Giuditta Grisi Video
mezzosoprano italiano
Commemorazioni 2025 (Nascita: Giuditta Grisi)
- mezzosoprano
- Italia
- cantante, musicista, cantante lirico
Ultimo aggiornamento
2024-06-24
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Montserrat Caballé Caballé Giulia Grisi 1840 1966
with the rare caballetta originally written for Giulia Grisi (Paris 1840) 11:37
Forti Panni Giuditta Grisi Rossini Bellini 1922
I “Tesori svelati” di oggi ci introducono nel mondo delle donne che hanno eccelso sui palcoscenici d’Italia e del mondo tra Otto e Novecento. Si tratta di donne affascinanti, forti e fragili al tempo stesso, capaci a volte di calarsi nei panni maschili e di trasferire al pubblico con la loro voce e la presenza scenica un complesso mondo interiore. Parliamo dell’attrice Maria Melato, celebre nella prima metà del Novecento, e della cantante lirica Giuditta Grisi, interprete delle opere di Rossini e di Bellini, spentasi troppo presto dopo una fulgida carriera nei teatri di tutta Europa. Il dipinto in copertina è di Giuseppe Amisani "Signora in grigio (Maria Melato) del 1922.
Gaetano Donizetti Callas Gobbi Verdi Cammarano Eugenia Tadolini Giorgio Ronconi Battistini Vittorio Gui Carlo Guasco Kärntnertortheater Théâtre Italien 1832 1843 1844 1908 1996 2009
Probably Donizetti's greatest overture, to the culminating opera of his career, the Viennese critics at the 1843 premiere gave particular praise to the Gran Scena e Terzetto Finale III, and to this Sinfonia. We know that Donizetti himself was pointedly proud of it. The 8-bar oboe solo over tremolo strings (measure 25) perfectly expresses the pathos of a doomed secret love affair. There's significant musical DNA from 'Maria di Rohan' in operas such as 'Ballo', 'Forza', and even 'Tosca'. One could easily be forgiven for imagining a performance with Callas, Gobbi and Di Stefano while listening to 'Maria di Rohan' today. Verdi owes something significant to 'Maria di Rohan' as a musical-dramaturgical inspiration for his own work as he started writing his first operas. In the 19th c., it became one of Donizetti's most popular operas in Italy and Europe, holding the stage longer than any other tragic work except for 'Lucrezia Borgia' and 'Lucia di Lammermoor'. 'Maria di Rohan' is a 'melodramma tragico' in three acts by Gaetano Donizetti to a libretto by Salvadore Cammarano after Lockroy and Badon’s 1832 play 'Un duel sous le Cardinal de Richelieu'. The premiere was at Vienna, Kärntnertortheater, 5 June 1843. The original cast included Eugenia Tadolini as Maria and Giorgio Ronconi as the Duca di Chevreuse. For the Paris première of the work, at the Théâtre Italien on 14 November 1843, Donizetti made a number of revisions in the score, adding a cabaletta for Grisi in Act 3 ("Benigno il cielo arridere") and altering the role of Gondì from a tenor to a mezzo-soprano 'en travesti'. When the opera returned to Vienna in spring of 1844, Donizetti kept all the Paris additions, thus proving he viewed Gondì as a contralto role. Donizetti wasn't 'done' with the opera after the Viennese premiere / like many of his operas / and continued adding to and adjusting it, always keeping Gondì a contralto. Besides adding delicious, needed tonal contrast, the contralto role's Act 1 Ballata far better motivates the duel / the plot's turning point / than the terse insult of the original mere stub of a tenor character. Indeed, the Lockroy-Badon Gondì is a major, well-developed character. Battistini inherited the mantle from Giorgio Ronconi for his portrayal of the Duc de Chevreuse: “We performed together Donnizetti’s 'Maria di Rohan' in which it was difficult to say how he excelled—as a singer or as an actor. Those who never saw the savagely violent scene in which he dragged his wife by the hair (just like Golaud with Mélisande, a half century later) toward the 'uscio tremendo', or terrible door, through which her lover was supposed to enter unawares…those who never saw the furious gesture with which he ripped the bandage from the wound with his left hand while reading the letter that confirmed his wife’s betrayal…they cannot imagine the thrill it had on the audience!” / the conductor Vittorio Gui on Battistini in 1908, Turino, Nov 3 performance. ‘Battistini: King of Baritones, Baritone of Kings’, Jacques Chuilon. 2009, Scarecrow Press, p. 265. Thumbnail: Eugenia Tadolini, Giorgio Ronconi, and Carlo Guasco in the premiere. published 5 August 1843 in Vienna by the Wiener Theaterzeitung. #MariadiRohan #Donizetti #overture #Battistini #GiorgioRonconi #opera #1843
Donizetti Carlo Guasco Giulia Grisi Eugenia Tadolini Mark Elder Virginia Zeani Fernando Previtali 1843
Maria di Rohan's premiere took place on the 5th of june 1843, with Eugenia Tadolini as Maria and Carlo Guasco as Riccardo. 5 months later, on the 14th of November, the revised version was sung in Paris. Among other changes, Donizetti has rearranged this wonderful cabaletta "E tu, se cado esanime" for Giulia Grisi, "Benigno il cielo arridere". So, whch version do you prefer? Jose Bros as Riccardo, count of Chalais, Mark Elder, conductor Virginia Zeani as Maria di Rohan, Fernando Previtali, conductor
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- cronologia: Cantanti lirici. Interpreti.
- Indici (per ordine alfabetico): G...