Classical Music and Opera

Elisabeth Schwarzkopf: "Signore, ascolta!" from Turandot

2011-01-16T16:38:00.000-08:00

Elizabeth Schwarzkopf is unsurpassed! This is by far the most beautiful rendition and interpretation of the famous aria, Signore ascolta! from Pucini's masterpeace TURANDOT, and aria that I could hardly stop listening to it over and over again. True bel-canto, magnifico!!

Elizabeth Schwarzkopf:

More on this aria and Turandot:

Turandot Synopsis

Signore, ascolta by Renata Tebaldi

Music Reading Made Easy

Signore, ascolta by Maria Callas

Renata Tebaldi & Jussi Björling in Turandot

Renata Tebaldi & Jussi Björling in Turandot

2011-01-16T16:09:00.000-08:00

Veramour correctly said: "Jussi Björling had no small voice when he sang opposite Renata Tebaldi & Milanov at the Met. His artistry was certainly less histrionic than that of MDM and Corelli. Victoria de los Angeles described her first impression of Bjorling's live voice as speechless awe -- its sound, size and range were to her surreal," so I took the liberty to quote her here.

Enjoy listening Tebaldi & Bjoerling in Turandot.

Signore, ascolta by Renata Tebaldi

Signore, ascolta by Maria Callas

Music Reading Made Easy

Signore, ascolta! by Renata Tibaldi

2011-01-16T16:07:00.000-08:00

Signore, ascolta! by Renata Tibaldi, from Act I of the Italian opera Turandot by Giacomo Puccini

Role: Liú, a slave girl
Voice Part: soprano
Fach: lyric soprano
Setting: The streets of Peking
Synopsis: Liù, Calaf and Timur are in the midst of a processional to the execution of the Prince of Persia who attempted to win the Princess Turandot by answering three riddles. If he had given the correct answers, he would have married the Princess, but the price for incorrectly answering them was death. During the processional, Calaf catches a glimpse of Turandot, falls in love with her immediately, and decides to attempt to answer the three riddles. Liù sings this aria to beg him not to risk his life for the Princess.

Alla Liù della Tebaldi non manca davvero nulla per giungere alla completa perfezione. Toccante interpretazione, saldezza assoluta nella linea vocale, fluidità senza alcun, seppur minimo, tentennamento, lucentezza timbrica senza eguali, pianissimo che letteralmente tolgono il fiato per il loro nitore e per la loro perfetta proporzione con gli altri volumi della voce. Senza dubbio una Liù senza rivali.

Signore, ascolta! translation is in the blog post with the Maria Callas's Signore, ascolta! version.

Music Reading Made Easy!

Maria Callas: "Signore ascolta!" from Turandot | Lyrics & Translation

2011-01-16T15:18:00.000-08:00

Signore, ascolta! by Maria Callas, from Act I of the Italian opera Turandot by Giacomo Puccini
Libretto: Giuseppe Adami

Role: Liú, a slave girl
Voice Part: soprano
Fach: lyric soprano
Setting: The streets of Peking
Synopsis: Liù, Calaf and Timur are in the midst of a processional to the execution of the Prince of Persia who attempted to win the Princess Turandot by answering three riddles. If he had given the correct answers, he would have married the Princess, but the price for incorrectly answering them was death. During the processional, Calaf catches a glimpse of Turandot, falls in love with her immediately, and decides to attempt to answer the three riddles. Liù sings this aria to beg him not to risk his life for the Princess.

Lyrics:

Signore, ascolta! Deh!, signore, acolta!
Liù non regge più!
Si pezza il cuore! Ahimè,
quanto cammino
col tuo nome nell'anima
col nome tuo nell'labbra
Ma se il tuo destino,
doman, sarà deciso,
noi morrem sulla strada dell'esilio.
Ei perderà suo figlio...
io l'ombra d'un sorriso!
Liù non regge più!
ha pietà!

English Translation:

Lord, hear! Ah, sir, listen!
Liu no longer holds, it breaks my heart!

Alas, what with your name in my way,
with your name on the lips!
But if your fate will be decided tomorrow,
we die on the road of exile.
He would lose his son …

I am the shadow of a smile.
Liu does not hold anymore!

Ah!

Music Readings Made Easy

Turandot Synopsis | Giacomo Puccini's Masterpeace

2011-01-16T14:45:00.000-08:00

Toward the end of his career, Giacomo Puccini was influenced by the compositions of Rimsky-Korsakov, Strauss, Schoenberg, and Stravinsky, early forerunners of the Impressionistic Music Era. As Impressionistic music diverged from traditional harmonies, Puccini endeavored to assimilate a more contemporary style into the writing of "Turandot," an opera based on Italian dramatist's Carlo Gozzi's play by that name. Puccini's "Turandot" is by far his most grand opera, replete with climaxes, choruses, and full pageantry.

Princess Turandot, according to the fable that served as Gozzi's inspiration, lived in the City of Peking. She was destined to marry but had pledged to thwart any attempts of suitors because of an ancestor's abduction by a prince and resultant death. With each suitor, Turandot posed three riddles. If the suitor answered all three riddles correctly, he won the hand of the princess. If he failed, he lost his head.

TURANDOT by Giacomo Puccini

ACT I. Peking, legendary times. In a quarter swarming with people near the Forbidden City, a Mandarin reads an edict: any prince seeking to marry Princess Turandot must answer three riddles - and if he fails, he will die. Her latest suitor, the Prince of Persia, is to be executed at the rise of the moon. Bloodthirsty citizens urge the executioner on, and in the tumult a slave girl, Liù, calls out for help when her aged master is pushed to the ground. A handsome youth recognizes him as his long-lost father, Timur, vanquished king of Tartary. When the old man tells his son, Prince Calàf, that only Liù has remained faithful to him, the youth asks her why. She replies it is because once, long ago, Calàf smiled on her. The mob again cries for blood, but the moon emerges, and all fall into sudden, fearful silence. The doomed suitor passes on the way to execution, moving the onlookers to call upon Turandot to spare his life. Turandot appears and, with a contemptuous gesture, bids the execution proceed. The crowd hears a death cry in the distance. Calàf, smitten with the princess' beauty, determines to win her as his bride, striding to the gong that proclaims the arrival of a new suitor. Turandot's ministers Ping, Pang and Pong try to discourage the youth, their warnings supplemented by the entreaties of Timur and the tearful Liù. Despite their pleas, Calàf strikes the fatal gong and calls out Turandot's name.

ACT II. In their quarters, Ping, Pang and Pong lament Turandot's bloody reign,

praying that love will conquer her icy heart so peace can return. As the populace gathers to hear Turandot question the new challenger, the ministers are called back to harsh reality.

The aged Emperor Altoum, seated on a high throne in the Imperial Palace, asks Calàf to give up his quest, but in vain. Turandot enters and tells the story of her ancestor Princess Lou-Ling, brutally slain by a conquering prince; in revenge Turandot has turned against all men, determining that none shall ever possess her. She poses her first question: what is born each night and dies each dawn? "Hope," Calàf answers correctly. Unnerved, Turandot continues: what flickers red and warm like a flame, yet is not fire? "Blood," replies Calàf after a moment's pause. Shaken, Turandot delivers her third riddle: what is like ice but burns? A tense silence prevails until Calàf triumphantly cries "Turandot!" While the crowd gives thanks, the princess begs her father not to abandon her to a stranger, but to no avail. Calàf generously offers Turandot a riddle of his own: if she can learn his name by dawn, he will forfeit his life.

ACT III. In a palace garden, Calàf hears a proclamation: on pain of death, no one in Peking shall sleep until Turandot learns the stranger's name. The prince muses on his impending joy; but Ping, Pang and Pong try unsuccessfully to bribe him to withdraw. As the fearful mob threatens Calàf with drawn daggers to learn his name, soldiers drag in Liù and Timur. Horrified, Calàf tries to convince the mob that neither knows his secret. When Turandot appears, commanding the dazed Timur to speak, Liù cries out that she alone knows the stranger's identity. Though tortured, she remains silent. Impressed by such endurance, Turandot asks Liù's secret; "Love," the girl replies. When the princess signals the soldiers to intensify the torture, Liù snatches a dagger from one of them and kills herself. The grieving Timur and the crowd follow her body as it is carried away. Turandot remains alone to confront Calàf, who at length takes her in his arms, forcing her to kiss him. Knowing physical passion for the first time, Turandot weeps. The prince, now sure of his victory, tells her his name.

As the people hail the emperor, Turandot approaches his throne, announcing that the stranger's name is - Love.

From the Turandot:

Nessun Dorma by Luciano Pavarotti
Signore, ascolta! by Maria Callas
Signore, ascolta! by Renata Tebaldi

Music Reading Made Easy

Renata Tebaldi as Tosca: Vissi d'arte (lyrics and translation)

2011-01-11T14:41:00.000-08:00

Watch and listen Renata Tebaldi as she sings Vissi d'arte, Tosca's aria from Giacomo Pucini's opera of the same name - Tosca. Comparing Renata Tebaldi and Maria Callas indeed is a dead end.

Different talents, different intellects, different voices. Both brilliant diamonds. So when I offer you Maria Callas's Vissi d'arte I'm not inviting you to compare, no, I offer you different enjoyments and two great singers, real divas...

Dijo Tosacanini de ella: Questa voce me e piu bella...Per me e La Voce dun angelo Y, El Gran Maestro, no se equivovo. Esta- mos ante La Voz En Su Mas Puro Estado De Gracia; Pocas, pero muy pocas, Voces poseyeron Tanta Belleza en Su Mas Pura Genuinidad; Estoy hablando de una voz que tiene el Sonido Mas Puro Que se pueda tener para cantar. Es Una En Un Millon, Que se puedan encontrar, Voces, como Esta De Tebaldi, Y De Tanta Cali- dad.

Vissi d'arte (lyrics and translation)

Maria Callas as Tosca: Vissi d'arte (lyrics and translation)

2011-01-11T13:57:00.000-08:00

Maria Callas as Tosca. Watch, listen and enjoy Vissi d'arte from Act II of the Italian opera Tosca by Giacomo Puccini.

Libretto: Giuseppe Giacosa

Role: Floria Tosca, a famous singer
Voice Part: soprano Fach: spinto
Setting: Scarpia's study
Synopsis: In the midst of a uncomfortable conversation with Scarpia about the fate of Tosca's lover, Tosca sings of the two great driving forces in her life, love and music.


Vissi d'arte, Tosca's aria from Tosca Lyrics 
Vissi d’arte, vissi d’amore,
non feci mai male ad anima viva!
Con man furtiva 
quante miserie conobbi aiutai.
Sempre con fè sincera
la mia preghiera
ai santi tabernacoli salì.
Sempre con fè sincera
diedi fiori agl’altar.
Nell’ora del dolore
perchè, perchè, Signore, 
perchè me ne rimuneri così?
Diedi gioielli della Madonna al manto,
e diedi il canto agli astri, al ciel,
che ne ridean più belli.
Nell’ora del dolor
perchè, perchè, Signor,
ah, perchè me ne rimuneri così?



Vissi d'arte, Tosca's aria lyrics English translation 
I lived for my art, I lived for love,
I never did harm to a living soul!
With a secret hand
I relieved as many misfortunes as I knew of.
Always with true faith
my prayer
rose to the holy shrines.
Always with true faith
I gave flowers to the altar.
In the hour of grief
why, why, o Lord,
why do you reward me thus?
I gave jewels for the Madonna’s mantle,
and I gave my song to the stars, to heaven,
which smiled with more beauty.
In the hour of grief
why, why, o Lord,
ah, why do you reward me thus?Also, check out Vissi d'arte by Renata Tebaldi.

Sissel: O Mio Babbino Caro | Gianni Schicchi | Giacomo Puccini

2011-01-06T08:26:00.000-08:00

"O mio babbino caro" is a soprano aria from the opera Gianni Schicchi (1918), by Giacomo Puccini, to a libretto by Giovacchino Forzano. It is sung by Lauretta after tensions between Schicchi and his prospective in-laws have reached a breaking point that threatens to separate her from Rinuccio, the boy she loves. It provides a contrasting interlude expressing lyrical simplicity and single-hearted love in the atmosphere of hypocrisy, jealousy, double-dealing and feuding in medieval Florence of Puccini's only comedy, and it provides the only set-piece in the through-composed opera.

Enjoy Sissel's version:

O Mio Babbino Caro Lyrics and Translation.

Angela GHEORGHIU: O mio babbino caro | Gianni Schicchi | Giacomo Puccini

2011-01-06T08:23:00.000-08:00

Enjoy Angela Gheorghiu's version:

O mio babbino caro lyrics and translation

Maria Callas: O Mio Babbino Caro by Giacomo Puccini

2011-01-06T08:02:00.000-08:00

"O mio babbino caro" is a soprano aria from the opera Gianni Schicchi (1918), by Giacomo Puccini, to a libretto by Giovacchino Forzano. It is sung by Lauretta after tensions between Schicchi and his prospective in-laws have reached a breaking point that threatens to separate her from Rinuccio, the boy she loves. It provides a contrasting interlude expressing lyrical simplicity and single-hearted love in the atmosphere of hypocrisy, jealousy, double-dealing and feuding in medieval Florence of Puccini's only comedy, and it provides the only set-piece in the through-composed opera.

Enjoy Maria Callas's version:

Maria Callas Biography

O Mio Babbino Caro Lyrics and Translation.

O Mio Bambino Caro Lyrics & English Translation

2011-01-06T07:46:00.000-08:00

O Mio Babbino Caro Italian Original Lyrics

O mio babbino caro,
mi piace, è bello bello,
vo’andare in Porta Rossa
a comperar l’anello!
Si, si, ci voglio andare!
E se l’amassi indarno,
andrei sul Ponte Vecchio
ma per buttarmi in Arno!
Mi struggo e mi tormento,
O Dio! Vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!

O Mio Bambino Caro English Translation

Oh my dear father,
I like him, he is very handsome.
I want to go to Porta Rossa
to buy the ring!
Yes, yes, I want to go there!
And if my love were in vain,
I would go to Ponte Vecchio
and throw myself in the Arno!
I am pining and I am tormented,
Oh God! I would want to die!
Daddy, have mercy, have mercy!
Daddy, have mercy, have mercy!

Here you can enjoy some great performances of this popular aria:

Elisabeth Schwarzkopf sings O mio babbino caro

Renata Tebaldi sings O mio babbino caro

Maria Callas sings O mio babbino caro

Maria Callas Biography: After Triumph, Late Years

2011-01-02T11:26:00.000-08:00

After Tosca with Gobbi and Cioni (London, 1965)

1965 - May
She undertakes a further series of five performances of Norma in Paris; she feels tired but does not want to cancel. On 29 May she finishes Act II Scene 1 practically in a coma; the final scene is cancelled.

1965 - July
She is scheduled to sing four performances of Tosca at Covent Garden. She is advised on medical grounds to withdraw but she decides to sing just once; she chooses the Royal Gala on 5 July, which turns out to be her final appearance on the operatic stage.

1966
Callas relinquishes her American citizenship and takes Greek nationality, thereby technically annulling her marriage to Meneghini; she expects Onassis to marry her but he does not.

1968 - 20th October
After cooling his relationship with Callas, Onassis marries Jacqueline Kennedy, widow of assassinated US president John F. Kennedy; Callas is devastated.

1969 - June/July
Callas plays Medea in a non-operatic film of the play by Euripides, directed by Pier Paolo Pasolini: it is not a commercial success.

1971-72
Callas gives a series of Master Classes at the Juilliard School of Music in New York. She meets up again with her old colleague, the tenor Giuseppe di Stefano, and the two become close friends.

1973
Di Stefano persuades Callas to undertake an extensive international recital tour with him. The tour, a personal triumph but an artistic failure, begins in Hamburg on 25 October and continues into 1974.

After concert in Paris, December 1973

1974 - 11th November
The final concert of the tour with di Stefano takes place in Sapporo, Japan: this is Callas’s last public performance. The liaison with di Stefano finishes. Onassis tries to rekindle his relationship with Callas but she refuses to have him back while he remains married to Jacqueline.

1975 - 15th March
Onassis dies after an operation on his gall bladder; Callas is by now a virtual recluse in Paris.

1977 - 16th September
Alone in her apartment, Callas dies from natural causes.

Maria Callas Biography: Return and Triumph

2011-01-02T11:17:00.000-08:00

1964 - January
Franco Zeffirelli persuades Callas to return to opera at Covent Garden in a memorable new production of Tosca that is highly praised on all counts.

With Zeffirelli after Tosca (London, 1964)

1964 - May
Callas appears in Paris in Norma, directed by Zeffirelli, in a spectacular staging that is to be her last new production; despite some vocal problems, the performances are successful overall.

Triumph back in Pa

1965 - February
She sings in nine performances of Tosca in Paris.

1965 - March
She makes a triumphant return to the Metropolitan in New York in two performances of Tosca.

Triumph back in Met

Maria Callas Biography: After Triumph, Late Years

Maria Callas Biography: A Triumph in Paris and "Onassis Years"

2011-01-02T11:10:00.000-08:00

Maria Callas with French President René Coty

1958 - 19th December
Maria Callas makes a sensational début in Paris in a gala concert at the Paris Opéra; celebrities in the audience include Onassis, who begins to take a closer interest in Callas.

1959
By this time Callas has fewer professional engagements. She and Meneghini are invited for a cruise in July on Onassis’s yacht, the Christina, with several other guests including the Churchills; by the end of the cruise Callas and Onassis are lovers and the Meneghini marriage is over.

1960-63
Callas curtails her stage appearances and devotes herself to the international high life with Onassis; by 1962 she is performing only at a few concerts. It has been alleged that in March 1960 Callas gave birth to a son by Onassis, but the child died the same day.

A life after the tragic loss of her son, Maria Callas Biography: Return and Triumphs

Maria Callas Biography: New York Conquered - Problems in Italy

2011-01-02T11:04:00.000-08:00

1956 - 29th October
Maria Callas sings for the first time at the Metropolitan, New York, in Norma, followed by Tosca and Lucia.

1957 - September
Elsa Maxwell, the American society hostess, introduces the Meneghinis to the Greek shipping magnate Aristotle Onassis at a party in Venice.

1958 - 2nd January
Pleading illness, Callas cancels after the first act of a gala performance of Norma in Rome, attended by the President of Italy and all of Rome society; she is harshly criticised in the media.

1958 - May
At La Scala during performances of Il pirata she quarrels with the general director, Antonio Ghiringhelli, and decides not to appear again at La Scala while he remains in charge.

1958 - 6th November
Rudolf Bing, director of the Metropolitan Opera, fires Callas after failing to reach agreement with her on performances for the next season.

Next: Maria Callas Biography: A Triumph in Paris and the "Onassis Years"

Maria Callas Biography: Triumphant Years of Success

2011-01-02T10:58:00.000-08:00

1953 - February
First commercial recording for EMI is Lucia di Lammermoor, recorded in Florence.
Later in the year Callas begins a series of complete opera recordings at La Scala, starting with I puritani and Cavalleria rusticana conducted by Serafin, followed by Tosca conducted by Victor de Sabata.

New Look Era Begins

1954
Callas reduces her weight by 30 kilos and her appearance changes dramatically. She records a further four complete operas at La Scala and her first two recital discs in London.

Maria Callas's new look
in 1954 she has lost 30 kilos.

1954 - November
Maria Callas returns to the USA to sing Norma, La traviata and Lucia di Lammermoor in Chicago.

1954 - December
She opens the season at La Scala in La vestale, working for the first time with theatre and film director Luchino Visconti.

Next: Maria Callas Biography: New York Conquered & the Problems in Italy

Maria Callas Biography: Difficult Years

2011-01-02T10:47:00.000-08:00

1946
Maria Callas tries unsuccessfully to find work but continues strenuous vocal practice to perfect her technique; meets agent Eddie Bagarozy. She accepts an engagement to sing in Turandot in Chicago in January 1947 with cast of celebrated European singers in a new company to be founded by Bagarozy and Ottavio Scotto, an Italian impressario.

1947

1947 - January
The Chicago company goes bankrupt a few days before its scheduled opening performance. A member of the company (the Italian bass Nicola Rossi-Lemeni) introduces Callas to Giovanni Zenatello, who is in the USA to find singers for the 1947 Verona Opera Festival; he engages Callas to sing in La Gioconda.

1947 - 27th June
Callas arrives in Naples and goes the next day to Verona to begin rehearsals; in Verona she meets Giovanni Battista Meneghini, a wealthy Italian industrialist and opera lover, 28 years her senior.

1947 - 2nd August
Makes her Italian début in the Arena at Verona in La Gioconda conducted by Tullio Serafin. The performances are successful enough but Callas makes no special impression and the expected offers of further work do not materialise.

La Gioconda (La Scala, 1952)

1947 - 30th December
Maria Callas sings Isolde in Italian under Serafin at La Fenice in Venice; this leads to further engagements in Italy, mainly in Turandot.

Maria Callas as Norma

1948 - 30th November
In Florence, Callas sings Norma for the first time: this is the opera she will eventually perform more than any other during her career.

Next: Maria Callas Biography, the Turning Point

Maria Callas Biography: The Turning Point

2011-01-02T10:46:00.000-08:00

1949 - 19th January

Having just sung her first Brünnhilde in Die Walküre eleven days earlier, Callas, at the insistence of Serafin, replaces the indisposed Margherita Carosio in the coloratura role of Elvira in I puritani at La Fenice. The operatic world is stunned by her performance. This is the turning point in Callas’s career and the start of her involvement in the rehabilitation of the Italian bel canto repertoire.


Maria Callas as Elvira in I puritani (Florence, 1952)

1949 - 21st April
Marries Meneghini in Verona and sails that night for Argentina to sing at the Teatro Colon in Buenos Aires. Helped by Meneghini as both husband and manager, Callas develops her career in Italy and abroad during the next two years.

1951 - 7th December
Callas opens the season at La Scala, Milan, in I vespri siciliani to great acclaim; during the next seven years La Scala will be the scene of her greatest triumphs in a wide range of roles.

1952 - 29th July
Callas signs a recording contract with EMI.

Next: Maria Callas Biography - Triumphant Years of Success

Maria Callas Biography: Her Career Starts (1940s)

2011-01-02T10:36:00.000-08:00

Callas as Beatrice in Boccaccio

1940 - 21st October
First engagement with the Lyric Theatre company, singing songs in Shakespeare’s Merchant of Venice at the Royal Theatre in Athens.

1941 - 21st January
Makes her professional operatic début as Beatrice in Boccaccio at the Palas Cinema, Athens, with the Lyric Theatre company, with whom she will sing in Tosca, Tiefland, Cavalleria rusticana, Fidelio and Der Bettelstudent during the next four years.

Maria Callas's first Tosca

1942 - 27th August
Sings Tosca for the first time in Greek at an open-air performance at the Park Summer Theatre, Klafthmonos Square.

1944
Sings Leonore in Fidelio. The occupying forces lose control over Greece; the British fleet arrives in Piraeus. Maria Kalogeropoulou decides to return to the USA and find her father.

1945 - 3rd August
Gives a ‘farewell’ concert in Athens, her first solo recital, to raise money for her journey to the USA.

1945 - September
Returns to New York and takes up the name of Callas again.

1945 - December
She auditions for the Metropolitan Opera but fails to secure an engagement.

Next: Maria Callas Biography: Difficult Years.

Maria Callas Biography: Early Years

2011-01-02T10:30:00.000-08:00


Evangelia, Maria, Jacinthy and George Kalogeropoulos

1923 - 2nd December
Maria Anna Sophia Cecilia Kalogeropoulou is born in New York. Her parents, Evangelia and George Kalogeropoulos, had emigrated from Greece to Long Island, New York, in August 1923.

1929
George Kalogeropoulos sets up a pharmacy in a Greek quarter of Manhattan; he changes the family name to Callas.

1932
Maria is given her first piano lessons; later in life she is able to study all her roles at the piano without the help of a repetiteur.

1937
The Callas parents separate. Evangelia returns to Greece with her two daughters Yacinthy (known as Jackie) and Maria and changes the family name back to Kalogeropoulos.

Maria at 13 with her mother

1938
Maria Kalogeropoulou (Callas) is admitted to the National Conservatory in Athens despite being younger than the minimum age requirement of 16; she begins her studies under Maria Trivella.

1938 - 11th April
Maria Callas appears with fellow students in first public recital.

Maria Callas in 1938

1939 - 2nd April
Maria makes her stage debut as Santuzza in a student production of Cavalleria rusticana and wins the Conservatory’s prize. Elvira de Hidalgo becomes Maria’s teacher and concentrates on coloratura training.

Maria Callas's career starts, Maria Callas Biography Part II

Carmen: Habanera Translation

2011-01-02T10:02:00.000-08:00

English Translation:

Love is a rebellious bird
That nothing can tame,
And it is simply in vain to call it
If it is convient for it to refuse.
Nothing will work, threat or pleading,
One speaks, the other stays quiet;
And it's the other that I prefer
He said nothing; but he pleases me.
Love! Love! Love! Love!

Love is the child of the Bohemian,
It has never, never known any law,
If you don't love me, I love you,
If I love you, keep guard of yourself!
If you don't love me,
If you don't love me, I love you!
But, if I love you,
If I love you, keep guard of yourself!
If you don't love me,
If you don't love me, I love you!
But, if I love you,
If I love you, keep guard of yourself!
The bird you thought to surprise
Bat its wing and flew away;
Love is far away, you can wait for it;
If you wait for it no more, it is there!
All around you, quickly, quickly,
It comes, goes, then it comes back!
You think to hold it, it avoids you;
You think to avoid it, it holds you!
Love, love, love, love!

Love is the child of the Bohemian,
It has never, never known any law,
If you don't love me, I love you,
If I love you, keep guard of yourself!
If you don't love me, I love you,
If I love you, keep guard of yourself!
If you don't love me,
If you don't love me, I love you!
But, if I love you,
If I love you, keep guard of yourself!
If you don't love me,
If you don't love me, I love you!
But, if I love you,
If I love you, keep guard of yourself!

Listen to the fantastic rendition of Habanera by Maria Callas!

Lucia Popp and Placido Domingo - BRINDISI (La traviata)

2011-01-01T17:53:00.000-08:00

"Libiamo ne' lieti calici", the famous "Brindisi" or "Drinking Song" from La Traviata de Giussepe Verdi. Arugably one of the most famous operas ever written, story of a fallen Violetta is based on "The Lady of the Camellias" by Alexandre Dumas, son.

More on this opera with "Libiamo ne' lieti calici" translation ("Brindisi" or "Drinking Song" translation here) but in this video below you could enjoy Lucia Popp and Placido Domingo's version of Brindisi, as performed or Queen Elizabeth in London, 1986.

Should you wish to hear Lucia Popp Laudate Dominum by Wolfgang Amadeus Mozart, just follow the link.

Elina Garancha as Carmen: CHANSON BOHÉMIENNE (Gypsy Song) w. Translation

2011-01-01T17:12:00.000-08:00

Elina Garancha (or Garanca), as CARMEN in Georges Bizet opera, sings CHANSON BOHÉMIENNE (Gypsy Song) (Translation's below):

CHANSON BOHÉMIENNE (Gypsy Song) w. Translation

Carmen

The sistrums had the clanging sound

That their rods made as they were swaying,

And then with that strange music playing

The Gypsy girls rose to the ground.

The tambourines would race along,

And stubborn hands that kept up with them

Gave their guitars a furious rhythm,

The same refrain, the same old song,

The same refrain, the same old song.

Tra la la la

Tra la la la la la la la.

The copper and the silver rings

On swarthy skins were bright and shining;

And skirts with red or orange lining

Would flutter in the wind like wings.

The dance was married to the song,

At first unsure and hesitating,

Then lively and accelerating…

It all kept rising, rising all along!

The men, with strength as if from hell,

Now beat their instruments to sound them,

And with that dazzling noise around them

The women fell under its spell.

And to the rhythm of the song,

All hot and crazy, fevered, sweating,

Intoxicated, they were letting

The whirlwind carry them along!

Music Reading Made Easy

CHANSON BOHÉMIENNE Lyrics:

Carmen

Les tringles des sistres tintaient

avec un éclat métallique,

et sur cette étrange musique

les zingarellas se levaient.

Tambours de basque allaient leur train,

et les guitares forcenées

grinçaient sous des mains obstinées,

même chanson, même refrain,

même chanson, même refrain.

Tra la la la

tra la la la

tra la la la la la la la.

Les anneaux de cuivre et d’argent

reluisaient sur les peaux bistrées;

d’orange ou de rouge zébrées

les étoffes flottaient au vent.

La danse au chant se mariait,

la danse au chant se mariait;

d’abord indécise et timide,

plus vive ensuite et plus rapide...

cela montait, montait, montait, montait!

Les Bohémiens, à tour de bras,

de leurs instruments faisaient rage,

et cet éblouissant tapage

ensorcelait les zingaras.

Sous le rhythme de la chanson,

sous le rhythme de la chanson,

ardentes, folles, enfiévrées,

elles se laissaient, enivrées,

emporter par le tourbillon!

Elina Garanca: Habanera

Opera Lady's TOP 5 Arias by Visitors

2010-12-15T18:41:00.000-08:00

We've installed tracking so now we know what you guys are searching for. It will also help us to make Opera Lady's blog better and richer in a near future. And now, without further ado, the Top five:

1st Place - Maria Callas, Habanera;
2nd Place - Jussi Björling as Faust - Salut, demeure;

3rd Place -Enrico Caruso - O Sole Mio and La donna e mobile;

4th Place -Renata Tebaldi as Mimì: "Sì, mi chiamano Mimì;

5th Place -Toreador Song by Dmitri Hvorostovsky!

Feel free to re-visit those great artists and do not forget to bookmark Opera Lady and come back often.

If you have requests, please, leave them in a comment area of the blog.

Elina Garancha: Mon coeur s’ouvre à ta voix (translation)

2010-12-01T14:14:00.000-08:00

Enjoy Mon coeur s’ouvre à ta voix
from Act II of the French opera,Samson et Dalila by Camille Saint-Saëns
Libretto : Ferdinand Lemaire

Elina Garancha's rendition (Baden-Baden, August 2008). Translation is below the video / info.

Role : Dalila, Philistine priestess of Dagon
Voice Part : mezzo-soprano
Fach : dramatic mezzo
Setting : the valley of Soreck, ancient Palestine
Range : A#/Bb4 to G5. Tessitura : D#/Eb4 to D#/Eb5
Synopsis : In an attempt to close the trap which she has set for Samson, Dalila tells Samson seductively that she is completely his if he wants her. She begs him to respond to her caresses, hoping that he will finally let go of all other things and concentrate completely on her, allowing the High Priest of Dagon to capture him.
Looking for Maria Callas: Mon coeur s’ouvre à ta voix version?

English Translation of Mon coeur s'ouvre à la voix

My heart opens to your voice,

like the flowers open

To the kisses of the dawn!

But, o my beloved,

To dry my tears the best,

Let your voice speak again!

Tell me that to Dalila

You will return forever,

Repeat to my tenderness

The oaths of other times,

the oaths that I loved!

Ah! respond to my tenderness!

Pour out to me the drunkeness!

Like one sees the wheat

the blades undulate

Under the light breeze,

So trembles my hear,

ready to be consoled,

by your voice which is dear to me!

The arrow is less quick

to carry death,

Than is your love

to fly into my arms!

Ah! resond to my tenderness!

Pour out to me the drunkeness!

French Original Text:

Mon coeur s'ouvre à la voix,
comme s'ouvrent les fleurs
Aux baiser de l'aurore!
Mais, ô mon bienaimé, 
pour mieux sécher mes pleurs,
Que ta voix parle encore!
Dis-moi qu'à Dalila
tu reviens pour jamais,
Redis à ma tendresse
Les serments d'autrefois,
ces serments que j'aimais!
Ah! réponds à ma tendresse!
Verse-moi, verse-moi l'ivresse!

Ainsi qu'on voit des blés
les épis onduler
Sous la brise légère,
Ainsi frémit mon coeur,
prêt à se consoler,
A ta voix qui m'est chère!
La flèche est moins rapide
à porter le trépas,
Que ne l'est ton amante
à voler dans tes bras!
Ah! réponds à ma tendresse!
Verse-moi, verse-moi l'ivresse!

Luciano Pavarotti - M'appari, Tutt' Amor

2010-11-26T19:45:00.000-08:00

Luciano Pavarotti - M'appari, Tutt' Amor:

More about M'appari, Tutt' Amor, including synopsis and lyrics / translation here, with Jussi Björling rendition M'appari, Tutt' Amor.

Also, Enrico Caruso's version of "M'appari, tutt' amor".

The Great Enrico Caruso sings "M'appari, tutt' amor"

2010-11-26T19:44:00.000-08:00

The Great Enrico Caruso sings "M'appari, tutt' amor". Enjoy!

More about M'appari, Tutt' Amor, including synopsis and lyrics / translation here, with Jussi Björling rendition M'appari, Tutt' Amor.

Also, Luciano Pavarotti's "M'appari, tutt' amor"

Jussi Björling: M'appari, Tutt' Amor

2010-11-26T19:36:00.000-08:00

Jussi Björling sings "M'appari, Tutt' Amor" from "Martha" by Friedrich von Flotow.

Ach so fromm, ach so traut (M'appari) - No. 15, Lied
from Act III of the Italian|German opera, Martha by Friedrich von Flotow
Libretto : W. Friedrich

Role : Lionel, Plunkett's foster brother

Voice Part : tenor Fach : lyric tenor

Setting : A hunting park in Richmond Forest, England, 18th century during the reign of Queen Anne

Range : G3 to A#/Bb5. Tessitura : A4 to G4

Synopsis : After meeting Lady Harriet the night before disguised as "Martha", Lionel sees her again with the ladies-in-waiting for Queen Anne. He is struck again by her beauty and grieves that he will probably never be with her again.

LYRICS

M'appari tutt' amor;
il mio sguardo l'incontró
bella si che il mio cor
ansioso a lei voló;
mi feri, mi rapi
quell'angelica belta
sculta in cor dall'amor,
cancellarsi non potra,
il pesier di poter
palpitar con lei d'amor;
puó soprir ji martir
che m'affanna e strazia il cor!

Marta. Marta, tu sparisti
e ji mio cor con tuo ne andó!
Tu la pace mi rapisti,
di dolor jo moriró ah!
di dolor morró, al, morró! ah!

ENGLISH TRANSLATION

She appeared to me, full of love,
my eyes caught sight of her;
so beautiful that my heart
flew to her with longing;
was wounded and inflamed 
by her angelic beauty 
which love has engraved in my heart,
and which cannot be erased,
and which cannot be erased, 
of her responding to my passion 
is able to appease the suffering 
which distresses me and breaks my heart!

Martha, Martha, you have vanished, 
and my heart went with you! 
You have stolen my peace of mind, 
I shall die of grief, 
I shall die, shall die of grief!

Luciano Pavarotti's "M'appari, tutt' amor"

Enrico Caruso M'appari, Tutt' Amor version of "M'appari, tutt' amor"

Emma Kirkby: Laudate Dominum | Mozart & Christopher Hogwood

2010-11-25T22:43:00.000-08:00

Pure perfection: 1993 recording with Academy of Ancient Music with the Winchester Cathedral Choir conducted by Christopher Hogwood.

I love how Cristopher Hogwood is subdued here... but compare this version with Laudate Dominum by Lucia Popp and tell me what do you think?

Music Reading Made Easy

Enrico Caruso Santa Lucia

2010-11-25T20:35:00.000-08:00

Listen to the great Enrico Caruso's rendering of Santa Lucia.

Would you like to compare Caruso's Santa Lucia with Santa Lucia of Mario Lanza?

I've noticed many are searching for Una voce poco fa translation and La donna e mobile lyrics so girls and guys, fellow opera lovers, just follow these two links and voila!, there you are...

Mario Lanza - Santa Lucia

2010-11-25T20:30:00.000-08:00

Yet another beautiful performance by the great Mario Lanza. Rare version of Santa Lucia.

Mario Lanza's Parlami d'Amore Mariu could be found here.

Mario Lanza - Parlami d'Amore Mariu

2010-11-25T20:22:00.000-08:00

Mario Lanza's brilliant lyric spinto tenor became one of the most-loved voices in both popular and classical music in the 1950s. A number of his RCA Victor Red Seal recordings went "Gold," and there are a scarce handful of television appearances that show us how magnetic his artistry was "in person."

Parlami d'Amore Mariu English translation:

How you are beautiful, more beautiful than ever, Mariu!
A star of a smile is shining in your blue eyes.
Even if destiny should be contrary tomorrow,
today I am near you, so why sigh? Don't think!

Speak to me of love, Mariu. You are my entire life.
Your lovely eyes shine, the fires of a dream are burning.

Tell me this is no illusion, tell me that you are all mine.
Here on your heart, I suffer no more, speak to me of love, Mariu!"

Santa Lucia by Mario Lanza is here. And Enrico Caruso's Santa Lucia here.

Music Reading Made Easy

Elina Garanca - Mon coeur s'ouvre à ta voix

2010-11-11T18:59:00.000-08:00

This version of Mon coeur s'ouvre à ta voix is by graet Elina Garanca. Listen to her glorious interpretation of Camille (live in Baden-Baden, 3rd August, 2007):

More on Mon coeur s'ouvre à ta voix, with translation, could be found HERE.

Maria Callas: Mon coeur s’ouvre à ta voix

2010-11-11T18:51:00.000-08:00

Maria Callas sings Mon coeur s’ouvre à ta voix from Act II of the French opera Samson et Dalila by Camille Saint-Saëns.
Libretto: Ferdinand Lemaire

Role: Dalila, Philistine priestess of Dagon

Voice Part: mezzo-soprano Fach: dramatic mezzo

Setting: the valley of Soreck, ancient Palestine

Synopsis: In an attempt to close the trap which she has set for Samson, Dalila tells Samson seductively that she is completely his if he wants her. She begs him to respond to her caresses, hoping that he will finally let go of all other things and concentrate completely on her, allowing the High Priest of Dagon to capture him.

About Camille Saint-Saëns.

Born in 1835 in Paris, Camille Saint-Saens was the son of a civil servant, and although I could find little to tell about either of his parents, I do know that he was extremely fond of his mother, because when she died in 1888 he contemplated suicide.

Clearly they recognized and encouraged his remarkable talent. Three years after his birth when he began piano lessons he could already read and write, and almost immediately began composing.

At the age of ten, blessed with perfect pitch, a prodigious memory and tireless energy, he was dazzling Paris audiences with brilliant recitals of Bach, Mozart and Beethoven.

At thirteen he became an organ student at the Paris Conservatoire, and in 1852 his ‘Ode a Sainte Cecile' made his name as a young composer. At the age of sixteen he wrote his first symphony, and remained an active composer throughout his long life. In his lifetime he composed over three hundred works, including 13 operas, and was the first major composer to write music specifically for the cinema. He was also a prolific writer and championed earlier French composers, such as Rameau, as well as the romantics - Liszt, Berlioz, and Schumann.

As the supreme virtuoso Saint-Saens was feted all over the music loving world, traveling ceaselessly throughout Europe, Russia, and the USA accompanied only by his servant Gabriel and his pet dogs. With his beaked nose, neat beard, bowler hat and frock coat, he was a familiar and much admired figure in England, where oratorios and cantatas he composed for music festivals were always well received, especially when he was able to conduct them himself.

However it was at the organ that he first established his reputation, and held the key post of organist at the fashionable Madeleine Church in Paris for twenty years. He was also an accomplished pianist, and his mastery of the piano can be judged from his own writing for the instrument, notably the five piano concertos, each of which he premiered in turn.

He said of himself that he lived in music ‘like a fish in water', and his playing did indeed reflect many of his characteristics as a composer. These include a technical ease, a clarity, a fluency in performance, an elegance, a brilliance and – it has to be said – a lack of emotional depth., which has at times given rise to charges of superficiality.

In his own words, he pursued ‘the chimera of purity of style and perfection of form' while Berlioz once said of him ‘He knows everything but lacks experience'.

Saint-Saens private life was less than completely happy. He was homosexual and understandably showed little sign of wanting to marry. However in 1875 at the age of almost 40, he fell in love with nineteen year old Marie-Laure Truffot. His infatuation did not last long. After their wedding, Saint-Saens declared that he was too busy for a honeymoon, and took Marie straight home to live with his mother.

Thereafter the composer treated his wife with deep disdain until the arrival of children brought out his more sympathetic side. But even this was tragically short lived, since in 1878 both children died within six weeks of each other: André, aged two, fell from a fourth floor window, and soon afterwards his baby brother Jean became ill and died.

Saint-Saens blamed Marie for the children's deaths, and a few years later he walked out on her in the middle of a holiday. Marie never saw him again.

After his mother's death he allowed his wanderlust full rein, traveling to North America, South America and Sri Lanka before spending his last years in Algiers.

Within a very few years Saint-Saens had triumphed in every musical field except the theatre. Success here eluded him until the 1890 Paris production of his opera ‘Samson et Dalila', which captivated audiences with its lush melodies and orientalism.

This remains, together with the Third (Organ) Symphony, the Second and Fourth Piano Concertos, the irresistible ‘Le Carnival des animaux' and lesser pieces such as ‘Danse Macabre' among the most popular of his works.

I suppose it must be because of the aforementioned lack of emotion in his music that makes Saint Saens not one of my favorite composers, but there are a couple of exceptions to that statement. ‘Le Carnival des animaux', which does not really need translating as ‘Carnival of the Animals', is the most important one .

Saint-Saens captures the characters of his animals with clarity, wit, and charm. Written as a private musical joke, to parody the styles of the composer's contemporaries, this ‘carnival' enjoys immense popularity, especially with children.

I have been listening to the first six pieces as he originally wrote them, for two pianos, and an instrumental chamber ensemble. Knowing what the music portrayed, I found it wonderful music.

After a brief call to attention, led by the two pianos, ‘Royal March of the Lion' is a proud and stately affair. The power of the two pianos is harnessed in rumbling runs up and down the bass notes to create an effective roar.

Sharp, shrill toned violins cluck and scratch alongside the keyboard in a strident portrayal of the farmyard in ‘Cocks and Hens' pierced only by a proud and splendid ‘cockcrow' from the clarinet.

The ‘Wild asses'lead the two pianists a brief but hectic chase up and down the keyboards.

The ‘Tortoises' dance to a comically slow version of the famous ‘Cancan' from Offenbach's ‘Orpheus in the Underworld'

The elephant in his turn, performs a rather cumbersome waltz (with another quotation from Berlioz's ‘Dance of the Sylph's in ‘The Damnation of Faust' ), represented by the gruff tones of the double bass – giving the instrument a rare moment in the musical spotlight.

While the kangaroos, by contrast, leap and hop, or keep very still.

Included in this Carnival series is ‘The Aquarium'a wonderful piece of music beginning with rippling runs and chords on the piano which conjure up a suitably aquatic scene in this musical aquarium.

The sinuous melody of the violins and flute suggests fish gliding through the water, while the subtle variations in the piece all help to paint a magical picture of bustling underwater life.

Many psychologists believe that images of water, and the movement of fish have a calming effect on the nerves. I certainly felt very serene as I listened to this lovely music.

And yet, famous though these pieces now are, Saint-Saens would not allow them to be published until after his death. He considered they might damage his reputation. While as far as I am concerned they could only have enhanced whatever opinion I might have had at that time.

Through most of the 19^th century, French music was dominated by opera. Composers were drawn to the fame and fortune to be found in the glittering opera houses of Paris.

Saint Saens too had his share in that field, but he composed such a fine body of orchestral and instrumental music that he contributed in no small measure to shifting the center of gravity away from the opera house and towards the concert hall.

Paving the way in fact for such 20^th century masters of orchestral and piano writing as Debussy and Ravel.

Camille Saint-Saens was a man of wide interests, and had a lively curiosity in many other subjects besides music. He was an avid and enthusiastic historian, with a special knowledge of ancient Roman art and architecture.

He learned Latin under a private tutor, and it was a matter of great regret that he never studied Greek. Astronomy was another keen interest of his. He once even broke off an important rehearsal in order to watch an eclipse of the sun.

But while Camille Saint-Saens took himself very seriously as a composer, his extreme Gallic charm and joie de vivre constantly rises to the surface in his glorious music.

Shirley Verrett as Orfeo: "Che faro senza Euridice"

2010-11-10T09:52:00.000-08:00

Shirley Verrett's interpretation does feel like precisely what Gluck wanted in the performance of hi music: Italian Passion, French steadiness and refinement, and German precision, which is ultimately his compositional ideal. This is one of the most marvelous interpretations I've ever heard. Enjoy!

More on this aria with English translation in other version of Che faro senza Euridice, here.

Shirley Verrett May 31, 1931 - November 5, 2010

As an internationally renowned opera singer and recitalist, Shirley Verrett has achieved recognition as one of the world's great artist. Her orchestral appearances, films, concerts, and recordings have garnered her accolades from The New York Times, Opera Magazine, Courier Della Sera, Opernwelt, Chicago Times, Musical America, Newsweek, and The Washington Post, among other international news organizations.

As an internationally renowned opera singer and recitalist, Shirley Verrett has achieved recognition as one of the world's great artist. Her orchestral appearances, films, concerts, and recordings have garnered her accolades from The New York Times, Opera Magazine, Courier Della Sera, Opernwelt, Chicago Times, Musical America, Newsweek, and The Washington Post, among other international news organizations.

More about this wonderful singer: http://www.shirleyverrett.com/

Luciano Pavarotti: Che farò senza Euridice - No. 43

2010-11-10T09:36:00.000-08:00

Luciano Pavarotti Recital: Che farò senza Euridice from Act III of the Italian opera Orfeo ed Euridice by Christoph Willibald Gluck.

Libretto: Ranieri Calzabigi

Role: Orfeo, son of the Muse of music, husband of Euridice

Voice Part: mezzo-soprano Fach: lyric mezzo

Setting: The road from the underworld to the world of the living

Synopsis: Orfeo has been allowed to bring back his wife from Hades as long as he does not look upon her face until they are back on earth. However, urged by Euridice, he turns around and looks at her and she immediately dies. Grief-stricken, he wonders what he will ever do without his love.

Che farò senza Euridice, Orfeo's aria from Orfeo ed Euridice

Che farò senza Euridice  What will I do without Euridice
Dove andrò senza il mio ben. Where will I go without my wonderul one.
Euridice, o Dio, risponde Euridice, oh God, answer
Io son pure il tuo fedele. I am entirely your loyal one.
Euridice! Ah, non m´avvanza Euridice! Ah, it doesn´t give me
più socorso, più speranza any help, any hope
ne dal mondo, ne dal cel. neither this world, neither heaven.

Enrico Caruso: La donna è mobile

2010-11-07T20:46:00.000-08:00

The great one, unique, magnificent Enrico Caruso sings La Donna è Mobile Lyrics here) from Verdi's Rigoletto for Victor in 1907. The correct playing speed is 75 rpm which I did not know when I uploaded this record. I played it at 78.26 rpm. Some of Caruso's earlier records played at much slower speeds and I have adjusted those postings accordingly.

Lyrics and translation for Verdi's La donna è mobile could be found in this page, with the version of La donna e mobile (lyrics) by Jussi Björling.

Luciano Pavarotti: La donna e mobile

2010-11-07T20:43:00.000-08:00

Jean-Pierre Ponnelle's classic film of Verdi's dark tragedy features the legendary Luciano Pavarotti as the Duke of Mantua; Pavarotti's rendering of La donna e mobile.

Lyrics and translation could be found in this page, with the version of La donna e mobile Lyrics by the great Jussi Björling.

La donna è mobile live by Jussi Björling - lyrics and English Translation

2010-11-07T20:33:00.000-08:00

Jussi Björling's live recordings of Rigoletto: 29 December 1945 Met broadcast - conducted by Cesare Sodero. Leonard Warren, Jussi Björling, and Bidu Sayao all in their vocal primes.

La donna è mobile - arguably the most famous aria, from Act III of the Italian opera, Rigoletto by Giuseppe Verdi
Libretto : Francesco Maria Piave

Role : The Duke of Mantua,
Voice Part : tenor Fach : lyric tenor
Setting : The inn of Sparafucile
Range : F#/Gb3 to A#/Bb5. Tessitura : F#/Gb3 to F#/Gb4
Synopsis : The Duke, disguised as a soldier, sings that all women are fickle and that they will betray anyone who falls in love with them.

Lyrics and English translation:

La donna è mobile, qual piùma al vento,
Woman is fickle (movable), like a feather in the wind,
muta d'accento, e di pensiero.
she changes the tone of her voice (i.e., her accents), and her thoughts
Sempre un amabile, leggiadro viso,
Always a sweet, pretty face,
in pianto o in riso, è menzognero.
in tears or in laughter, (she) is (always) lying
La donna è mobile, qual piùma al vento,
Woman is fickle, like a feather in the wind,
muta d'accento, e di pensier
she changes her accents, and her thoughts
e di pensier, e di pensier
and her thoughts, and her thoughts

È sempre misero, chi a lei s'affida,
It is always miserable, he that trusts in her
(He is always miserable who trusts in her)
chi le confida, mal cauto il core!
who to her confides, his unwary heart!
Pur mai non sentesi  felice appieno
Yet nobody feels happy fully
chi su quel seno non liba amore!
who on that bosom doesn't drink love,
La donna è mobil, qual piùma al vento,
Woman is fickle, like a feather in the wind,
muta d'accento e di pensier,
she changes the tone of her voice and her thoughts
e di pensier, e e di pensier!
and her thoughts, and her thoughts!

Maria Callas: Una voce poco fa (translation)

2010-10-31T11:34:00.000-07:00

La Divina Maria Callas (biography) sings UNA VOCE POCO FA from Act I, Scene II of the Italian opera, Il Barbiere di Siviglia (The Barber of Seville) by Gioacchino Rossini

Libretto : Cesare Sterbini (NOTE: Una voce poco fa translation is below the video)

* Role : Rosina, a young woman under the care of Dr. Bartolo

* Voice Part : soprano|mezzo-soprano

* Fach : lyric soprano|lyric mezzo

* Setting : A room in Dr. Bartolo's house

* Range : A4 to C6. Tessitura : Has not been entered yet.

* Synopsis : After having read the letter from Lindoro (Count Almaviva), Rosina is filled with joy. She sings of her love for him.

* Sound file : MIDI file and zip format sequenced by Bill King. MIDI file and zip format sequenced by Giovanni Borello.

* Translation and/or Aria Text : Translation by Gabriel Huaroc and translation by Giuseppe Cusmano.

* Recordings : Aria Alone Complete Opera Excerpts from Opera

* Where to Find It : Score of opera and aria alone - Classical Vocal Reprints, 1-800-298-7474. Catalog number for aria : #1208 (mezzo) #1204 (sop), for score : #50489 (Zedda). Buy vocal score online at Sheet Music Plus.

The following video clip was recorded in Paris 1958. The one and only Maria Callas effortlessly sings Rosina's aria. The audience can barely contain themselves.

ORIGINAL LYRICS
Una voce poco fa
qui nel cor mi risuonò;
il mio cor ferito è già,
e Lindor fu che il piagò.
Sì, Lindoro mio sarà;
lo giurai, la vincerò.
Il tutor ricuserà,
io l'ingegno aguzzerò.
Alla fin s'accheterà
e contenta io resterò.
Sì, Lindoro mio sarà;
lo giurai, la vincerò.
Io sono docile, son rispettosa,
sono obbediente, dolce, amorosa;
mi lascio reggere, mi fo guidar.
Ma se mi toccano dov'è il mio debole
sarò una vipera e cento trappole
prima di cedere farò giocar.

Una voce poco fa ENGLISH TRANSLATION:
A voice has just
echoed here into my heart
my heart is already wounded
and it was Lindoro who shot.
Yes, Lindoro will be mine
I've swore it, I'll win.

The tutor will refuse,
I'll sharpen my mind
finally he'll accept,
and happy I'll rest.

Yes, Lindoro will be mine
I've swore it, I'll win.
I let be ruled, I let be guided
I'm obedient, sweet, loving
I let be ruled, I let be guided
But if they touch where my weak spot is
I'll be a viper and a hundred traps
before giving up I'll make them fall

Music Readings Made Easy

A Discovery: Skin Encyclopedia and Maria Callas's Skin

2010-10-27T21:46:00.000-07:00

I've just found a cool new website, and read about human skin anatomy there. If you think it's not related to the opera, ponder this photo on the right.

Maria Callas with Marylin Monroe. Does she looks like a real star, despite Marylin's sex-appeal? Of course she does.

La Divina, we love you and we love your skin of the olive oil color.

Music Reading Made Easy

Anne Sophie von Otter - Sieben frühe lieder, Nr. 3 Die Nachtigall

2009-12-06T18:11:00.000-08:00

Anne Sophie von Otter - sings Sieben frühe lieder, Nr. 3 Die Nachtigall by Alan Berg:

The Swedish soprano Anne Sofie (or Sophie) von Otter’s father was a diplomate and she grew up in Bonn, London and Stockholm. She studied at the Guildhall School of Music and Drama in London. Her main teachers were Vera Rosza, in Lied interpretation Erik Werba and Geoffrey Parsons.

Anne Sofie von Otter is married to a stage director and mother of two children. The family lives in Sweden. She is one of today’s most respected, innovative and sought-after soloists. This Alan Berg's song was, also, Vedrana Zerav's choice for her masters degree.

LUCIA POPP: "Non Più Di Fiori" (Her Last Recording)

2009-12-03T16:37:00.000-08:00

There's a story told on page 24 of Ursula Tamussino's book. September 1965 in Vienna, Lucia Popp "cracked" in one of the Queen of the Night arias and got depressed. Lucia was in such state of despair and on the point of giving up singing and going back to Bratislava, but was talked out of it by Fritz Wunderlich.

Imagine what favor that nature's wonder, Fritz Wunderlich, granted to the world, by saving Lucia Popp for her art. Listen to her, the very last recording of LUCIA POPP, "Non Più Di Fiori" and try to imagine opera's history without her. No way! Thank you Fritz!!

Lucia Popp's "Queen of the Night"

2009-12-03T16:33:00.000-08:00

Queen of the Night, a role that made her famous and in which Lucia Popp was considered unsurpassed.

More about LUCIA POPP (1939 - 1993)

2009-12-03T16:20:00.000-08:00

Lucia Popp [originally: Lucia Poppová] debuted at 23 years old at the Bratislava Opera singing Queen of the Night in Die Zauberflöte. In 1963, Herbert von Karajan hired her to sing with the Vienna State Opera company. She soon became famous for singing the Queen of the Night, a role in which she was considered unsurpassed.

The esteemed Slovak-born Austrian soprano, Lucia Popp, after finishing school, studied medicine for two semesters. She began her career by training as an actress. Anna Hrusovska-Prosenkova, a voice teacher at the Academy, happened to hear her singing during a performance of Molière's Le Bourgeois Gentilhomme, and offered her voice lessons. Only then did she begin studying music and singing at the Conservatories of Brünn and Prague. She attended the Bratislava Music Academy for four years, completing course in general music and voice studies. She began her studies as a mezzo-soprano, but her voice quite suddenly developed a high upper register.

In January 1979 Lucia Popp received the title of Kammersängerin in Vienna, and in 1983 she received the title of Bayerische Kammersängerin from the Bavarian State Opera in Munich. Lucia Popp was unquestionably at the height of her art when she passed away so prematurely in 1994 (of brain cancer).

It's well known that flashy, high, bright-timbered voices usually have trouble developing a warm tonal colour. But Lucia Popp was able to warm up her tone, which, with its sweet, meditative piano, English critic John Steane (in his book The Grand Tradition - Seventy Years of Singing on Record) compared to an oboe. Thus, from the Queen of the Night - probably the best exponent of the role on record (according to Steane) - Lucia Popp became a lyric singer with a dazzling technique, and further enriched the aural and colour possibilities of her voice by singing Lieder.

LUCIA POPP sings Song to the Moon by A. Dvorak

2009-12-03T16:13:00.000-08:00

Watch and listen Lucia Popp singing Song to the Moon for the gala reopening of the Zurich Opera House 1984. More about great Lucia Popp in my other blog post, here.

In the beginning of the aria, Dvorak uses large arpeggiated chords to invite the audience into the fairy tale land of Rusalka. The good-natured old Spirit of the Lake, Jezibab, is enjoying the singing of the Wood Nymphs, when his daughter, Rusalka, approaches him sadly. She tells him that she has fallen in love with a handsome young prince and wishes to become human in order to know the bliss of union with him. Deeply saddened, the Spirit of the Lake consents to her request, and leaves. All alone, Rusalka sings this beautiful aria, confiding in the moon the secrets of her longing.

Silver moon upon the deep dark sky,
Through the vast night pierce your rays.
This sleeping world you wander by,
Smiling on men's homes and ways.

Oh moon ere past you glide, tell me,
Tell me, oh where does my loved one bide?
Oh moon ere past you glide, tell me
Tell me, oh where does my loved one bide?

Tell him, oh tell him, my silver moon,
Mine are the arms that shall hold him,
That between waking and sleeping he may
Think of the love that enfolds him,

May between waking and sleeping
Think of the love that enfolds him.
Light his path far away, light his path,
Tell him, oh tell him who does for him stay!
Human soul, should it dream of me,
Let my memory wakened be.

Moon, moon, oh do not wane, do not wane,
Moon, oh moon, do not wane....

BTW, this is the song that gorgeous Italian-Croatian soprano, Vedrana Zerav put on her repertoire recently

Aleksey Igudesman and Richard Hyung-ki Joo

2009-12-01T18:42:00.000-08:00

I WILL SURVIVE by Aleksey Igudesman and Richard Hyung-ki Joo. Classical musicians could be funny too. They are great so enjoy this take on a popular, well, pop song.

Maria Callas: "Voi lo sapete", by Mascagni

2009-12-01T18:26:00.000-08:00

Maria Callas sings "Voi lo sapete" from Pietro Mascagni's Cavalleria Rusticana. NHK Tokio 1974 with very good best sound quality.

Cavalleria Rusticana (Rustic Chivalry) by Pietro Mascagni (1863-1945), a tragic one-act Italian opera composed in 1890. Like Leoncavallo's I Pagliacci, Cavalleria Rusticana also cultivated a new style in the late 19th-century Italian literary movement called verismo, meaning 'realism' or 'truthful.'

The opera depicts life in a Sicilian village where love, betrayal and integrity come about. The mood is set with a chorus and an Easter hymn, together with arias and duets that drive the tragic drama. Santuzza's "Voi lo sapete, o mamma" is a best-known solo. Cavalleria Rusticana include the passionate devotional hymn "Easter Chorus" and "Peasants' Chorus."

Maria Callas Otello: Ave Maria

2009-12-01T17:57:00.000-08:00

I am always in awe when listening to Maria Callas. She's neither the best singer nor the most beautiful voice ever but her charisma is unsurpassed. I never know what to write when posting Maria's art. So just listen and enjoy as I do...

I've noticed many are searching for Una voce poco fa translation and La donna e mobile lyrics so girls and guys, fellow opera lovers, just follow these two links and voila!, there you are...

Enrico Caruso sings Santa Lucia

2009-11-24T21:47:00.000-08:00

Santa Lucia is a traditional Neapolitan song. It was transcribed by Teodoro Cottrau (1827-1879) and published by the Cottrau firm, as a "barcarolla", at Naples in 1849. Cottrau translated it from Napuletano into Italian during the first stage of the Risorgimento, the first Neapolitan song to be given Italian lyrics. Its transcriber, who is very often credited as its composer, was the son of the French-born Italian composer and collector of songs Guillaume Louis Cottrau (1797-1847).

The Neapolitan lyrics of "Santa Lucia" celebrate the picturesque waterfront district, Borgo Santa Lucia, in the Bay of Naples, in the invitation of a boatman to take a turn in his boat, the better to enjoy the cool of the evening.

Great ENRICO CARUSO:

Santa Lucia English Translation:

The silver star shines on the sea,
the waves are gentle, the wind is favourable.
Come to my swift little boat!
Santa Lucia! Santa Lucia!

O dear Naples, o blessed land,
where creation was pleased to smile!
Come to my swift little boat!
Santa Lucia! Santa Lucia!

Italian Original Lyrics:
Sul mare luccica l'astro d'argento.
Placida e l'onda, prospero il vento.
Venite all'agile barchetta mia!
Santa Lucia! Santa Lucia!

O dolce Napoli, o suol beato,
ove sorridere volle il creato!
Venite all'agile barchetta mia!

Renata Tebaldi, Madama Butterfly Duet Part 2

2009-11-24T13:02:00.001-08:00

All that you need to know about Madame Butterfly in previous post, HERE.

Renata Tebaldi, Madama Butterfly Duet Part 1

2009-11-24T13:02:00.000-08:00

The entire text below thanks to the Music With Ease website. No copyright infringement, just a small token of gratidude for the friends from Music With Ease that are, see, getting three links from the Opera Lady :). Thank you guys, you're so much better source than Wikipedia!!!

Madame Butterfly -
Synopsis
(Original Italian title: Madama Butterfly)
An Opera by Giacomo Puccini

Opera in two acts, by Giacomo Puccini, words after the story of John Luther Long and the drama of David Belasco by L. Illica and G. Giacosa. English version by Mrs. R.H. Elkin. Produced unsuccessfully, La Scala, Milan, February 17, 1904, with Storchio, Zenatello, and De Luca, conductor Cleofante Campanini. Slightly revised, but with Act II divided into two distinct parts, at Brescia, May 28, 1904, with Krusceniski, Zenatello, and Bellati; when it scored a success. Covent Garden, London, July 10, 1905, with Destinn, Caruso, and Scotti, conductor Campanini. Washington, D.C., October, 1906, in English, by the Savage Opera Company, and by the same company, Garden Theatre, New York, November 12, 1906, with Elsa Szamozy, Harriet Behne, Joseph F. Sheehan, and Winifred Goff; Metropolitan Opera House, New York, February 11, 1907, with Farrar (Butterfly), Homer (Suzuki), Caruso (Pinkerton), Scotti (Sharpless), and Reiss (Goro).

CHARACTERS

MADAM BUTTERFLY (Cio-Cio-San)…………………….. Soprano
SUZUKI (her servant)………………………………………. Mezzo-Soprano
KATE PINKERTON………………………………………… Mezzo-Soprano
B. F. PINKERTON, Lieutenant, U.S.N………………………Tenor
SHARPLESS (U. S. Consul at Nagasaki)…………………Baritone
GORO ( a marriage broker)…………………………………Tenor
PRINCE YAMADORI………………………………………… Baritone
THE BONZE (Cio-Cio‘s uncle)……………………………. Bass
YAKUSIDE………………………………………………….… Baritone
THE IMPERIAL COMMISSIONER………………………..… Bass
THE OFFICIAL REGISTRAR, member of the Chorus……Baritone
CIO-CIO-SAN’S MOTHER, member of the Chorus……….Mezzo-Soprano
THE AUNT, member of the Chorus………..………..………Mezzo-Soprano
THE COUSIN, member of the Chorus………..………..… Soprano
TROUBLE (Cio-Cio-San’s Child)……………………………
Cio-Cio San’s relations and friends. Servants.

Time: Nineteenth century.
Place: Nagasaki.

Although "Madama Butterfly" is in two acts, the division of the second act into two parts by the fall of the curtain, there also being an instrumental introduction to part second, practically gives the opera three acts.

Act I. There is a prelude, based on a Japanese theme. This theme runs through the greater part of the act. It is employed as a background and as a connecting link, with the result that it imparts much exotic tone colour to the scenes. The prelude passes over into the first act without a break.

Lieutenant B. F. Pinkerton, U.S.N., is on the point of contracting a "Japanese marriage" with Cio-Cio-San, whom her friends call Butterfly. At the rise of the curtain Pinkerton is looking over a little house on a hill facing the harbour. This house he has leased and is about to occupy with his Japanese wife. Goro, the nakodo or marriage broker, who has arranged the match, also has found the house for him and is showing him over it, enjoying the American’s surprise at the clever contrivances found in Japanese house construction. Three Japanese servants are in the house, one of whom is Suzuki, Butterfly’s faithful maid.

Sharpless, the American Consul at Nagasaki, arrives. In the chat which follows between the two men it becomes apparent that Sharpless looks upon the step Pinkerton is about to take with disfavour. He argues that what may be a mere matter of pastime to the American Naval lieutenant, may have been taken seriously by the Japanese girl and, if so, may prove a matter of life or death with her. Pinkerton on the other hand laughs off his friend’s fears and, having poured out drinks for both, recklessly pledges his real American wife of the future. Further discussion is interrupted by the arrival of the bride with her relatives and friends.

After greetings have been exchanged, the Consul on conversing with Butterfly becomes thoroughly convinced that he was correct in cautioning Pinkerton. For he discovers that she is not contemplating the usual Japanese marriage of arrangement, but, actually being in love with Pinkerton, is taking it with complete seriousness. She has even gone to the extent, as she confides to Pinkerton, of secretly renouncing her religious faith, the faith of her forefathers, and embracing his, before entering on her new life with him. This step, when discovered by her relatives, means that she has cut herself loose from all her old associations and belongings, and entrusts herself and her future entirely to her husband.

Minor officials whose duty it is to see that the marriage contract, even though it be a "Japanese marriage," is signed with proper ceremony, arrive. In the midst of drinking and merry-making on the part of all who have come to the wedding, they are started by fierce imprecations from a distance and gradually drawing nearer. A weird figure, shouting and cursing wildly, appears upon the scene. It is Butterfly’s uncle, the Bonze (Japanese priest). He has discovered her renunciation of faith, now calls down curses upon her head for it, and insists that all her relatives, even her immediate family, renounce her. Pinkerton enraged at the disturbance turns them out of the house. The air shakes with their imprecations as they depart. Butterfly is weeping bitterly, but Pinkerton soon is enabled to comfort her. The act closes with a passionate love scene.

The Japanese theme, which I have spoken of as forming the introduction to the act, besides, the background to the greater part of it, in fact up to the scene with the Bonze, never becomes monotonous because it is interrupted by several other musical episodes. Such are the short theme to which Pinkerton sings "Tutto e Pronto" (All is ready), and the skippy little theme when Goro tells Pinkerton about those who will be present at the ceremony. When Pinkerton sings, "The whole world over, on business or pleasure the Yankee travels," a motif based on the "Star Spangled Banner," is heard for the first time.

In the duet between Pinkerton and Sharpless, which Pinkerton begins with the words, "Amore o grillo" (Love or fancy), Sharpless’s serious argument and its suggestion of the possibility of Butterfly’s genuine love for Pinkerton are well brought out in the music. When Butterfly and her party arrive, her voice soars above those of the others to the strains of the same theme which occurs as a climax to the love duet at the end of the act and which, in the course of the opera, is heard on other occasions so intimately associated with herself and her emotions that it may be regarded as a motif, expressing the love she has conceived for Pinkerton.

Full of feeling is the music of her confession to Pinkerton that she has renounced the faith of her forefathers, in order to be a fit wife for the man she loves:-- "Ieri son salita" (Hear what I would tell you). An episode, brief but of great charm, is the chorus "Kami! O Kami! Let’s drink to the newly married couple." Then comes the interruption of the cheerful scene by the appearance of the Bonze, which forms a dramatic contrast.

It is customary with Puccini to create "atmosphere" of time and place through the medium of the early scenes of his operas. It is only necessary to recall the opening episodes in the first acts of "La Bohème" and "Tosca." He has done the same thing in "Madam Butterfly," by the employment of the Japanese theme already referred to, and by the crowded episodes attending the arrival of Butterfly and the performance of the ceremony. These episodes are full of action and colour, and distinctly Japanese in the impression they make. Moreover, they afford the only opportunity throughout the entire opera to employ the chorus upon the open stage. It is heard again in the second act, but only behind the scenes and humming in order to give the effect of distance.

The love scene between Pinkerton and Butterfly is extended. From its beginning, "Viene la sera" (Evening is falling),

[Music excerpt]

to the end, its interest never flags. It is full of beautiful melody charged with sentiment and passion, yet varied with lighter passages, like Butterfly’s "I am like the moon’s little goddess"; "I used to think if anyone should want me"; and the exquisite, "Vogliatemi bene" (Ah, love me a little). There is a beautiful melody for Pinkerton, "Love, what fear holds you trembling." The climax of the love duet is reached in two impassioned phrases:-- "Dolce notte! Quante stelle" (Night of rapture, stars unnumbered),

[Music excerpt]

and "Oh! Quanti occhi fisi, attenti" (Oh, kindly heavens).

[Music excerpt]

Act II. Part I. Three years have elapsed. It is a long time since Pinkerton has left Butterfly with the promise to return to her "when the robins nest." When the curtain rises, after an introduction, in which another Japanese theme is employed, Suzuki, although convinced that Pinkerton has deserted her mistress, is praying for his return. Butterfly is full of faith and trust. In chiding her devoted maid for doubting that Pinkerton will return, she draws in language and song a vivid picture of his home-coming and of their mutual joy therein: - "Un bel di vedremo" (Some day he’ll come).

[Music excerpt]

In point of fact, Pinkerton really is returning to Nagasaki, but with no idea of resuming relations with his Japanese wife. Indeed, before leaving America he has written to Sharpless asking him to let Butterfly know that he is married to an American wife, who will join him in Nagasaki. Sharpless calls upon Butterfly, and attempts to deliver his message, but is unable to do so because of the emotions aroused in Butterfly by the very sight of a letter from Pinkerton. It throws her into a transport of joy because, unable immediately to grasp its contents, she believes that in writing he has remembered her, and must be returning to her. Sharpless endeavours to make the true situation clear to her, but is interrupted by a visit from Yamadori, a wealthy Japanese suitor, whom Goro urges Butterfly to marry. For the money left by Pinkerton with his little Japanese wife has dwindled almost to nothing, and poverty stares her in the face. But she will not hear of an alliance with Yamadori. She protests that she is already married to Pinkerton, and will await his return.

When Yamadori has gone, Sharpless makes one more effort to open her eyes to the truth. They have a duet, "Ora a noi" (Now at last), in which he again produces the letter, and attempts to persuade her that Pinkerton has been faithless to her and has forgotten her. Her only reply is to fetch in her baby boy, born since Pinkerton’s departure. Her argument is that when the boy’s father hears what a fine son is waiting for him in Japan, he will hasten back. She sings to trouble, as the little boy is called:-"Sai cos’ ebbe cuore" (Do you hear, my sweet one, what that bad man is saying). Sharpless makes a final effort to disillusion her, but in vain. If Pinkerton does not come back, there are two things, she says, she can do -- return to her old life and sing for people, or die. She sings a touching little lullaby to her baby boy, Suzuki twice interrupting her with the pathetically voiced exclamation, "Poor Madam Butterfly!"

A salute of cannon from the harbour announces the arrival of a man-of-war. Looking through the telescope, Butterfly and Suzuki discover that it is Pinkerton’s ship, the "Abraham Lincoln." Now Butterfly is convinced that Sharpless is wrong. Her faith is about to be rewarded. The man she loves is returning to her. The home must be decorated and made cheerful and attractive to greet him. She and Suzuki distribute cherry blossoms wherever their effect will be most charming. The music accompanying this is the enchanting duet of the flowers, "Scuotti quella fronda diciliegio" (Shake that cherry tree till every flower). Most effective is the phrase, "Gettiamo a mani piene mammole e tuberose" (In handfuls let us scatter violets and white roses.)

[Music excerpt]

Butterfly adorns herself and the baby boy. Then with her fingers she pierces three holes in the paper wall of the dwelling. She, Suzuki, and the baby peer through these, watching for Pinkerton’s arrival. Night falls. Suzuki and the boy drop off to sleep. Butterfly rigid, motionless, waits and watches, her faith still unshaken, for the return of the man who has forsaken her. The pathos of the scene is profound; the music, with the hum of voices, borne upon the night from the distant harbour, exquisite.

Act II. Part II. When the curtain rises, night has passed, dawn is breaking. Suzuki and the baby are fast asleep, but Butterfly still is watching. Again Puccini employs a Japanese melody (the "vigil" theme).

[Music excerpt]

When Suzuki awakes, she persuades the poor little "wife" to go upstairs to rest, which Butterfly does only upon Suzuki’s promise to awaken her as soon as Pinkerton arrives. Pinkerton and Sharpless appear. Suzuki at first is full of joyful surprise, which, however, soon gives way to consternation, when she learns the truth. Pinkerton himself, seeing about him the proofs of Butterfly’s complete loyalty to him, realizes the heartlessness of his own conduct. There is a dramatic trio for Pinkerton, Sharpless, and Suzuki. Pinkerton who cannot bear to face the situation, rushes away, leaving it to Sharpless to settle matters as best he can.

Butterfly has become aware that people are below. Suzuki tries to prevent her coming down, but she appears radiantly happy, for she expects to find her husband. The pathos of the scene in which she learns the truth is difficult to describe. But she does not burst into lamentations. With a gentleness which has been characteristic of her throughout, she bears the blow. She even expresses the wish to Kate, Pinkerton’s real wife, that she may experience all happiness, and sends word to Pinkerton that, if he will come for his son in half an hour, he can have him.

Sharpless and Mrs. Pinkerton withdraw. In a scene of tragic power, Butterfly mortally wounds herself with her father’s sword, the blade of which bears the inscription, "To die with honour when one can no longer live with honour," drags herself across the floor to where the boy is playing with his toys and waving a little American flag, and expires just as Pinkerton enters to take away the son whom thus she gives up to him.

For examples that already have been given of modern Italian opera, it is clear that "atmosphere," local colour, and character delineation are typical features of the art of Italy’s lyric stage as it flourishes today. In "Madama Butterfly" we have exotic tone colour to a degree that has been approached but not equaled by Verdi in "Aida." Certain brief scenes in Verdi’s opera are Egyptian in tone colour. In "Madama Butterfly" Japanese themes are used in extenso, and although the thrilling climaxes in the work are distinctively Italian, the Japanese under-current, dramatic and musical, always is felt. In that respect compare "Madama Butterfly" with a typical old Italian opera like "Lucia di Lammermoor" the scene of which is laid in Scotland, but in which there is nothing Scotch save the costumes -- no "atmosphere," no local colour. These things are taken seriously by modern Italian composers, who do not ignore melody, yet also appreciate the value of an eloquent instrumental support to the voice score; whereas the older Italian opera composers were content to distribute melody with a lavish hand and took little else into account.

In character delineation in the opera Butterfly dominates. She is a sweet, trusting, pathetic little creature -- traits expressed in the music as clearly as in the drama. The sturdy devotion of Suzuki is, if possible, brought out in an even stronger light in the opera than in the drama, and Sharpless is admirably drawn. Pinkerton, of course, cannot be made sympathetic. All that can be expected of him is that he be a tenor, and sing the beautiful music allotted to him in the first act with tender and passionate expression.

(...)

I "did" the first night of David Belasco’s play "Madam Butterfly" for the New York Herald. The production occurred at the Herald Square Theatre, Broadway and Thirty-fifth Street, New York, March 5, 1900, with Blanche Bates as Butterfly. It was given with "Naughty Anthony," a farce-comedy also by Belasco, which had been a failure. The tragedy had been constructed with great rapidity from John Luther Long’s story, but its success was even swifter. At the Duke of York’s Theatre, London, it was seen by Francis Nielsen, stage-manager of Covent Garden, who immediately sent word to Puccini urging him to come from Milan to London to see a play which, in his hands, might well become a successful opera. Puccini came at once, with the result that he created a work which has done its full share toward making the modern Italian lyric stage as flourishing as all unprejudiced critics concede it to be.

The Milan production pf "Madama Butterfly" was an utter failure. The audience hooted, the prima donna was in tears. The only person behind the scenes not disconcerted was the composer, whose faith in his work was so soon to be justified.

Jussi Björling / Renata Tebaldi - O soave fanciulla (1956)

2009-11-20T23:46:00.000-08:00

Two of the greatest singers ever, Jussi Björling & Renata Tebaldi sing O soave fanciulla (1956)... and so these two titans of the opera world close that door and we hear their radiant voices soaring into the heavens, and this is all we have left of them to remember. A treasured black and white video.

English Translation:

Oh lovely girl, oh sweet face
bathed in the soft moonlight.
I see you in a dream
I'd dream forever!

Ah! Love, you rule alone!

Already I taste in spirit
the heights of tenderness!
Love trembles at our kiss!

How sweet his praises
enter my heart...
Love, you alone rule!
He kisses Mimi.
No, please!
She frees herself.
You're mine!

Your friends are waiting.
You send me away already?
I dare not say what I'd like...

Tell me.
If I came with you...?

What? Mimi!
It would be so fine to stay here.
Outside it's cold.

I'd be near you!
And when we come back?
Coquettishly
Who knows?
Gallantly
Give me your arm, my dear...

Your servant, sir...
Tell me you love me!

I love you.
They exit, arm in arm
Love! Love! Love!

Renata Tebaldi as Mimì: "Sì, mi chiamano Mimì"

2009-11-20T23:26:00.000-08:00

Classic Performance from the great Renata Tebaldi with equally great Jussi Bjorling (1956) G. PUCCINI: La Boheme Opera - Act 1., "Sì, mi chiamano Mimì".

"I know that my voice has entered into the hearts of many people and has caused beautiful reactions. Some, hearing me sing, have become more religious; some who were ill felt joy; friends, while in hospital, played my tapes whenever they felt ill; they all said that my voice gave them the strength needed to stand the pain. Therefore, how can I not be thankful for this great gift?"

- Renata Tebaldi (1922-2004)

Maria Callas as Mimì -- "Sì, mi chiamano Mimì"

2009-11-20T23:11:00.001-08:00

Giacomo Puccini wrote this beautiful opera. Listen and enjoy Maria Callas rendition of the most famous aria, "Sì, mi chiamano Mimì". More about aria + English Translation in other blog post, here.

Giacomo Antonio Domenico Michele Secondo Maria Puccini
Born: Lucca, Grand Duchy of Tuscany, 22 Dec. 1858
Died: Brussels, Belgium, 29 Nov. 1924

Operas by Puccini
Dates and locations are those of premieres.

Le Villi (31.5.1884 Teatro dal Verme, Milan)
Le Villi [rev] (26.12.1884 Teatro Regio, Turin)
Edgar (21.4.1889 Teatro alla Scala, Milan)
Edgar [rev] (28.2.1892 Teatro Communale, Ferrara)
Manon Lescaut (1.2.1893 Teatro Regio, Turin)
La bohème (1.2.1896 Teatro Regio, Turin)
Tosca (14.1.1900 Teatro Costanzi, Rome)
Madama Butterfly (17.2.1904 Teatro alla Scala, Milan)
Madama Butterfly [rev] (28.5.1904 Teatro Grande, Brescia)
Edgar [rev 2] (8.7.1905 Teatro Colón?, Buenos Aires)
Madama Butterfly [rev 2] (10.7.1905 Covent Garden, London)
Madama Butterfly [rev 3] (28.12.1905 Opéra Comique, Paris)
La fanciulla del West (10.12.1910 Metropolitan Opera, New York)
La rondine (27.3.1917 Opéra, Monte Carlo)
Il trittico (14.12.1918 Metropolitan Opera, New York):
Turandot (25.4.1926 Teatro alla Scala, Milan)

Angela GHEORGHIU sings "Si mi chiamano Mimi" from La Bohème by Puccini

2009-11-20T23:11:00.000-08:00

Angela Gheorghiu sings Mimì's most beautiful and famous aria "Sì, mi chiamano Mimì" when she introduces herself to Rodolfo played by Roberto Alagna in Puccini's opera 'La Bohème', recorded in Orange on August 2, 2005.

Role : Mimi, a seamstress
Voice Part : soprano
Fach : lyric soprano
Setting : Christmas Eve in a room in an attic
Synopsis : After Rodolfo tells her that he has fallen in love with her, he asks Mimi to tell him something of her. She responds, telling him (among other things) that her name is Lucia, although she is called Mimi.

ENGLISH TRANSLATION

Yes, they call me Mimi,
But my name is Lucy
My history is brief
To cloth or to silk
I embroider at home or outside...
I am peaceful and happy
And it is my pastime
To make lilies and roses
I like these things
That have so sweet smell,
That speak of love, of spring,
That speak of dreams and of chimera
These things that have poetic names
Do you understand me?

They call me Mimi,
And why I don't know.
Alone, I make
Lunch for myself the smae.
I do not always go to mass,
But I pray a lot to the Lord.
I live alone, alone.
There is a white little room
I look upon the roofs and heaven.
By when the thaw comes
The first sun is mine
The first kiss of April is mine!
Rose buds in a vase
Leaf and leaf I watch it!
That gentle perfume of a flower!
But the flowers that I make
Ah me! they don't have odor!
About me I would not know how to tell
I am your neighbor who come unexpectedly
to bother you.

Translation by Terri Eickel

Elisabeth Schwarzkopf sings O mio babbino caro

2009-11-15T23:32:00.000-08:00

Elisabeth Schwarzkopf's night. Famous O mio babbino caro aria. Nothing much to say, just listen and enjoy her beauty...

O Mio Babbino Caro Italian Original Lyrics

O mio babbino caro,
mi piace, è bello bello,
vo’andare in Porta Rossa
a comperar l’anello!
Si, si, ci voglio andare!
E se l’amassi indarno,
andrei sul Ponte Vecchio
ma per buttarmi in Arno!
Mi struggo e mi tormento,
O Dio! Vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!

O Mio Babbino Caro Lyrics Translation

I've also noticed many are searching for Una voce poco fa translation and La donna e mobile lyrics so girls and guys, fellow opera lovers, just follow these two links and voila!, there you are...

Elisabeth Schwarzkopf - "Libera me" (Verdi, Messa da Requiem)

2009-11-15T23:18:00.000-08:00

Elisabeth Schwarzkopf sings "Libera me"Giuseppe Verdi: Messa da Requiem
"Libera me" - Part 1

Lyrics: Libera Me (English Translation below Latin original)

Libera me, Domine, de morte aeterna,
in die illa tremenda,
quando coeli movendi sunt et terra.
Dum veneris judicare saeculum
per ignem.
Tremens factus sum ego, et timeo,
dum discussio venerit atque
ventura ira
quando coeli movendi sunt et terra.
Dies illa, dies irae, calamitatis et miseriae,
dies magna et amara valde.
Dum veneris judicare saeculum
per ignem.
Requiem aeternam dona eis, Domine
et lux perpetua luceat eis.

Deliver me, o Lord from everlasting death
on that dreadful day,
when the heavens and the earth shall be moved.
When thou shalt come to judge the world
by fire.
I quake with fear and I tremble,
awaiting the day of account and
the wrath to come
when the heavens and the earth shall be moved.
That day, the day of anger, of calamity, of misery,
that great day and most bitter.
When thou shalt come to judge the world
by fire.
Eternal rest grant them, o Lord,
and let perpetual light shine upon them.

Date of Recording: 6/1954
Venue: Milan Teatro alla Scala

Music Reading Made Easy

Elisabeth Schwarzkopf sings in English!

2009-11-15T23:10:00.000-08:00

Great Elisabeth Schwarzkopf sings in English! La Traviata (Violetta's aria from first act).

Mozart's for Beginners Part 2

2009-10-27T21:46:00.000-07:00

Mozart's music in this part:

1. The Magic Flute - Bernard Haitink/Chor und Symphonieorchester des Bayerischen Rundfunks
2. Eine Kleine Nachtmusik - Neville Marriner/Academy of St. Martin in the Fields
3. Symphony No. 5 - Trevor Pinnock/The English Concert
4. Piano Concerto No. 23 - Christoph Eschenbach/London Philharmonic

Mozart's for Beginners Part 1.

2009-10-27T21:39:00.000-07:00

I do not know is there a God but if she existed Mozart would've been her most favorite son. His music is simple beyond this world.

In this video:
1. Jupiter Symphony - Levine/Chicago Symphony Orchestra
2. Piano Concerto No. 20 - Bilson/Gardiner/English Baroque Soloists
3. The Abduction at the Seraglio - Gardiner/Monteverdi Choir
4. Symphony 40 in G Minor - Maazel/New York Philharmonic
5. Piano Sonata K.545 - Jean Bernard Pommier
6. Requiem in D Minor - Philippe
Here you can hear Mozart's Queen of the Night by Lucia Popp

Le Fantôme de l'Opéra (The Phantom of the Opera)

2009-10-24T21:30:00.000-07:00

Emily Rossum sings aria Think of me from The Phantom of the Opera (original title: Le Fantôme de l'Opéra), that's a novel by French writer Gaston Leroux. It was first published as a serialization in Le Gaulois from September 23, 1909 to January 8, 1910. Initially, the story sold very poorly upon publication in book form and was even out of print several times during the twentieth century, despite the success of its various film and stage adaptations.

The most notable of these were the 1925 film depiction and Andrew Lloyd Webber's 1986 musical. The Phantom of the Opera musical is now the longest running Broadway show in history, and one of the most lucrative entertainment enterprises of all time.

A na posledak ja skazy...(from A cruel romance)

2009-10-24T20:56:00.000-07:00

Not an opera (from the movie A Cruel Romance) but Larisa Guzeyeva is so beautiful and natural and so believable in this scene where she sings so beautifully that I felt I should put her here anyway. Enjoy!!

Boris Christoff - Song of the Volga Boatmen

2009-10-24T20:45:00.000-07:00

Boris Christoff sings the Song of the Volga Boatmen (Russian title:Эй, ухнем!). This is a well-known traditional Russian song collected by Mily Balakirev, and published in his book of folk songs.

It is a genuine barge-haulers' shanty. The song, also called The Volga Burlak's Song, was inspired by Repin's famous painting, Burlaks on the Volga, depicting the suffering of the people in the depth of misery in Tsarist Russia.

(Burlaks of the Volga)

The song was popularised by Feodor Chaliapin, and has been a favourite concert piece of bass singers ever since. Glenn Miller took the song to #1 in the US charts in 1941.

Spanish composer Manuel De Falla wrote an arrangement of the song, which was published under the name Canto de los remeros del Volga (del cancionero musical ruso) in 1922. He did so at the behest of diplomat Ricardo Baeza, who was working with the League of Nations to provide financial relief for the more than two million Russian refugees who had been displaced and imprisoned during World War I. All proceeds from the song's publication were donated to this effort.

Nikola Subic Zrinjski -- Unknown Croatian Opera Finale

2009-10-24T20:15:00.000-07:00

Almost totally unknown Croatian opera by Ivan Zajc, Nikola Subic Zrinjski, tells a story about one of the most heroic albeit tragic episodes in that small nation's history. After 3 days of defending the city walls most Croats died. Zrinski led a force of 600 soldiers out of the burning walls against 80,000 Turks. 24,000 Turks died in the final battle. But Turkish Suleiman died just before the last charge of Zrinski!! If Croats would have waited only a day or two (it was impossible to sustain the siege due to lack of food and water so Croats decided to die in a final battle, taking as much enemies they were able to take with them) they most likely would survived because Turks withdrew after Suleiman's death!!

A beautiful opera, mostly adored in, interesting enough, Japan. As a curiosity here you may find 1,000 Japanese sing this same aria!!

Maria Callas "Non mi dir" Don Giovanni Mozart

2009-10-24T20:07:00.000-07:00

A woman whose name says it all -- Maria Callas -- sings "Non mi dir" from Don Giovanni by a man whose name says it all - Wolfgang Amadeus Mozart!

Role : Donna Anna, a noblewoman
Voice Part : soprano Fach : dramatic coloratura
Setting : A room in the palace of Donna Anna
Range : E4 to A#/Bb6. Tessitura : G4 to A6
Synopsis : Donna Anna, who is still strongly affected by her father's death, asks that Don Ottavio cease talking about marriage until she has had time to get over this tragedy. She still loves him, she says, but would like him to be patient.

English Translation:
I cruel? Ah no, my dearest! It grieves me much to postpone a bliss we have for long desired... But what would the world say? Do not tempt the fortitude; of my tender heart, which already pleads your loving cause. Say not, my beloved, that I am cruel to you: you must know how much I loved you, and you know what I am true. Calm your torments, if you would not have me die of grief. One day, perhaps, Heaven again will smile on me.

Read Music Made Easy

Elisabeth Schwarzkopf - Ah, chi mi dice mai - Don Giovanni

2009-10-24T20:00:00.000-07:00

Elisabeth Schwarzkopf sings the Donna Elvira's first aria: "Ah, chi mi dice mai" from "Don Giovanni" by Mozart. Great Tito Gobbi sings Don Giovanni!

Matti Salminen: "In diesen heilg'en Hallen" | "The magic flute" by Mozart

2009-10-24T19:38:00.000-07:00

Watch, listen and enjoy Matti Salminen rendition of the "In diesen heilg'en Hallen" from "The magic flute" by Wolfgang Amadeus Mozart. Matti's a very large man with an enormous voice and an expressive face. According to one reviewer, in his prime Salminen was "... simply the largest bass voice in captivity. It is not just its roar in powering over Wagner's maximum orchestra, but the way he carves the sonority and forms the color."

Role : Sarastro, high priest of Isis and Osiris

Voice Part : bass Fach : heavy bass

Setting : Pamina's room

Range : F#/Gb2 to C#/Db4. Tessitura : B3 to C#/Db4

Synopsis : After Pamina pleads with Sarastro to have mercy on her scheming mother, Sarastro sings of the ideals of his Brotherhood.

English Translation:

Within these hallowed halls
One knows not revenge.
And should a person have fallen,
Love will guide him to duty.
Then wanders he on the hand of a friend
Cheerful and happy into a better land.
Within these hallowed walls,
Where human loves the human,
No traitor can lurk,
Because one forgives the enemy.
Whomever these lessons do not please,
Deserves not to be a human being.

Don Giovanni by Mozart | Quartet "Non Ti Fidar"

2009-10-24T18:53:00.000-07:00

Carlo - Maria Giulini; The Don - Eberhard Wachter; Anna - Joan Sutherland; Elvira - Elisabeth Schwarzkopf.

Angela Gheorghiu - Sempre Libera - La Traviata - Verdi

2009-09-18T11:23:00.000-07:00

Not the best sound but mesmerizing performance by a real Diva of our time, Angela Gheorghiu. Enjoy. I did not include English translation because the clip has subtitles.

L'Elisir: E sul ti pur la barbara! Angela Gheorghiu

2009-09-18T11:06:00.000-07:00

Angela Gheorghiu in 1996 production of L'Elisir d'Amore in Paris. More on L'elisir d'amore (The Elixir of Love) by Gaetano Donizetti on my other blog entry, here.

L'Elisir d'Amore: Quanto amore! Angela Gheorghiu and Simone Alaimo

2009-09-18T11:00:00.000-07:00

Angela Gheorghiu and Simone Alaimo. Paris Opera. 1996. 'Maldito Candelabro'

Angela is the perfect Adina: her beauty, voice and acting skills are perfect for this role. This DVD is a delightful production where Angela shines opposite her husband. I find Simone Alaimo the best Dulcamara i've ever heard...he has a great ability with comic timing and i find he sings this role incredibly well.

L'elisir d'amore (The Elixir of Love) is a melodramma giocoso in two acts by the Italian composer Gaetano Donizetti. Felice Romani wrote the Italian libretto after Eugène Scribe's libretto for Daniel-François-Esprit Auber's Le philtre (1831).

The premiere was at the Teatro della Canobbiana, Milan on 12 May 1832.

Place: A small village in the Basque Country.
Time: The end of the 18th century

Act 1
The opening of this comic opera finds Nemorino, a poor peasant, in love with Adina, a beautiful landowner, who torments Nemorino with her indifference. When Nemorino hears Adina reading to her workers the story of Tristan and Isolde, he is convinced that a magic potion will gain Adina's love for him. He is afraid she loves the self-important Sergeant Belcore who appears with his regiment and immediately proposes marriage to Adina in front of everyone. The traveling quack salesman, Dulcamara (the self-proclaimed Dr. Encyclopedia), arrives, selling his bottled cure-all to the townspeople. Nemorino innocently asks Dulcamara if he has anything like Isolde's love potion. Dulcamara says he does, selling it to Nemorino at a price matching the contents of Nemorino's pockets.

Unknown to Nemorino, the bottle contains only wine. And, in order to make a timely escape, Dulcamara tells Nemorino the potion will not take effect until the next day. Nemorino drinks it, feeling its effects immediately. Emboldened by the 'elixir' Nemorino encounters Adina, and although she teases him mercilessly, the audience senses that the attraction just might be mutual, were it not for the marriage proposal of the impressive and pompous sergeant. In fact, their wedding date had been set for six days hence. Nemorino's confidence that tomorrow he will win Adina by virtue of the elixir, causes him to act indifferently toward her. This upsets Adina, but she attempts to hide her feelings. Instead, she ups the ante as well by agreeing to Sergeant Belcore's alternate suggestion: that they marry immediately as he has just received orders that the regiment must ship off the next morning. Both Adina and the Sergeant gauge Nemorino's reaction to this news, the Sergeant with resentment, Adina with despair. Nemorino is, of course panicked, and cries out for Doctor Dulcamara to come to his aid.

Act 2
Adina's outdoor wedding party is in full swing. Dr. Dulcamara is there, and performs a song with Adina to entertain the guests. The notary arrives to make the marriage official. Adina is sad to see that Nemorino has not appeared. Everyone goes inside to sign the wedding contract. But Dulcamara stays outside, helping himself to food and drink. Nemorino appears, having seen the notary, realizes that he has lost Adina. He sees the Doctor and frantically begs him for more elixir, of the type that will work immediately. But because Nemorino has no money, the Doctor refuses, disappearing inside. The Sergeant emerges, alone, wondering aloud why Adina has suddenly put off the wedding and the signing of the contract. Nemorino spots his rival, but is powerless to do anything. The Sergeant asks about Nemorino's dejection. When Nemorino says he has no money Belcore immediately suggests that if he joins the army he'll be paid immediately. He produces a contract, which Nemorino signs (with an X) in return for the cash Belcore gives him on the spot. Nemorino privately vows to fly to Dulcamara for more potion, while Belcore muses that he has easily dispatched of his rival by sending him off to war.

Later that evening the women of the village are gossiping that Nemorino is unaware that he has just inherited a large fortune from his deceased uncle. They spot Nemorino, who has clearly spent his military signing bonus, and has bought and consumed a large amount of 'elixir' (wine again) from Dr. Dulcamara. The women approach Nemorino with overly friendly greetings, the likes of which he has never seen. This is proof to Nemorino that this dose of the elixir has worked. Adina sees Nemorino in a jolly mood and, encountering Dr. Dulcamara, wonders what has gotten into him. Dulcamara, unaware that Adina is the object of Nemorino's affection, tells her the story of the smitten bumpkin who spent his last penny on the elixir, and even signed his life away, joining the army for money to get more, so desperate was he to win the love of some unnamed cruel beauty. Adina immediately realizes Nemorino's sincerity, and regrets teasing him. She falls for Nemorino, basking in the sincerity of his love. Dulcamara interprets this behavior as some sort of condition requiring a cure by one of his potions.

They depart. Nemorino appears alone, pensive, reflecting on a tear he saw in Adina's eye when he was ignoring her earlier. Based on that tear alone, he is sincerely convinced that Adina loves him. She enters, asking him why he has chosen to join the army and leave the town. When Nemorino says he's seeking a better life, Adina responds by telling him he is loved, and that she has purchased his military contract from Sergeant Belcore. She offers the cancelled contract to Nemorino, asking him to take it. He is free now. She says, however, that if he stays, he will no longer be sad. As he takes the contract Adina turns to leave. Nemorino believes she is abandoning him and flies in to a desperate fit, vowing that if he is not loved, if the elixir has not worked, and the Doctor has fooled him, then he might as well go off and die a soldier. Adina stops him and confesses that she loves him. Nemorino is ecstatic. Adina begs him to forgive her for teasing him. He does so with a kiss. The sergeant returns, seeing the two in an embrace. Adina explains that she loves Nemorino. The Sergeant takes the news in stride, noting that there are plenty of other women in the world. Dulcamara, his bags packed, pops out of a doorway, adding that he will happily provide elixir for the Sergeant's next conquest. A crowd has gathered by now, all agreeing that the elixir has done its job as they bid a fond farewell to the doctor.

Maria Callas: "Ombra Leggiera" (Shadow Song)

2009-09-18T00:18:00.000-07:00

Maria Callas is like a bird trying to sing as many fiorituras as possible. Absolutely amazing!! It is difficult to understand how it is possible a musician, as great Meyerbeer was, is unknown and forgotten as it be today.

Maria Callas: "Voi lo sapete" Cavalleria Rusticana (Mascagni)

2009-09-17T23:59:00.000-07:00

Maria Callas sings "Voi lo sapete, o mamma"; Santuzza's aria from Cavalleria Rusticana:

Role: Santuzza, a peasant girl
Voice Part: soprano
Fach: spinto
Setting: Easter Sunday in the main square of a Sicilian village, Italy, late 1800s
Range: B4 to A6. Tessitura : F4 to G5
Synopsis: Santuzza tells Mamma Lucia that when her son left to join the Army, he promised to marry Lola. When he came back, however, Lola had married someone else. So, he fell in love with Santuzza which made Lola so jealous that she has stolen him away from Santuzza.

English Translation

You know, mamma, that
Before he went off to be a soldier
Turiddu swore to Lola
To be eternally faithful
He returned to find her married;
And with a new love
He wanted to extinguish the flame
That burnt in his heart:
He loved me, I loved him.
She, envious of my happiness,
Forgotten by her husband,
Burning with jealousy,
She stole him from me.
I am left, dishonoured:
Lola and Turiddu love each other,
And I weep!

Renata Tebaldi "O mio babbino caro" | Live Broadcast 1957!!

2009-09-07T08:50:00.000-07:00

Beautiful interpretation of the Great Renata Tebaldi! Listen to her incredibly beautiful voice... she really has such an awesome voice & vibrato!

Ettore Bastianini in - AIDA Live in Vienna 1963

2009-09-07T08:41:00.000-07:00

Such a unique and beautiful voice...it could never be mistaken for another. Ettore is an artist that has past for all time... no other shall replace him. Leontyne Price also sounds great in this rare clip.

Luciano Pavarotti: Celeste Aida from Aida by Giuseppe Verdi

2009-09-07T08:30:00.000-07:00

Celeste Aida - Romanza from Act I of the Italian opera, Aïda by Giuseppe Verdi
Libretto : Antonio Ghislanzoni. Sung by great Luciano Pavarotti. This performance was recorded in La Scala, in 1986.

Role: Radamès, an officer in the Egyptian army
Voice Part : tenor
Fach : dramatic tenor/heldentenor
Setting : A hall in the Palace of the Kings at Memphis.
Range : Has not been entered yet.
Synopsis : Rumors of an impending war with Ethiopia have been circulating. Radamès has just been told by Ramfis that Isis has named a new, young man to command the Egyptian Army. Radamès wishes it were he so he could free Aida.

Celeste Aïda, Radamès's aria from Aïda, English Translation:

If I were that warrior!
If my dream came true!
An army of brave men lead by me
And all victories and the praise of Menfi
And to you, my sweet Aida,
Returning wrapped in laurels
I would say: I've fought for you,
I've won for you!

Heavenly Aida, divine shape,
mystic garland of light and flowers,
you are queen of my thoughts,
you are the splendour of my life
I would like to give you your sky back,
the sweet breeze of the fatherland:
to put a regal garland on your heart
to build up a throne for you next to the sun

O sole mio by a baritone!! ETTORE BASTIANINI

2009-09-03T22:50:00.000-07:00

Just a taste of a different flair. Will be back with more on Maestro Ettore Bastianini ASAP. Until, enjoy his rendition of O sole mio:

Enrico Caruso - 'Cielo e mar' by Ponchielli from 'La Gioconda'

2009-09-03T16:59:00.000-07:00

A voice of the century, Enrico Caruso sings Cielo e mar, Romanza from Act II of the Italian opera, La Gioconda by Amilcare Ponchielli

Role : Enzo Grimaldo, a Genoese nobleman
Voice Part : tenor
Fach : spinto
Setting : The deck of Enzo's ship, 17th century
Range : D3 to A#/Bb5.
Tessitura : G3 to G4
Synopsis : As Enzo stands watch on his ship, he awaits the arrival of his love Laura. He sings of the sea and sky around him and his love.

English Translation:

Sky and sea! the airy curtain
sparkles like a holy altar
Will my angel come from the sky?
will my angel come from the sea?
Here I wait for her; the wind
now blows hot with love
Ah, that man who sighs for you,
he overcomes you, o golden dreams!
Through the thick air
neither shore nor mountains appear
The horizon kisses the waves;
the waves kiss the horizon.
Here in the darkness, where I lie
waiting with racing heart
Come, o woman, come to my kiss
... of life and of love.

(translation by Mark D. Lew)

This is combining the BEL CANTO technique with the new veristic qualities that Enrico Caruso gained in time. That's why his voice is regarded as the GREATEST!! NO ONE in the history of recorded sound had these qualities. Beauty, power and technical skills above anything we ever heard. All vocalists should learn from this example of virtuosity! its perfect. And made all in ONE take!

Jussi Björling Documentary Part 3:

2009-09-03T11:16:00.000-07:00

Jussi Björling Documentary Part 3:

Jussi Björling Documentary Part 2:

2009-09-03T11:07:00.000-07:00

Jussi Björling Documentary Part 2:

Jussi Björling Documentary - Part 01

2009-09-03T10:50:00.000-07:00

Tenors of the 78 R.P.M. era series.

From the Jussi Björling Museum: Jussi Björling's total number of performances (statistics including information about the museum's holdings connected with the performances)

In all, 2980 performances by Björling are known and dated (June 2009). Of these, 932 were given by him as a child together with his brothers Olle and Gösta and mostly also with his father David, 2048 as a tenor. (For annual numbers, see details under "More information" to the right.) This number includes opera performances (Cavalleria rusticana and Pagliacci on the same evening being counted as two performances), concerts, recitals, radio programmes and singing contributions of various kinds. Of the total number, 932 are complete opera performances.

Jussi Björling Documentary Part 1:

Lucia Popp & Gundula Janowitz: "Sull' aria" from "Le Nozze di Figaro"

2009-09-02T18:55:00.000-07:00

Two amazing voices blending perfectly! Lucia Popp and Gundula Janowitz in "Le Nozze di Figaro" conducted by Georg Solti at Paris Opera Garnier in 1980.
The very famous stage production by Giorgio Strelher.

This is one of favourite Mozart's Opera Arias. The most beautiful tunes! Such a simple, crystal clean melody but magnificent! This is like two angels sing...

Classical Music and Opera

Elisabeth Schwarzkopf: "Signore, ascolta!" from Turandot

Renata Tebaldi & Jussi Björling in Turandot

Signore, ascolta! by Renata Tibaldi

Maria Callas: "Signore ascolta!" from Turandot | Lyrics & Translation

Turandot Synopsis | Giacomo Puccini's Masterpeace

Renata Tebaldi as Tosca: Vissi d'arte (lyrics and translation)

Maria Callas as Tosca: Vissi d'arte (lyrics and translation)

Sissel: O Mio Babbino Caro | Gianni Schicchi | Giacomo Puccini

Angela GHEORGHIU: O mio babbino caro | Gianni Schicchi | Giacomo Puccini

Maria Callas: O Mio Babbino Caro by Giacomo Puccini

O Mio Bambino Caro Lyrics & English Translation

Elisabeth Schwarzkopf sings O mio babbino caro

Renata Tebaldi sings O mio babbino caro

Maria Callas sings O mio babbino caro

Maria Callas Biography: After Triumph, Late Years

Maria Callas Biography: Return and Triumph

Maria Callas Biography: A Triumph in Paris and "Onassis Years"

Maria Callas Biography: New York Conquered - Problems in Italy

Maria Callas Biography: Triumphant Years of Success

Maria Callas Biography: Difficult Years

Maria Callas Biography: The Turning Point

Maria Callas Biography: Her Career Starts (1940s)

Maria Callas Biography: Early Years

Carmen: Habanera Translation

Lucia Popp and Placido Domingo - BRINDISI (La traviata)

Elina Garancha as Carmen: CHANSON BOHÉMIENNE (Gypsy Song) w. Translation

Opera Lady's TOP 5 Arias by Visitors

Elina Garancha: Mon coeur s’ouvre à ta voix (translation)

Looking for Maria Callas: Mon coeur s’ouvre à ta voix version?

Luciano Pavarotti - M'appari, Tutt' Amor

The Great Enrico Caruso sings "M'appari, tutt' amor"

Jussi Björling: M'appari, Tutt' Amor

Emma Kirkby: Laudate Dominum | Mozart & Christopher Hogwood

Enrico Caruso Santa Lucia

Mario Lanza - Santa Lucia

Mario Lanza - Parlami d'Amore Mariu

Elina Garanca - Mon coeur s'ouvre à ta voix

Maria Callas: Mon coeur s’ouvre à ta voix

Shirley Verrett as Orfeo: "Che faro senza Euridice"

Luciano Pavarotti: Che farò senza Euridice - No. 43

Enrico Caruso: La donna è mobile

Luciano Pavarotti: La donna e mobile

La donna è mobile live by Jussi Björling - lyrics and English Translation

Maria Callas: Una voce poco fa (translation)

A Discovery: Skin Encyclopedia and Maria Callas's Skin

Anne Sophie von Otter - Sieben frühe lieder, Nr. 3 Die Nachtigall

LUCIA POPP: "Non Più Di Fiori" (Her Last Recording)

Lucia Popp's "Queen of the Night"

More about LUCIA POPP (1939 - 1993)

LUCIA POPP sings Song to the Moon by A. Dvorak

Aleksey Igudesman and Richard Hyung-ki Joo

Maria Callas: "Voi lo sapete", by Mascagni

Maria Callas Otello: Ave Maria

Enrico Caruso sings Santa Lucia

Renata Tebaldi, Madama Butterfly Duet Part 2

Renata Tebaldi, Madama Butterfly Duet Part 1

Jussi Björling / Renata Tebaldi - O soave fanciulla (1956)

Renata Tebaldi as Mimì: "Sì, mi chiamano Mimì"

Maria Callas as Mimì -- "Sì, mi chiamano Mimì"

Angela GHEORGHIU sings "Si mi chiamano Mimi" from La Bohème by Puccini

Elisabeth Schwarzkopf sings O mio babbino caro

Elisabeth Schwarzkopf - "Libera me" (Verdi, Messa da Requiem)

Elisabeth Schwarzkopf sings in English!

Mozart's for Beginners Part 2

Mozart's for Beginners Part 1.

Le Fantôme de l'Opéra (The Phantom of the Opera)

A na posledak ja skazy...(from A cruel romance)

Boris Christoff - Song of the Volga Boatmen

Nikola Subic Zrinjski -- Unknown Croatian Opera Finale

Maria Callas "Non mi dir" Don Giovanni Mozart

Elisabeth Schwarzkopf - Ah, chi mi dice mai - Don Giovanni

Matti Salminen: "In diesen heilg'en Hallen" | "The magic flute" by Mozart

Don Giovanni by Mozart | Quartet "Non Ti Fidar"

Angela Gheorghiu - Sempre Libera - La Traviata - Verdi

L'Elisir: E sul ti pur la barbara! Angela Gheorghiu

L'Elisir d'Amore: Quanto amore! Angela Gheorghiu and Simone Alaimo

Maria Callas: "Ombra Leggiera" (Shadow Song)

Maria Callas: "Voi lo sapete" Cavalleria Rusticana (Mascagni)

Renata Tebaldi "O mio babbino caro" | Live Broadcast 1957!!