around passaggio area, and  variations that let perceive the inappropriate vocal technique – a wise singer would do variations to show his ability and not inability in singing
In my fifth post about my beloved Alfredo Kraus, I propose the DIVINO Alfredo with one of nowadays Duca di Mantova on the stage, Vittorio Grigolo.
Listen to Alfredo Kraus‘ rendition first, which is impecable and simply WONDERFUL thanks to the smooth vocalisation, precise and clear saying of the words, bright and projected timber, prefect legato line
Let’s listen now to Vittorio Grigolo, the so well-known Duca di Mantova in that awful Aldermann’s Rigoletto. Grigolo is a high tenor who can’t sing the passaggio properly, screaming above G4. Once he arrive over G4, he simply quarrels with the notes and voice, making a great and visible effort, sometimes showing enlarged neck veins and turning red, which is the TRUE and FAIR witness that he can’t sing on the breath, but pushing and screaming. If we now listen to his rendition, he tries to darken the middle register, in a fake timber that gives him great strife and adding difficulty to this difficult piece, instead of relaxing and playing it simply relaxed. Finally, just listen to the low positioned, unsubstained and not projected final notes that is stuck in his throat, instead of spreading his brighteness like Kraus’ one.
PS. Grigolo is also well-known to define himself the “Leonardo di Caprio of Opera” – just to let the public forget about his (un)technique – but I DO recommend you to look at Kraus and then Grigolo, and you can find that Kraus is a total HUNK if compared to that pan-faced Grigolo.
Another personal belief that has caused many – really a lot of – YouTube bans is my artistic hatred against Rolando Villazon, a person who I consider unworthy of being called “singer” because he has dreadful (un)technique based on the scream, on the throaty sound and – most of everything – on the ridiculous gags he set on the stage to let the public forget his AWFUL singing.
Now you can listen to Alfredo Kraus in “La Danza” a very tough Rossinian piece that is very difficult to be sung and Kraus is simply wonderful with his boldness and perfect voice on the breath and projected
This is instead Villazon rendition: he burps, he screams, he just plays clown to let the public be sensitive with him and forget that he is a VOCAL WRECK
I still wonder HOW such a VOCAL SHAME / JOKE can sing on a stage, having so many audiences happy to stand this EAR RAPE! A mistery of Domingo’s pretege!