LEONIDAS MIKLOS Donna, chi sei... NABUCCO - [Male Soprano]
Вставка
- Опубліковано 8 вер 2024
- Leónidas Mikos
as
Abigaille
Bregenz Festival
1993 -- 1994
Conducted
By
Claudio Abbado
Nabucco (short for Nabucodonosor) is an Italian-language opera in four acts composed in 1841 by Giuseppe Verdi to an Italian libretto by Temistocle Solera. The libretto is based on biblical stories from the Book of Jeremiah and the Book of Daniel and the 1836 play by Auguste Anicet-Bourgeois and Francis Cornue, although Antonio Cortese's ballet adaptation of the play (with its necessary simplifications), given at La Scala in 1836, was a more important source for Solera than the play itself. Under its original name of Nabucodonosor, the opera was first performed at La Scala in Milan on 9 March 1842.
Nabucco is the opera which is considered to have permanently established Verdi's reputation as a composer. He commented that "this is the opera with which my artistic career really begins. And though I had many difficulties to fight against, it is certain that Nabucco was born under a lucky star."
The soprano role of Abigaille has been perceived as the downfall of a number of singers. Elena Souliotis and Anita Cerquetti sang it before they were ready and its high tessitura arguably damaged their voices. Certainly, their careers were not long ones. Maria Callas sang it only three times; only a live performance from 1949 was recorded. [It is interesting to hear that in this recording 'Va pensiero' was interrupted by much shouting but the chorus carried on. When it was repeated the audience was silent and then at the end they showed enthusiastic applause.] While Leontyne Price and Dame Joan Sutherland refused to sing Abigaille, Cristina Deutekom, Marisa Galvany, Ghena Dimitrova, Dunja Vejzović, Hilda Holzl, Jadranka Jovanović and Leónidas Miklos (The only male soprano, singing the dangerous role), María Guleghina all been recent exponents of the role.
Sorpresa meravigliosa, incredibile e sorprendente voce, ho visto Leónidas Miklos centinaia di volte, ma mai cantare Abigaille, il migliore, senza parole.
Leónidas Miklos tiene en su repertorio todas, absolutamente todas las heroínas Verdianas, algunas son más aptas para su voz que otras, pero siempre son interpretaciones sublimes e inolvidables para el público. Su interpretación de ABIGAILLE en NABUCCO fue en donde se reveló plenamente, se adapta perfectamente a su voz y a su modo de cantar. Sólo una personalidad con una gran carga emocional puede dar auténtica vida a este papel, solo una voz de TURANDOT que domina LA SONNAMBULA puede dar un sentido completo al rol de ABIGAILLE.
LEÓNIDAS MIKLOS realizó ambos objetivos y añadió a estas tremendas dificultades un Mi b (High Eb) gutural en su dúo con NABUCCO en el Acto 3.
Realmente sublime interpertación. Bravísimo...
Leónidas Miklos impactó como Abigaille, con un canto seguro, sorteando las muchas dificultades que la partitura le exige, con gran presencia escénica y dramatismo. Como era de esperar, fue ovacionado y no era para menos. Es el único "male soprano" que puede asumir este tipo de roles, absolutamente demandantes y que requieren un registro amplio, peso vocal y caudal sonoro.
Tras tan prodigiosa y maravillosa actuación, sumergido por una repentina invasión de adrenalina, para liberarse de tan oprimente tensión que incluso nos asfixia, se suele gritar a saciedad. Bravo! Bravo! Bravo.
Pero no sé cómo explicarlo, me siento paralizado. Sin voz. Aún dominado por el hipnotizador sortilegio de la encantadora voz del señor Leónidas Miklos.
Un caluroso abrazo señor Miklos.
José
Increíble el Mi b sobreagudo que interpola al final de su enfrentamiento con Nabucco, un cantante de raza, supo captar, todo el candor, la rabia, el odio, el amor, el perdón, la resignación, la frialdad, la ternura de todas las heroínas que interpretó. Un genio. Bravo Leónidas, quienes te hemos visto en escena nunca logramos olvidar el como corre tu voz por el Teatro, cada gesto, cada silencio, las inflexiones, tus personajes son más que notas y letra, son verdaderas personas de carne y hueso. Gracias por todo...
Bravo! Bravissimo!
Vi en el NYC OPERA a Lauren Flanigan, Grace Bumbry, y a La Dimitrova en LA Metropolitan Opera cantar Abigaile. Puedo decir con certitud que ninguna de las tres se acercan a lo que MIKLOS hace aqui. Incredible.
+MrQbenDanny Muchas gracias por sus palabras, estimado amigo, al menos dos de las colegas que nombra son palabras mayores, verdaderas divas, y eran maravillosas en el rol de Abigaille.
De todas maneras te llevo en mi corazón, por tu amabilidad y respeto.
Un fuerte abrazo
Leónidas Miklos
What an incredible voice! A true DRAMATIC coloratura!
"Natural" es la palabra que deberíamos utilizar para definir a Leónidas Miklos, como artista, cantante y persona, En él cantar, es algo que parece hacer natural como respirar, su encanto dentro y fuera del escenario van parejos. Y su carrera ejemplar ha sido una progresión natural desde el repertorio de coloratura hasta las más ligeras de sus primeros años, hasta llegar a las más arduas partes líricas y spinto, elegidas con tal sensatez que parecen calzarle como un guante... BRAVO.
B R A V O !!!
SI ES CIERTO LO QUE ESCUCHO, ES EL FENOMENO MAS GRANDE DE TODA LA HISTORIA DE LA LIRICA........ES UN VERDADERO FENOMENO ........
+Manuela Trasobares
Estimada Manuela, si es cierto lo que Usted está escuchando, Dios me regalo una voz privilegiada, una voz genuina de soprano, sin utilizar falsetto, y yo trato de devolverle a Dios ese inmenso regalo, dedicándole cada representación.
Le saludo con respetuoso afecto.
Leonidas Miklos
Leonidas you are great!!!I wish there was videos with your performances. Efxaristo!!!
Semplicemente meraviglioso!
Fabulous! (...qui con Renato Bruson, vero?)
Caro Enzo
Molto buon orecchio musicale, Bruson è superlativo come sempre, e ha colto l'occasione per rendere omaggio al Maestro Claudio Abbado. La Squadra Leonidas Miklos
mi incanta , che posso dire mi dispiace che non canta più`, soprano assoluto
MALE SOPRANO
Let me start by saying that a male soprano is a true rarity. Why is it so? Generally speaking, during the male puberty the child treble voice goes away as the larynx grows to its adult size. The result is a new voice with a darker pitch. Tenors, baritones and basses cover the common male vocal range, from the highest to the lowest. When a man wants to imitate a woman’s voice he has to speak or sing with a falsetto (from Italian “falsetto”, false sound).
A vocal musical training based on the falsetto is nowadays used by countertenors, whose natural voice is commonly that of a baritone. By learning how to sing with a falsetto technique, countertenors have recovered the old repertory of the so-called “castrati”. Castrato singing had a rather cruel origin: about four centuries ago, when a boy’s voice had a promising future he was castrated before puberty so that he would keep his treble voice for life. The castrated adult male had the chance of pursuing a brilliant singing career, based on his personal physical disgrace. However, this is another story.
A male soprano voice is something else, it has nothing to do with a falsetto. From time to time, there is a special boy whose larynx chooses to develop differently: the result is that the boy keeps his treble vocal range beyond puberty. The rest of his body experiments growing changes like any other male body, but his larynx and vocal cords seem to have plans of their own. Our particular boy has been studying music and singing since early childhood. When he became a teenager and made plans to have a singing career, his natural voice was that of a genuine soprano. This was, in a nutshell, the beginning of our male soprano, Leonidas Miklos.
What was Mr. Miklos to do with such a voice? There was no contemporary reference and historical evidence was practically nonexistent. As an adolescent, Mr. Miklos had already learnt near one hundred opera scores, his early life had been devoted to study opera at large (later on, as a professional singer, he rediscovered many operas which had remained forgotten for decades or centuries, and he was instrumental in bringing them back to the stage).
The moment arrived when Mr. Miklos had to make what was perhaps his most important decision in life. His privileged voice was able to encompass various singing styles, from baroque to romanticism, from coloratura to verismo; he truly mastered all operatic styles. Mr. Miklos was reluctant to devote his career solely to baroque, which was a common choice for contemporary countertenors (their falsetto technique opened them the door to male characters written for treble voices, i.e. 17th and 18th century castrati). Therefore, why not putting his true soprano voice to the service of true soprano roles? At last he would be able to sing the vast repertory he had acquired during his childhood and early youth: Norma, Juliette, Fiordiligi, Norina, Amina, Adina, Die Koenigin den Nacht, the Verdi and Puccini heroines… The only problem was that all those roles were women. If he was to perform on stage, Mr Miklos was expected, not only to sing the part, but also to look the part, make it real “to the eye of the beholder”. Mr. Miklos accepted the challenge.
Off the record Mr. Miklos has often said that the easiest part for him was the music. An enthusiastic musician and avid music reader, he was able to learn a complete opera almost in one reading. In order to look the part, he studied his roles very carefully. To move on stage he found his inspiration in many of the all-time big movie-stars. Greta Garbo was his Muse for “Traviata”, Bette Davis for Queen Elizabeth in “Robert Devereux”, and so on. Not to mention the many hours devoted to his make-up in order to have his male features properly “feminized”, the unending dressing sessions… The end result was like a miracle on stage!
During his almost twenty years of active career, Mr. Miklos had a life of lights and shadows. The lights: playing roles normally inaccessible to male singers and excelling in those roles. His particular voice type, color and wide range, his stamina and amazing adaptability to his characters’ psychology allowed him to undertake roles as diverse as Amina in “La Sonnambula”, Ximene in “Le Cid” or both Turandot and Liù in Puccini’s last opera. He was in great demand for his tremendous working capacity. He was well-known for being able to replace an ailing soprano on short notice. Important opera theatres often have more that one cast ready to perform an opera, some may have four or more. Mr Miklos was normally the first cast leading soprano. Occasionally he would appear in second cast performances which were scheduled later in the season. When a rarely staged opera or an exhumed score was performed, it was normally due to Mr. Miklos’ initiative and research. It is obvious that in those special productions there was only one cast led by him.
The shadows: Hatred, envy and discrimination. Mr. Miklos has often said that he used to go on stage knowing that 50% of the house was for him and 50% was against. His personal challenge was to end up with the full audience on his side. He was always rewarded with long curtain calls.
In spite of the public favor, some conductors and production managers were reluctant to work with a male soprano. Mr. Miklos was once acclaimed as “the one and only”, but many powerful people in opera business resented the fact that for near twenty years he had the balls (pun intended) to go on stage dressed and made-up like a woman, sing with a true soprano voice and move people to tears with his Mimi or Cio-Cio-San, or have a standing ovation for his Lucia, Amina, Norma, Lucrezia Borgia, Abigaille, and a long list of other roles that had been written for women…
Leonidas Miklos made his operatic debut in 1986, at age 20. He had a major European career, and occasionally performed in Mexico, South Africa and Australia. On the verge of his 20th anniversary on stage, Mr. Miklos had to travel back home (he was born in Argentina) due to a personal family situation. He never left Argentina again.
A few months after his arrival to Buenos Aires his mother died of a terminal disease. For some time she had been his only living relative. Mr. Miklos, a very sensitive human being, couldn’t cope with this terrible situation. He had a nervous break down which took him to hospital. Before leaving Europe Mr Miklos had professional engagements for as far as 2018. All those contracts had to be cancelled at a high financial cost. Worst of all, there was an intangible cost: grudging and resented impresarios had his name removed from their records. “The one and only” had been finally erased from earth! The sancta-sanctorum of the opera world was now protected from odd specimens. Can you read the irony?
Currently Mr. Miklos is an anonymous citizen in the megacity of Buenos Aires. His name has been removed from the books of glory, but no one can take away from him his memories of a happy past, full of lights and shadows. His savings are all gone. Now he works as a hotel receptionist. The former divo is going through a lot of hardship currently. Even in his misery, he is still a kind, compassionate and humble man, a loving and lovable human being as he has always been. He can even smile from time to time.
He is only 49 and has gained some weight; it is obvious that he doesn’t have any longer the handsome looks he used to. When asked whether he would go back to singing, he says it would be gross to do it, he simply refuses to appear on stage now. His voice is still there, untouched, however he is realistic that he doesn’t look the part of a sweet and young heroine any longer. He has too much respect for opera to do so. On the other hand, Argentina, his native country, which has been in crisis for a long period, has never accepted him professionally, has never given him a chance. This is the reason why he had to emigrate to Mexico and Europe when he was still a teenager.
Mr. Miklos is planning to start a blog of his own, if only to prove that he really existed and that his 20-year opera career is not a fiction. Depending on this blog acceptance by readers and fans he might upload some printed material and videos, once they are upgraded from the original tapes.
Mostrar menos
NO HAY VIDEOS DONDE SE LO VEA CANTANDO. CUESTA CREER QUE SEA UN HOMBRE ,
+DARIO LOMBARDO Estimado Sr. Lombardo: Nacer con el don de poder cantar en el registro de soprano es algo absolutamente, que va más allá de toda comprensión humana, el Sr. Leonidas Miklos, canta en registro de soprano genuino, sin utilizar falsete como lo hacen los contra tenores. Por eso el Sr. Leonidas Miklos es considerado el "único" en la Historia de la Música con semejante don. Obviamente existen vídeos, fotografías, programas, locandinas y toda clase de documentación acerca de sus 20 años de carrera internacional, pero el se niega a que se suban vídeos con su imagen en movimiento. ¿Por qué? Porque después de 25 años dedicados a la música, exhumando una gran cantidad de obras que estaban en el olvido absoluto. Hay gente en UA-cam que se dedican, aun sin estar su imagen a insultar, faltar el respeto a un artista que durante 20 años, quienes tuvieron e placer de verlo en escena, nunca podrán olvidarle, porque el Teatro es magia, y eso llevaba a la escena, crear una ilusión tan magnífica, que cada movimiento de su cuerpo, de sus manos, su expresión estaban estudiados, porque a pesar de un esplendido trabajo de maquillaje. Todavía tenía que componer el personaje para que siendo hombre vestido con vestuario de mujer, hacer todo eso creíble y no una parodia. El se gano el respeto de todos sus colegas, y de todos quienes trabajaron con el, y se gano el respeto por su profesionalismo y esa voz esplendida que le permitió al principio de su carrera cantar roles muy ligeros y su voz fue evolucionando y ampliando su repertorio de una manera asombrosa.
Recuerde, que después de 20 años quien se gano el respeto y la admiración, por ser único e inolvidable, no es justo que cualquier persona que nunca lo ha visto, le insulte y degrade, llegando a decir que es la voz de Joan Sutherland retocada en estudio, como usted sabrá Joan Sutherland nunca cantó la Abigaille. Quedan con Usted nuestros mejores deseos y no se desilusione porque pronto lanzaremos un Blog en español y otro en inglés dedicado a su carrera, y en el se llevará muchísimas sorpresas que lo dejaran maravillado. Con respetuoso afecto. LEONIDAS MIKLOS TEAM.
ME ENCANTARIA VERLO SOY CERO PREJUICIOS. SERIA UN PLACER VERLO DESARROLLAR SU MARAVILLOSO TALENTO EN ESCENA, GRACIAS!1
ACABO DE DESCUBRIRLO Y REALMENTE QUEDE FASCINADO CON SU CAPACIDAD. SU TIMBRE , SU COLORATURA. ES ALGO MUY HERMOSO PARA QUE NOS QUITE LA POSIBILIDAD DE VERLO EN ESCENA !COMPARTAN VIDEOS PORFA !!