Andrea Nozzari Vidéos
chanteur d'opéra italien
- ténor
- Italie
- artiste lyrique
Dernière mise à jour
2024-03-29
Actualiser
Teatro San Carlo Scala Fenice Teatro San Bartolomeo Scarlatti Domenico Sarro Antonio Caldara Vittoria Tesi Peruzzi Angelo Amorevoli Righini Christoph Willibald Gluck Johann Christian Bach Bach Louis Spohr Isabella Colbran Rossini Nozzari Benedetti San Carlo Opera Company 1386 1621 1682 1736 1737 1752 1761 1809 1817 1841
The Teatro Reale di San Carlo (Royal Theatre of Saint Charles), as originally named by the Bourbon monarchy but today known simply as the Teatro di San Carlo, is an opera house in Naples, Italy, connected to the Royal Palace and adjacent to the Piazza del Plebiscito. It is the oldest continuously active venue for opera in the world, having opened in 1737, decades before either Milan's La Scala or Venice's La Fenice.[1] The opera season runs from late January to May, with the ballet season taking place from April to early June. The house once had a seating capacity of 3,285,[2] but has now been reduced to 1,386 seats.[3] Given its size, structure and antiquity, it was the model for theatres that were later built in Europe. Commissioned by the Bourbon King Charles III of Naples (Carlo III in Italian), Charles wanted to endow Naples with a new and larger theatre to replace the old, dilapidated, and too-small Teatro San Bartolomeo of 1621, which had served the city well, especially after Scarlatti had moved there in 1682 and had begun to create an important opera centre which existed well into the 1700s.[4] Thus, the San Carlo was inaugurated on 4 November 1737, the king's name day, with the performance of the opera Domenico Sarro's Achille in Sciro, which was based on the 1736 libretto by Metastasio which had been set to music that year by Antonio Caldara. As was customary, the role of Achilles was played by a woman, Vittoria Tesi, called "Moretta"; the opera also featured soprano Anna Peruzzi, called "the Parrucchierina" and tenor Angelo Amorevoli. Sarro also conducted the orchestra in two ballets as intermezzi, created by Gaetano Grossatesta, with scenes designed by Pietro Righini.[1] The first seasons highlighted the royal preference for dance numbers, and featured among the performers famous castrati. In the late 18th century, Christoph Willibald Gluck was called to Naples by the impresario Tufarelli to direct his 1752 Clemenza di Tito at the theatre, and Johann Christian Bach in 1761-62 brought two operas, Catone in Utica and Alessandro nell'Indie. 1737: Construction of the Teatro di San Carlo The new opera house was designed by Giovanni Antonio Medrano, a military architect, and Angelo Carasale, the former director of the San Bartolomeo. The horseshoe-shaped auditorium is the oldest in the world. It was built at a cost of 75,000 ducats. The hall was 28.6 meters long and 22.5 meters wide, with 184 boxes, including those of proscenium, arranged in six orders, plus a royal box capable of accommodating ten people, for a total of 1,379 seats. Including standing room, the theatre could hold over 3,000 people. The fastidious composer and violinist Louis Spohr reviewed the size and acoustic properties of this opera house very thoroughly on 15 February 1817 and concluded that: there is no better place for ballet and pantomime. Military movements of infantry and cavalry, battles, and storms at sea can be represented here without falling into the ludicrous. But for opera, itself, the house is too large. Although the singers, Signora Isabella Colbran, [Prima Donna of the Teatro San Carlo opera company and Rossini's future wife], and the Signori Nozzari, Benedetti, etc., have very strong voices, only their highest and most stentorian tones could be heard. Any kind of tender utterance was lost.[5] Much admired for its architecture, its gold decorations, and the sumptuous blue upholstery (blue and gold being the official colours of the Bourbons), the San Carlo was now the biggest opera house in the world.[6] In relation to the power of the existing Bourbon Kingdom of the Two Sicilies, Beauvert notes that the design of the house, with its 184 boxes lacking any curtains was so that "no one could avoid the scrutiny by the sovereign" who had his private access from the Royal Palace.[6] In 1809 Domenico Barbaia was appointed manager of the royal opera houses in Naples and remained in charge until 1841.[7] He soon established a reputation for innovative and dazzling productions, which attracted both the public and leading singers to the opera house.
Andrea Nozzari Nicola Antonio Manfroce Gioachino Rossini Simon Mayr Giovanni Pacini Bottazzo Ottavio Garaventa Ugo Benelli Rockwell Blake Chris Merritt Bruce Ford Gregory Kunde Ramon Vargas William Matteuzzi Dino Domenico Massimo Bernart Spyres Fabio Luisi Antonio Savastano Ferro Roderick Brydon Nelly Miricioiu Giménez Claudio Scimone Simone Alaimo Riccardo Chailly Caballe Gustav Kuhn Gloria Scalchi Scalchi Gianluigi Gelmetti Roberto Abbado Abbado David Parry Parry 1776 1812 1813 1815 1816 1817 1818 1819 1820 1822 1824 1832 1983 1985 1986 1987 1988 1990 1992 1993 2008
Andrea Nozzari (1776 – 1832) was one of the most important Rossini tenors; he sang in the premiere of 9 Rossini operas. His voice was described as a baritone quality voice, with agility, a solid middle and low register and a good amplitude. This is interesting since lately, these roles were sung by high lyric tenors. Since the mid 60s, the main tenors who contributed significantly to the great Rossini revival were: Pietro Bottazzo, Umberto Grilli, Ottavio Garaventa, Ugo Benelli, Rockwell Blake, Chris Merritt, Bruce Ford, Gregory Kunde, Ramon Vargas, William Matteuzzi and Raul Gimenez. Nicola Antonio Manfroce, Ecuba (1812): Priamo 00:00:00 Act I Aria “Pari a te, nel cor la voce” (Priamo) 00:04:13 Act III Aria Di questo cor la speme (Priamo) Dino di Domenico (Priamo), Massimo de Bernart (conductor), Bologna,1992 Simon Mayr: Medea in Corinto (1813): Giasone 00:07:58 Aria Act I “Ogni perigio alfine” (Giasone) 00:11:35 Aria Act II “ Grazie, nume d'amore!” (Giasone) Michael Paul Spyres (Giasone), Fabio Luisi, conductor Gioachino Rossini, Elisabetta, regina d'Inghilterra (1815): Leicester 00:20:23 Act II “Della cieca fortuna un triste esempio” (Leicester) Antonio Savastano (Leicester), Gabrielle Ferro (conductor), Torino, 1985 Gioachino Rossini, Otello (1816): Otello 00:3018 Act I “Vincemmo, o prodi, I perfidi nemici” (Otello) Curtis Rayam (Otello), Roderick Brydon (conductor), Venezia, 1986 Gioachino Rossini, Armida (1817): Rinaldo 00:40:18 Duet Act I “Amor! Possente nome” (Armida, Rinaldo) 00:49:48 Trio Act III “In quale aspetto imbelle” (Rinaldo, Carlo, Ubaldo) Bruce Ford (Rinaldo), Nelly Miricioiu (Armida), Juan Luque Carmona (Ubaldo), Raul Giménez (Carlo, Claudio Scimone (conductor), Amsterdam, 1988 Gioachino Rossini, Mosè in Egitto (1818): Osiride 00:58:04 Duet Act II “Parlar, spiegar non posso” Rockwell Blake (Osiride), Simone Alaimo (Faraone), Claudio Scimone (conductor), Pesaro, 1983 Gioachino Rossini, Ricciardo e Zoraide (1818): Agorante 01:08:37 Act I “Popoli della Nubia… Minacci pur, disprezzo” Bruce Ford (Agorante), Riccardo Chailly (conductor), Pesaro, 1990 Gioachino Rossini, La donna del lago (1819): Rodrigo di Dhu 01:18:23 Act I “Eccomi a voi, miei prodi” (Ramon Vargas) Ramon Vargas (Rodrigo), Arnold Östman (conductor), Amsterdam, 1992 Gioachino Rossini, Ermione (1819): Pirro 01:25:39 Act I Cavatina “Balena in man del figlio” Chris Merritt (Pirro), Montserrat Caballe (Ermione), Gustav Kuhn (conductor), Pesaro, 1987 Gioachino Rossini, Maometto secondo (1820): Paolo Erisso 01:37:23 Act I “Al tuo cenno, Erisso!” (Paolo) Ramon Vargas (Paolo), Gloria Scalchi (Calbo), Gianluigi Gelmetti (conductor), Pesaro, 1993 Gioachino Rossini, Zelmira (1822): Antenore 01:45:49 Cavatina Act I “Mentre qual fera ingorda” Gregory Kunde (Antenore), Roberto Abbado (conductor), Pesaro, 2008 Giovanni Pacini, Alessandro nell'Indie (1824): Alessandro 02:00:40 Act I Cavatina “Omai sia tregua all'armi” (Alessandro) 02:07:25 Act II Aria “Oggetto si adorabile” (Alessandro) Bruce Ford (Alessandro), David Parry, conductor
Gioachino Rossini Bruce Ford Andrea Nozzari Giovanni David Pisaroni Chest Chris Merritt Gregory Kunde 1803 1804
The primo, Andrea Nozzari, gets the second word in this cavatina from "Ricciardo e Zoraide". Tenors can be found in most rossinian operas most often playing the romantic interest of the heroine, the seeker of the heroine's affection (in the case of Nozzari and David, both played such roles with equal success) and even fathers or tyrants, especially if the heroine's lover was to be played by a contralto. Although both Giovanni David and Andrea Nozzari were certainly talented singers, it seems that it was the latter who gave Rossini more inspiration. Nozzari frequently played villains, especially in operas where he was accompanied by David (in three out of four operas where they appear together he plays such a part, only in "Otello" the situation is actually reversed with David being the more oppressive party), though Rossini also wrote quite a lot of romantic or heroic parts for him: Rinaldo, Osiride & Leicester are all such roles. Plus, in one instance, Nozzari actually played the father in "Maometto II". The range of roles and, even more importantly, motivations is quite broad. Nozzari, similar to Pesaroni who started as soprano, had begun his career as a high "tenore contraltino", probably similar to David's. In 1803 - 1804, however, as the result of an illness he suffered in Paris (again, much like Pisaroni), he had lost his ability to sustain this uppermost register; and though upon his return to Italy he had recovered much of his strength of voice, he never regained this seemingly effortless highest extension. He is thus commonly described as a "baritonal tenor", still agile and florid in style, but without the extreme top to his voice, or, to express it perhaps more accurately, the ability to sustain the extreme top. In the roles Rossini wrote for him, we may note that he is still taken high above the top of the stave in solo passages, but that when he sings with another tenor, he is generally allotted the lower line, a third below the upper. There is also a discernible concentration upon the middle voice and the chest register rather than the topmost extension. The composer makes a conscious feature of the strength of his lower reaches: for example, in the present number his voice is taken as low as a substantial low A. Concerning arias... Even more interesting and quite unusual is the fact that three parts for Nozzari: Rinaldo in "Armida", Osiride in "Mose" and Erisso in "Maometto" / feature no arias at all. Actually, in "Armida", while the primo has no solos, both conprimaprio tenors have a cavatina. Still, all three occupy a central place in the action of their respective operas. In all other examples Nozzari has at least one cavatina ("Otello", "Ricciardo e Zoraide", "La donna del lago") or big scene & aria later in the opera ("Elisabetta", "Ermione"). In "Zelmira" he has the most arias, unusually, both pieces are sung in the first act. I choose the cavatina from "Ricciardo e Zoraide" for a number of reasons. Firstly, it is a typical Nozzari piece complete with a three-part structure of "march-like opening - andante - cabaletta". Secondly, it features prominently all merits of the singer: both the high and low registers, coloratura, declamation etc. Finally, it is a very extroverted piece, not exactly one of Rossini's best scenes, but still very much enjoyable. I would especially note the brilliant cabaletta with a very difficult finish. The central aria is, alas, interesting but not really melodically rich. The piece is actually a bit longer but I decided to leave out a choral transition between the central aria and cabaletta to limit the whole scene to one upload. Like most of Rossini's stars, Nozzari has several counterparts in today's singers: Chris Merritt, Bruce Ford and, more recently, Gregory Kunde. In this particular cavatina I decided to go for Ford who, inspite of being a bit lighter vocally than the more powerful Merritt, is, in my mind, closer to the elegant ideal. Plus, like Nozzari, he is more comfortable in the middle of the voice. Enjoy :)!
Bruce Ford Villain Nozzari Giovanni David
Here Bruce Ford completes this the opening scene from Ricciardo e Zoraide. The role of the villain Agorante was written for Andea Nozzari. The title role of Ricciardo was written for the lighter higher tenor voice of Giovanni David.
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