Euphrosyne Parepa-Rosa Vidéos
artiste lyrique soprano britannique
Commémorations 2024 (Décès: Euphrosyne Parepa-Rosa)
- soprano
- Royaume-Uni de Grande-Bretagne et d'Irlande
- artiste lyrique
Dernière mise à jour
2024-05-01
Actualiser
Marcella Sembrich Lillian Nordica Tietjens Parepa Rosa 1908
The earlier of Sembrich's recording of this aria—the one already on YouTube—does not include the cabaletta. It's certainly worth a listen; she adds some lovely, non-standard passagework and unwritten ornaments. Of interest, to me at least, are the two final trills on the tonic and the leading tone, which Lillian Nordica also takes in her recording of "Di tale amor" (previously uploaded on my account). One wonders if this treatment was merely in vogue at the turn of the century or if they (being the same age) had both grown up hearing it used by the great singers of the previous generation such as Tietjens and Parepa-Rosa. ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
Lillian Nordica Tietjens Euphrosyne Parepa Rosa 1867 1906
The first opera Lillian Nordica was taken to see was Trovatore, performed in Boston in 1867 by the prima donna Euphrosyne Parepa-Rosa and the celebrated Italian-American tenor Pasquale Brignoli. Some years later, when Nordica was studying at the New England Conservatory, the school was paid a visit by one of the great sopranos of the day, Thérèse Tietjens, who after hearing her sing the Lucia mad scene, gave her verdict: "Work ahead and you will be great." Also at that performance was Madame Bertucca Maretzek, widow of the impresario and herself a former prima donna during the Patti era. Nordica traveled to New York to study with Maretzek, who coached her in 12 Italian roles, the first being Leonora in Il Trovatore. Maretzek taught her, for instance, how "Tacea la notte" had been phrased and embellished by Tietjens and by the very singer who played Leonora at Nodica's first opera—Parepa-Rosa. The English critic Herman Klein wrote that Nordica considered this the best of her records, all of which were rather badly engineered and so not of high audio quality. ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
As poor in technical quality as nearly all the Nordica recordings, but a valuable document of this great artist—and one that features another sample of the embellishments that presumably were used by either Tietjens or Parepa-Rosa. The tenor is Marcello Resemini (hat tip to user chrisz78 for that info). ..................................... This channel is primarily about vocal emission—aural examples of basically correct singing, correct impostazione—chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it—with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione—the vocal emission of the one and only Italian school. Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): (http•••)
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