Andrea Nozzari News
Italian tenor
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2024-03-19
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2024-03-13 08:05:00
Little short of a revelation: Michael Spyres, Les Talens Lyriques & Christophe Rousset explore Wagner's influences with In the Shadows
[…] 'requisite' weight and stamina, but without the flexibility. On this disc, Spyres demonstrates an ability to combine the two.Rossini's influence on 19th century opera was ubiquitous, and another important element in the development of the 19th century tenor voice. We hear Leicester's 'Della cieca fortuna un tristo esempio…Sposa amata' from Rossini's Elisabetta, Regina d'Inghilterra (1815). Spyres brings a remarkably heroic edge to music that we might think was lighter. The role was written for Andrea Nozzari, the tenor who created many Rossini roles including the title role in Otello (1816), and who had a voice that contemporaries saw as baritonal but with a high extension allowing for the pyrotechnics needed. Spyres has this in spades, turning in a finely dramatic and intensely thrilling account.Meyerbeer would have a complex relationship with Wagner, but as we have seen his influence on the young Wagner was profound. Here we have Adriano's 'Suona funerea' […]
2022-07-16 12:59:29
Not a kilt in sight: Jacopo Spirei's fascinating production of Rossini's La donna de lago at Buxton
[…] can do I can do' stakes and the three singers made this extended trio (constructed in traditional 'double aria' format) into a think of wonder, virtuosity, bravura and musical drama.Irvin's was very much a scene-stealing performance, he enacted Rodrigo's psychopathic nastiness with glee. Tall and somewhat cadaverous, wearing a butcher's apron, Irvin was scary and combined this with terrific singing. Rodrigo is an odd role, he arrives late and finishes early (almost as if Andrea Nozzari, the first Rodrigo, told Rossini he wanted to leave early to visit his mistress!). Irvin made it work, his entrance both bravura and vivid. I have rarely heard this style of music sung with such relish.David Ireland's Duglas came a poor fifth in the music stakes, important dramatically, he had few major musical moments. Yet, Ireland was a strong presence, commanding yet sung with warm tones. The smaller roles were well taken. Fiona Finsbury […]
2020-08-27 23:33:00
Sergio Mims: Unison Media: Lawrence Brownlee and Michael Spyres to release 'Amici e Rivali' on Erato, November 13, 2020
[…] represented on Amici e Rivali – except for Barbiere, which was first seen in Rome – have their roots in the San Carlo opera house in Naples. (While Le Siège de Corinthe was in fact written for Paris, it derived from Maometto II, premiered six years earlier at the San Carlo.) Rossini conceived them for specific singers, several of whom became defining forces in musical history: the tenors Andrea Nozzari, Giovanni David, Manuel García, Louis Nourrit and Adolphe Nourrit (a father/son pairing), Giuseppe Ciccimarra and Claudio Bonoldi, and the baritone Luigi Zamboni, who created the role of Figaro. Michael Spyres and Lawrence Brownlee first sang together in 2018 at the Concertgebouw in Amsterdam, where their spectacular program – bristling with stratospheric top notes and cascades of coloratura – included three Rossini duets. As Michael Spyres explains: “Larry […]
2019-08-17 08:11:23
A bel canto career: whilst in London for the London Bel Canto Festival, tenor Bruce Ford talks about the bel canto style and his remarkable career
[…] rehearsed. For Bruce, bel canto is simply a specialism, a style used for music between 1810 and 1850 but after this opera under Verdi became something different. Bruce with his mentor Patric Schmid who tragically died in November of 2005 If Bruce has a comment about his students it is that he wishes they knew more about the historical characters for whom this music was written, the early 19th centur singers such as Andrea Nozzari, Maria Malibran, and Giiditta Pasta. Bruce himself has a clear knowledge of these singers and their intimate involvement in the roles that were written for them by composers like Rossini, Donizetti and Bellini. Throughout our interview his points about modern technique and performance constantly refer back to the historical sources.Bruce feels that there is a lot that modern students can learn from historical background, he points out that the 19th century singers sometimes received […]
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