Current listening vol ii – page 923 gas and water company

#####

The role of Amina probably seemed a curious one for Callas until it was remembered that Bellini wrote it for the very same singer for whom he wrote Norma, Giuditta Pasta v gas station. Where Norma was eventually taken over by big voiced dramatic sopranos, who couldn’t do justice to its coloratura demands, Amina became the province of light, soubrettish high coloratura sopranos, intent on showing gas unlimited houston off their high notes and flexibility. Callas returned a human dimension to the role that nobody had suspected was there.

She first sang the role at La Scala in 1955 in performances that were a total revelation. Visconti reproduced a picture-book village, a Romantic vision of a time that never was, Callas costumed to look like a reincarnation of the nineteenth century ballerina Maria Taglioni. At the end of the opera, when Callas sang Ah non giunge, the lights on the stage and in the auditorium rose to full intensity gas in back shoulder, whilst Callas, no longer Amina but the reigning queen of La Scala, came to the front of the stage singing directly into the audience. In a live recording that exists of the night, the audience go mad gas exchange in the lungs occurs due to with applause before the music has even finished. With Leonard Bernstein in the pit and Cesare Valletti as a stylish Elvino, the production was a massive success.

The role of Amina, even though at first glance it may seem very easy to interpret, is perhaps more difficult than many others which are deemed more important. It requires an actress who is playful, ingenuous and innocent, and at the same time passionate, sensitive and amorous; who has a cry for joy and also a cry for sorrow, an accent for reproach and another for entreaty… This was the electricity physics test role created by Bellini’s intellect.

And this is exactly what we get from Callas. Her first lines of recitative, and the aria that g gas lol follows, Come per me sereno, are imbued with a deep happiness that radiates from within, her voice taking on a pearly softness. In a single phrase, Il cor soltanto, when the notary asks her what she brings as dowry, she expresses Amina’s deep love and trust in Elvino. In the first sleepwalking scene, her voice seems to come a level physics electricity questions and answers from somewhere inside her, an aural depiction of Amina’s dreamlike state; her confusion when she wakes, and subsequent distress when Elvino rejects her palpably real. I doubt I will ever hear a more moving account of Amina’s Oh se un volta sola and the aria that follows, Ah non credea, than we get from Callas. Here we truly hear the cry for sorrow; Callas’s singing goes beyond the notes to create the stuff of real-life tragedy, with a depth that nobody had even suspected was there when the role was sung by light pale-voiced soubrettes.

Technically her singing is brilliant, her command of line, trills, gruppetti, scale passages peerless gas leak. At one point, in the cadenza between the two verses of Ah non giunge, she sweeps up to a fortissimo Eb in alt. Unbelievably she effects a diminuendo on this stratospheric note gas efficient cars under 15000 before cascading down a perfect two octave scale, phrasing onward in one breath through an upwardly rising chain of notes to cap the cadenza. This is no trick of the gramophone, because she does exactly the same thing when she sings the role live in Cologne a few weeks later.

As for the rest, Valletti is a sad loss from the earlier performances. Monti is taxed by the higher reaches electricity usage in the us of the role, and many cuts are made to accommodate him. He’s also on Sutherland’s first recording, which followed in five years. Surely there was someone better around. Zaccaria’s mellifluous bass gives us a worthy Cari luoghi. Ratti is a bitchy, minx-like Lisa. Cossotto sings beautifully as Teresa, but sounds too young (which of course she was).

The sound in this Warner issue is admirably open, with plenty of space around Callas’s voice, which, as I mentioned earlier, has a pearly radiance absolutely right for the role of Amina. I may types of electricity pdf on occasion prefer to listen to the 1955 La Scala performance with Bernstein, a truly thrilling and exciting evening in the theatre, but I feel that by 1957, both here and in Cologne, Callas has captured more of the poetry of Bellini and Romani’s heroine. Her Amina is an achievement to set beside that of her Norma, as, according to contemporary commentators, was that of the creator of the two roles, Giuditta z gas tijuana telefono Pasta. There can be no higher praise.