Maria di Rohan - Gaetano Donizetti - 2001
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- Опубліковано 4 лют 2025
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Maria di Rohan - Annick Massis
Riccardo - Octavio Arrevalo
Enrico - Stephen Salters
Armando - Ruben Amoretti
De Fiesque - Alexandre Vassilliev
Visconte di Suze - Nicolas Carre
Aubry - Jose Pazos
Familiare - Slobodan Atankovic
Conductor - Evelino Pido
Orchestre de la Suisse Romande
Choeurs du Grand Theatre
Gran bella opera del Grande Donizetti.
Thanks so for this! One of my favorite Donizetti operas! This is beautifully sung ....although the "staging" is way too stark .....couldn't even afford a coat hook for the end of the Second Act! Still some of Donizetti's most beautiful music - especially that gorgeous duet, "A morir incominciai" (at 1:07-1:11). I still don't undertand why more of Donizetti's operas aren't performed. Poliuto and Caterina Cornaro are two others that certainly deserve to be heard more frequently.
To JoanLorraineN......the reason more of the forgotten (but great!) operas are not performed more frequently, at least in the USA, is that they are not "money-makers". The American audience is not familiar with them, and won't go to a performance at today's high prices. So the heads of American opera houses have to constantly staging the tried-and-true, in order to make a profit. It is too bad....the situation is at least a little better in Europe, especially Italy.
Thank you, Belcantist....just beautiful!
Kudos to Stephen Salter on a great performance, e.g. 1:27 etc.
Nous avons ici la version de la création à Vienne (5 juin 1843) : Gondi est chanté par un ténor. C'est pour la création à Paris (novembre 1843) que le rôle de Gondi a été transposé pour une voix de mezzo-soprano, avec deux airs supplémentaires, et que la cabalette de Maria a été écrite.
why did they cut the cabaletta after "avvi un dio"? I hate it when they perofrm rare bel canto operas and then make silly cuts.
The cabaletta wasn't part of the original score premiered in Vienna in 1843: Donizetti added it as well as four other pieces for a production in Paris. This is the original version.
Bravissima Annick Massis! A beautiful performance as always. Does any one knows why she did not sing the cabaletta "Benigno in cielo a ridere" after the Aria "Havvi un Dio" in Act 3? It would be wonderful to watch her and listen to it...
Nous avons ici la version de la création à Vienne (5 juin 1843) : Gondi est chanté par un ténor. C'est pour la création à Paris (novembre 1843) que le rôle de Gondi a été transposé pour une voix de mezzo-soprano, avec deux airs supplémentaires, et que la cabalette de Maria a été écrite.
L'argument de cet opera est quasiment une transposition en France de l'argument de Roberto Devereux de Donizetti, qui est en Angleterre, plus souvent joué. Pourtant cette musique de Donizetti est très différente et belle, injustement oubliée. Sans doute parce qu'elle exige pour le role de Riccardo des ténors capables de chanter en "voix de tête" dans le registre aigu, ce qui de plus en plus rare aujourd'hui. L'on pourra écouter comme exemple de ce type de ténors la performance de Giueseppe di Stefano avec Maria Callas dans Lucia di Lamermoor, ou bien encore le chant de Giuseppe Morino dans le même opera Maria de Rohan C'est aussi le problème de certains operas de Bellini comme Norma, de moins en moins souvent représenté parce que la voix de soprano doit explorer un registre vocal exceptionnel.
Can't wait for the dress rehearsal.
The story of Maria Di Rohan is both simple (the classic love triangle) and complicated. Chalais loves Maria, who has been forced to secretly marry Chevreuse. Chevreuse is in deep trouble, because he has killed a nephew of Richelieu. The opera is divided into three parts: Unfortunate Consequences of Duels; Not Love But Gratitude; Senseless Revenge.
Time: Around 1630
Place: Paris
Act 1
Maria seeks Chalais’ help. Chalais offers it, hoping that Maria will join him, obviously not knowing that she is already married to Chevreuse. Chalais succeeds and Chevreuse is pardoned. Gondi appears on the scene and insults Maria. Chalais challenges him to a duel, and Chevreuse offers to be the second. Richelieu is suddenly ousted from the court, and Chalais is offered his post. Everything looks great for him, but Maria is terribly worried. Richelieu's demise means that Chevreuse can disclose his marriage without fear. When he points to Maria, Chalais’ world begins to collapse.
Act 2
Chalais writes a love letter to Maria and encloses her portrait. Both are hidden in his desk, to be given to Maria should he perish. He's suddenly visited by Maria who tells him that Richelieu has regained power. She tells Chalais to flee or he will be executed. Chevreuse is heard approaching and Maria hides in an adjoining chamber. Chevreuse tells Chalais that they must leave for the Gondi duel and Chalais says he will follow. Of course he doesn't follow, but stays to profess his love for Maria and she also admits that she has always and continues to love him. When he finally leaves for the duel, it is too late. Chevreuse has taken his place and is wounded.
Act 3
Chevreuse’s residence
He tells Maria and Chalais that he will arrange to have Chalais escape from the city. Chalais leaves, and again, everything looks good at first, but disaster strikes. Chalais’ letter and Maria's portrait are discovered by one of the courtiers in Chalais’ desk. Chalais tells Maria about the letters and she says all is lost. Once again she tells him to flee through a secret passage, and he does, but tells her he will return if she does not follow him within an hour. Maria sings a prayer, Havvi un Dio che in sua clemenza. The courtier gives the letter and portrait to Chevreuse and he is alternatively nostalgic and enraged. He confronts Maria and vows revenge. Suddenly Chalais returns for Maria through the secret passage. In a final trio Maria pleads for Chevreuse to kill her, Chalais says he doesn't fear death, and Chevreuse thunders that Chalais’ death is imminent. He gives Chalais a dueling pistol and the two race out. A shot is heard. Chevreuse is furious because Chalais has committed suicide. He throws the letter and portrait to the floor before Maria and cries out La vita coll’infamia A te, donna infidel / "Life with infamy to you, faithless woman".
Hi, Antonio!
What I don't understand is how the Met can think that Shostakovich's "The Nose" is going to be a big "money-maker"?? - On the 2013-2014 season schedule. I'd pay serious money to see a performance of Donizetti's even most minor work (no doubt superior to Shostakovich on his best day!)
The Met will end up with more performances of The Nose than of Lucrezia Borgia. Now can't we all agree that there's something wrong with that???
Just sayin' . Glad to hear things are better in Italy!!
46:50
The applause after the overture - Donizetti's greatest - is sad. This is one of Donizetti's most important operas, really the climax of his life's work---but you wouldn't know it from this ugly production unfortunately. The singers are inadequate, sorry.
The conducting and baritone singing are limply inadequate. Who'd ever know that Enrico electrified audiences for generations on the basis of this?
Elio Boncompagni conducted this many times, every one of them better than this. If you can find it, his first (I think), with Ricciaralli is sensational. She';s past her prime but manages to give a red-hot performance anyway. All the singers are totally committed and the handling of the orchestra is molten.
.In this performance, they are all of them sleepwalking. Including that silly little cabaletta at the end is a bad idea which undercuts the tremendous dramatic impact of the work.
I believe that you are referring to Donizetti's Maria de Rudenz - and yes the 1981 recording with Boncampagni and Ricciarelli is fabulous. This opera is Maria di Rohan - equally as fabulous and yet another wonderful Donizetti opera that is rarely performed ...And there are two excellent recordings of this opera that - in my mind- are superior to this one: the 1962 recording with the magnificent Virginia Zeani, and perhaps the best overall ensemble performance: a great 1974 recording with Renata Scotto and very strong performances by tenor Umberto Grilli, and baritone, Renato Bruson - conducted by the great Gianandrea Gavazzeni. Both are well worth the listen....
Boncompagni conducted Maria di Rohan quite a few times, I have three different (pirate) recordings with him at the helm and the one with Ricciarelli is sensational. Seek it out - it is electrifying. Even though she is past her prime, she handles her voice cleverly and the entire cast is amazingly committed and also, on fire. The overture...I've rarely heard anything like it under him! The audience goes crazy before the curtain even goes up.
Ugly and insignificant procuction BUT wonderful music.
Au-moins, on n'aura pas gaspillé les subventions en décors fastueux. Quelle honte!
Баритон очень слабый.