(ANSA) – MILANO, 8 SET – E’ morta all’istituto Auxologico di Milano il soprano Magda Olivero. Classe 1910, aveva debuttato negli anni Trenta. Alla fine degli anni Cinquanta aveva anche partecipato alla trasmissione televisiva Il Musichiere, una delle tappe di una lunghissima carriera che la portò a debuttare al Metropolitan con Tosca nel 1975, a sessantacinque anni. Nel 2008 fu premiata dal presidente della Repubblica Giorgio Napolitano.

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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.

fonte: ANSA

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: [1] pushed passaggio notes (listen to those horrible stretched G4), [2] many intonation problems around passaggio area, and [3] 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.