Thank you for posting this great performance. As great as Lucia Aliberti is, I like listening to her live better than studio because she doesn't overuse the pianissimo to avoid attacking higher notes in full voice and because the people in the back of the house have to hear her, she's compelled to cut loose more.
Bellissima edizione. Blake sotto le mie aspettative nell'aria di entrata (Nel furor delle tempeste) ma sublime nella grande aria Tu vedrai la sventurata/Ma non fia sempre odiata: raggiunge vertici di dolcezza e mezze voci difficilmente uguagliabili. La parte scritta prr Rubini richiede bellezza di suono, note alte a quel tempo emesse in falsettone e agilità che oggi sono appannaggio di pochissimi. La Aliberti è meravigliosa nel finale Col sorriso di innocenza. Forse in disco le smorzature di una Caballé sono irraggiungibili ma in una recita dal vivo la Aliberti può considerarsi una grande Imogene, seconda solo alla Callas. Bellini e l'opera italiana Patrimonio dell'Umanità
She does her best but the role calls for a heavier soprano with great agility (Callas, Caballe, Millo, etc). I saw her singing Gilda in the early 90’s with Milnes as Rigoletto. Both were superb!
I'd like to think that the audience who heard them live had a different perception of this Imogene and the sound recording device is as mediocre as the image recording, far too dark to see clearly the faces most of the time. I have witnessed some cases of voices who sound weaker in live recordings than they do live in the theatre. Only when the recording of a live performance is foreseen and they do the right sound checks before the show we can get something close to the live experience, and still not the same, as reegineering live recordings before releasing the videos give us false perceptions of what the singers sound live.
I saw her in Gilda, lovely, that’s why I believe - despite my admiration for her - that “Il Pirata” was not the perfect vehicle for her type of voice. I rest my case. 🤷
@@pablonorbertoperdomo6105 probably, the low notes are very weak at least for this video that is not top quality in both image and sound, the final cabaletta is hard to listen to with all low notes drowned by the orchestra. It is possible that the same soprano sings Gilda and later Imogene, but when so, either Gilda sounds more mature than in an average light lyric soprano or Imogene is a failure, unless you're Maria Callas, and yet she sounded fuller than most for lighter characters like Elvira in Puritani.
Magnifique l'ouverture avec plan fixe sur le chef...
Great Rockwell Blake! Thanks a lot!
Wonderful! Thank you!!
Thank you for posting this great performance. As great as Lucia Aliberti is, I like listening to her live better than studio because she doesn't overuse the pianissimo to avoid attacking higher notes in full voice and because the people in the back of the house have to hear her, she's compelled to cut loose more.
Very good cast and nice music
Bellissima edizione. Blake sotto le mie aspettative nell'aria di entrata (Nel furor delle tempeste) ma sublime nella grande aria Tu vedrai la sventurata/Ma non fia sempre odiata: raggiunge vertici di dolcezza e mezze voci difficilmente uguagliabili. La parte scritta prr Rubini richiede bellezza di suono, note alte a quel tempo emesse in falsettone e agilità che oggi sono appannaggio di pochissimi. La Aliberti è meravigliosa nel finale Col sorriso di innocenza. Forse in disco le smorzature di una Caballé sono irraggiungibili ma in una recita dal vivo la Aliberti può considerarsi una grande Imogene, seconda solo alla Callas.
Bellini e l'opera italiana Patrimonio dell'Umanità
O Lucia! Damore!
She does her best but the role calls for a heavier soprano with great agility (Callas, Caballe, Millo, etc). I saw her singing Gilda in the early 90’s with Milnes as Rigoletto. Both were superb!
I'd like to think that the audience who heard them live had a different perception of this Imogene and the sound recording device is as mediocre as the image recording, far too dark to see clearly the faces most of the time.
I have witnessed some cases of voices who sound weaker in live recordings than they do live in the theatre. Only when the recording of a live performance is foreseen and they do the right sound checks before the show we can get something close to the live experience, and still not the same, as reegineering live recordings before releasing the videos give us false perceptions of what the singers sound live.
I saw her in Gilda, lovely, that’s why I believe - despite my admiration for her - that “Il Pirata” was not the perfect vehicle for her type of voice. I rest my case. 🤷
@@pablonorbertoperdomo6105 probably, the low notes are very weak at least for this video that is not top quality in both image and sound, the final cabaletta is hard to listen to with all low notes drowned by the orchestra. It is possible that the same soprano sings Gilda and later Imogene, but when so, either Gilda sounds more mature than in an average light lyric soprano or Imogene is a failure, unless you're Maria Callas, and yet she sounded fuller than most for lighter characters like Elvira in Puritani.
1:37:04 Amazing Rockwell Blake.
The soprano is straight from SNL.
Imogene inascoltabile.
Just plain bad.