Dorotea Bussani News
opera singer
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2024-03-29
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2020-02-28 09:02:41
Creative Doubles: how combining roles can change how we look at an opera
Luigi Bassi in the title role of Don Giovanni in 1787. When Mozart's opera Don Giovanni premiered in Prague in 1787 the same singer, Giuseppe Lolli, performed the roles of Masetto and the Commendatore, and the same doubling with a different singer happened at the work's Viennese premiere in 1788. Whilst nowadays, we would be unlikely to cast the same singer in both roles (the Commendatore is normally sung by a darker, heavier voice than Masetto), this type of doubling of roles was quite common. It made perfect economic sense and made a more interesting challenge for the singer. The same sort of doubling had taken place at the premiere of Mozart's Le nozze di Figaro in Vienna in 1786, with Michael Kelly singing Basilio and Don Curzio, and Francesco Bussani singing Bartolo and Antonio, doublings of pairs of smaller roles which make ample practical sense but do not always […]
2018-08-04 19:19:00
Prom 26: Prohaska/Il Giardino Armonico/Antonini - Purcell, Graupner, Sartorio, Handel, Costello, Cavalli, and Hasse, 2 August 2018
[…] for something a little grander, a little more aware of harmonic motion. This is, after all, orchestral music. Tastes being what they are today, that was never likely to be the case, though. I liked the way the Siciliana, its fifth movement, harked back in context to the seventeenth century. A hard-driven account of its Allegrosuccessor proved less welcome. Handel’s own Giulio Cesare followed, its libretto derived by Nicola Francesco Haym from that of Giacomo Bussani for Sartorio. What a wonderful idea – obvious, one might think, yet unusual – it was to offer excerpts from both operas. In Cleopatra’s ‘Che sento? Oh dio! … Se pietà di me non senti’, Prohaska’s shading to dramatic ends opened up a new creative, expressive world. I felt – and I suspect much of the audience did likewise – a window into understanding of the queen’s character had been opened wide, even just […]
2018-06-01 16:19:00
Così fan tutte, Opera Holland Park, 31 May 2018
[…] simplicity and complexity – were revealed as sides of the same experimental coin. Lines, unadorned or subtly ornamented, exuded both clarity and warmth. We knew them, and yet did not. Sarah Tynan’s Despina was very much the musical catalyst, her cynicism and her sense of fun both vividly portrayed. If Peter Coleman Wright’s pitch was sometimes a little approximate, he brought important dramatic truths to his portrayal of Don Alfonso – perhaps not unlike Francesco Bussani, first in his line. The chorus, well trained, by Richard Harker, could hardly have done more to bring their roles, individual and collective, to life. Fiordiligi and Dorabella There is method in the madness one feels at the close; there has to be. And yet, quite rightly, there remains mystery too. Or, in the ruminations of another operatic character, forced to confront truths of existence he might […]
2017-06-28 18:15:00
[…] (!), Cesare almost as many, and the others all have arias except Curio. The music is throughout of astonishing quality, both in the melodic slow sad arias and in the fast virtuosic ones, and the orchestration is varied, including horn, flute and violin solos; the duet of Cornelia and Sesto ending the First Act is of haunting beauty. The libretto by Haym is based on the one written by G.F.Bussani in 1677, though with many changes and addenda. "Giulio Cesare" had an early première in Buenos Aires, when Washington Castro conducted it for the Asociación de Conciertos de Cámara in 1959, a very honorable performance. And in 1968 a starry one at the Colón: Sills, Treigle (bass-baritone), Forrester, Schreier, Crass, conductor Karl Richter; intelligent […]
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