Tenor Giovanni Martinelli & Soprano Rosa Ponselle ~ AIDA Tomb Scene (1926)
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- Опубліковано 10 вер 2024
- Italian tenor Giovanni Martinelli (1885-1969) / American soprano Rosa Ponselle (1897-1981) / Tomb Scene / Aida (Verdi) / La fatal pietra / O terra addio / Orchestra: Rosario Bourdon / Recorded: May 17, 1926 --
It's good to know there are still a lot of people who appreciate Martinelli & great singing
Henry Webb
I have never heard this scene more beautifully sung , by perfectly matched tenor and soprano , a lesson to any young singers of today just to listen to them , such perfectly controlled singing .
This classic version will never be bested. I have been listening to it for over 60 years now during which time I have heard many others but none come close to this gem.
Rosa Ponselle e' semplicemente divina .
Vero.
Martinelli pure lui non se la cava male
vechio amico ,Rosa Pinzillio e divina ,ma Martinelli ?
@@marcelpopa8018
Caro amico, mi stai chiedendo cosa penso di Martinelli ?!
Martinelli era Martinelli cioè era Fantastico 😉.
Saluti
Nicola
@@marcelpopa8018 SUPER _MARTINELLI --ascoltare "O TERRA ADDIO ..basta....CE UNA COSA CHE MI INCANTA ; BENCHE SORPRENDE UN PO ___CANTANO AMBIDUI COME SE NON ESSISTESSE IL PUBBLICO E LE OPINIONI DEI "ESSPERTI" -- recording VITHAUT THE PUBLIC!?
There is no finer soprano for this scene that I've had the pleasure to hear. When Ponselle sings the phrases Vedi? di morte l'angelo Radiante a noi s'appressa, each note has a solid core of unwavering pitch that no one else possesses. It is a foundation unmatched by no other singer. Truly a voice to make me weep. I only wish I had a time machine to take me back to when she was singing.
Esa máquina del tiempo, para oír a Rosa Ponselle cuando estaba cantando…… la he deseado por muchos años!
Martinelli is simply wonderful here. I found his voice a little to white in his later years, but he's singing with a tremendous finesse here and opposite one of the most accomplished sopranos of the 20th century. A true summit meeting. What a natty dresser Martinelli was. Every photo you see of him, he's always immaculately turned out.
Breathtakingly beautiful.....
Deep.
Among the many outstanding recordings of the Tomb Scene this, for me, is the ultimate performance. It is the complete auditory experience that makes it so outstanding. Vocally, they are matchless. Martinelli's crescendo on the final B-flat is nothing short of pure, sublime magic as is his magnificent breath control.
An all-time classic... many thanks, Shlomo!
No doubt about it, Doug. This is one for the books!! Shlomo.
La meilleure interprétation que je connaisse, dépassant celle de Mario del Monaco et Renata Tebaldi, que pourtant j'apprécie énormément.
C'est la véritable technique italienne, celle de mon propre Maestro Clemente Guearti que je retrouve ici, à savoir placement de la voix, "posizione alta", contrôle du souffle, la précision et le contrôle absolu de l'émission vocale avec tout le brillant du registre aigu,; la puissance du médium et la "largeur" des graves.
De plus le tempo, lent, témoigne aussi du contrôle vocal, avec des notes émises fortissimo, d'autres diminuées jusqu'au pianissimo sans perte de la place de la voix, de la richesse du timbre. Tout cela rend cette interprétation à mes yeux sublime !
C'est comme cela qu'il faut chanter !
Ponselle's rich tone is SO EASY to listen to. It carries my mind gently up into the clouds.
I'm not normally a Martinelli fan and think there's some stuff out there of his later years that he wouldn't be proud of, but this really is terrific signing here.
una coppia Magnifica Potente con una voce Sublime direi Insuperabile tanti Complimenti una esecuzione Magnifica un grande appassionato della lirica
😂❤Очень красиво звучит оперный дует Светлая,вечная память выдающимся Джованни иРозе .❤🎉
I had forgotten how incredibly glorious this version of the final scene is. Both singers are at their considerable best. and the whole effect is simply magnificent. Who can sing like this today? It should be compulsory listening for all vocal teachers and their students. Yet again - Thank you Doug for reminding us what great singing is all about. Vivian
It should be compulsory listening for everyone - I don't think you can listen to this kind of beautiful music and go out and kill somebody for their wallet. [Maybe for their phone if they have this recording on it. :-) ]
No, my friend. Singing like this cannot be taught. Teachers, coaches, etc. can only work with the voices that are brought to them. For complex reasons, the quality of the singing voice itself has been declining inexorably for at least a hundred years.
Patricia Janeckova Perhaps ... If she stays well ... 🙏🏻
How can one not appreciate this duo, this is one of the greatest recordings of the 20th century,if they had today's technology !! there is no argument to discuss about no comment this is extasy to listen to,Rene 88yrs
Pero qué maravilla de dueto…sin palabras…Ponselle-Martinelli…madre mía! Magnifico los dos..magistral. Gracias.
A wonderful recording, which bears many listenings. It assuredly represents an high-point in Verdian singing.
Indeed, an all-time classic... thank you, Michael!
Notice how the last phrase is taken in one breath: masterly.
"masterly" is right. Martinelli has deserved an amount of criticism (in his recordings, in general ... and, maybe, specifically), and his intonation isn't of the steadiest, of all. He's very-forthright, though, and there's a true CHARACTER to his interpretation, esp. at the 6:23 mark!! ... No need to comment, very much, about Rosa P. Her characterization is WOMANLY, fully-pointed (vocally), and is one of the most-remarkable of all of her BEST, on record. I think that the leadership of Bourdon is very-wonderful, also; Rosario B was her husband, wasn't he?
listen to that phrase at 3:44-3:49 too, all the way to 3:49, such limpid legato
Thumbs up for increbible mezza voce and breath at the final high B.
This is my favorite recording of this scene. Ponselle and Martinelli were magnificent.
On recordings like this, Martinelli & Ponselle put All other singers in the shade. Magnificent portrayals here.
Henry Webb
Dear Bivolari - you are so right! The main reason is that singers are no longer respected by conductors/agents/directors, the singer is just a tool to advance the careers (and egos) of these animals. Singers are told what to do, when to do it, how to do it - if a singer (who is not a Pavarotti or Domingo, of course) dares to tell a conductor he/she prefers to sing his/her part in a different way, he/she risks being thrown out of the production like a piece of rubbish, with some other (obedient) singer waiting in the wings to take over the part. Shame on today's opera conductors/directors/agents - 99% of them totally incompetent!!!!!!!!!!!!!!!!
I’m professional opera singer from Moscow, Russia and you, Alexander said the TRUTH. I’m the witness of it. Plus gays dominance in the art, man has to become gay to become a star.... and much more... that’s why I sing to Christ only from now on.
this is what to play for anyone questioning Martinelli greatness and place in the history of singing. I didnt "get him " for years! Ponselle incredible too!(always)
There are a number of instances in this piece where the soprano has to go down to the bottom of her range and here Ponselle is simply amazing.
Temos que agradecer a Deus por nos ter dado Martinelli e Ponselle mas... Martinelli e Ponselle teriam muito que agradecer a Verdi por lhes ter dado, com este dueto fantástico, a oportunidade de mostrarem todo o seu imenso talento. Viva Martinelli, viva Ponselle e VIVA VERDI!!!
Aida ,una opera di completa maturita di Verdi . Due voci sublime . Martinelli e inegualabile Rosa Ponselle . Grazie tutti !
A 95 year old record has reduced me to utter tears
I would gladly die in the tomb with either (or both) of these singers. Bravissimi.
гении!!! непревзойденные!!!!)))сейчас так не поют, не из-за денег, а потому что просто никто не может близко приблизиться к этому звуку)
This wonderful recording highlights all that has happened to singers and singing in the last 60 plus years. Martinelli and Ponselle set the pace and take the time to make all of their vocal points. The scene takes flight because the singers sing. I don't know if todays singers are any better or worse but they sure have had all of their vocal arts taken away from them. This recording is incredibly moving and most beautiful.
Sadly this tradition has been lost in today's world. Teachers and students just can't be bothered to take the time and though necessary to learn how to sing, to learn languages and truly learn a role with all its intricacies.So many singers today don't even have basic breath technique.
@@vanzofaust knnnnnnnnjjjjjh j jiìòi0o0
His diction is incredible
Magnificent performance. Strong voices sublime .... impressive. Thanks for posting!
Superb singing by two great artists
I'm with Shlomo----simply the BEST recording of this moving finale.
The BEST Aida!!! Just listen to the ending. Martinelli is in fine voice.
... et la perfection absolue de leur unisson lors de l'ultime reprise de "O terra addio...", l'entente musicale palpable des deux artistes, comme s'ils dessinaient instinctivement la même ligne : bouleversant.
I had this recording on a 10 inch 78, but I bought it later on a Romophone CD. Ward Marston has done a great job . The 1924 recording is also there. I agree with Curzon Road that modern engineering has done we collectors a great service.
Henry Webb
Excelentes comentarios. Esta es la mejor versión del final de Aida que haya escuchado y difícilmente vaya a ser superada. Daría cualquier cosa por escuchar cantantes así. Gracias por compartir lo que seguramente Verdi soñó escuchar cuando lo escribió.
This masterful duet is the perfection of two artists made for the tomb scene, their
unsurpassed in this duet and over 50 yrs have heard and never tired of this true Verdi.
This farewell to earth may well be a comfort for those few whose tastes are in question !!
The part of Amneris in the "O terra addio" is sung by Elsie Baker, the prolific contralto of the Victor Talking Machine Company and other early recording labels. Her sister, soprano Della Baker, is also listed in the Victor ledgers for this recording.
The finest of all recording..thanks mon ami.
I normally hate most of the stuff I hear from Martinelli, but the recording of this scene is superb.
Best. One word
beautiful rendition and blend of voices, truly captures the anxiousness in the scene... the long drawn out phrases suit Martinelli and adhere to his technique...
Sempre insuperabile secondo la mia Modestia BRAVISSIMI
Loving this!
Best record from 1926.
I think Martinelli holds the record in singing Radames at the Met 123 times and Caruso is next with 91. An incredible feat.
Doug, So glad you posted this scene. It was the first Martinelli/Ponselle record I bought. Splendid photographs, too. George
Is there a better version of the tomb sc. than this? If so I've never been able to find it in the last 60 years. A pair of incomparable singers in this music. Beautifully sung.
Charles Webb Pontypool
Questa è Opera. Non ciò che sentiamo oggi. Oggi la lirica è solamente un canto noioso da morire.
@raynardi 2326 ,Si !
Thank you so much for sharing :-))))))))))))))))
Wonderful!!! It's a pity that technology didn't record well all the harmonics
sublime por dios Que voces
The red-seal Orthophonic Victors have both a luscious sound and beautiful appearance. Martinelli and Ponselle were at the zenith of their careers.
Лучшее исполнение! Небожители, несравненные голоса
In this posting Giovanni Martinelli's tone sounds much smoother, less metallic than it sometimes is heard. He certainly was a great deal more than a strident, trumpeting tenor. Rosa Ponselle speaks highly of him in her interviews, but referred frankly to the later vocal problems he encountered.
See my comments on the Nillson/Corelli version 20 years later, is the earlier version better or does the later technology enhance.I love both,Rene
The Verdian records of the between two wars era are considered to be the greatest tributes to the great Verdi. If we listen to the Nile scene with Lauri Volpi and Rethberg we can know why. Il love the fifties era but I have to admit that this previous period muche more sincere in the delivery of the singing with the desires of the composer.
This great recording is now and forever a piece of history.
It seems Martinelli's reputation has dimmed with the years-not quite sure why?
I loved his kind of voice in Otello-though now more often done with a helden sound
I never heard him sing-even as old Emperor in Turandot
but did hear him speak- introducting Corelli at a recital-a very heavy accent
Giovanni Martinelli singt hier ausgezeichnet. Rosa Ponselle einfach himmlisch und unvergleichlich. Schade, dass es keine Duett Aufnahme von Enrico Caruso mit Rosa Ponselle gibt, dass wäre dann die Referenz für die Ewigkeit !!!!!
DIVINOS.
glorious!!!
The recording is so clear could be yesterday not 1926.......he's in perfect pitch.
sorry I meant to write SINGS
henry webb
Comparing singers is always problematic; personal tastes and preferences creep in to contaminate the issue. Corelli was a very exciting singer and presented a theatrical aspect that Martinelli did not. Martinelli's artistry was aristocratic and consistently noble. He didn't play the audience; Corelli sometimes did. Both singers were loved by the public, though I suspect, for different reasons. It is clear where my preference lies.
I think GM very much played to the audience, listen to his Sento in Simon Boccanegra, but this only brought more fire to his performances.
Other than the same roles, its hard for me to find much to compare between Corelli and Martinelli . Both were beloved: one for the sound, the other in spite of it. I couldnt do without either of them!
As opera is as a dramatic art as musical excessive emotion as some would say should not be blamed at all, I mean Corelli 's artistry greatly added to his immense popularity. All in all art is for the public first of all, then for the stern critics to let them have some bread...
Je ne sais pas si on trouve mieux.
Martinelli sounds like the wonderful Franco Corelli only without the excessive vibrato and emotional exaggeration.
+MrTrackman100 Since Corelli i came after Martinelli, I think the correct way to express this sentiment should be "Correlli sounded exactly like Martinelli with excessive vibrato and emotional exaggeration" :)
+Fok wing chau Not sure why you feel my sentence is incorrect. What does sounding like someone have to do with time order? Strange.
+MrTrackman100 Its just a light hearted comment. Please do not take it seriously. But logically speaking, at the time Martinelli was singing, there is no Corelli. In that sense, his voice is unique. At a later stage, Corelli appeared onto the scene, and when his voice is compared with Martinelli, there is a lot of similarity. Hence we are comparing Corelli with Martinelli and not Martinelli with Corelli, :)
Corelli had the unique ability to sweeten the tone to produce a lyrical quality as he swelled it. For that he is very much admired. But in doing so, it lost some of the noble heroic quality when the likes of Martinelli and del Monaco opened up for a 'trumpet' blast. Both are great singers that I admire. I only wish we could have singers like these in the present age.
You're so right.
In a Corelli Zucker interview, Corelli claims he cleaned up his excessive vibrato very early in his career. He also rolled his Rs on one of his very first LPs, but quickly eliminated that mannerism as well. In Lauri Volpi's book "Parallel Voice's" Volpi parallel's Del Monaco with Martinelli, but not for the similarity in voice but voice production, claiming that both tenor's applied a lot of physical strength to produce great sound. I don't believe that Corelli ever sounded like Martinelli aside from both singer's being spinto or spinto-dramatic tenor's. Martinelli had a steel like quality to his voice, where Corelli had a warm organ like sound. Both terrific tenor's that are scrutinized at times, but imagine the raves from today's public that either tenor would receive, separating them from the dismal spinto-dramatic category that today seems non-existent.
You can hear Martinelli singing extended live excerpts in the 1937 TURANDOT at Covent Garden, London. He sounds just as good there and was extravagantly proclaimed but he never returned to that house. His Turandot was Eva Turner, later Dame Eva.
I think he sang Tosca there the same season, but it was a one off. Gatti would not let him premier Calaf at La Scala, so he took London when it was offered. He had been Puccini and Toscanini's choice for Calaf, but would not sing it at the Met because of Gatti's action. I suspect Covent garden couldn't match what he was getting at the Met, though it was only about $1,000 per performance in the Depression. Simpler to be a house tenor in those days than travel internationally. He did sing some in Philly and Chicago
Потрясающие тенор и сопрано,сейчас так не поют,все слишком жидкие ,невыразительные певцы и певицы,а потому что многие ,так называемые звёзды ,блатные,стали популярными за счёт бешеных денежных, и не только,вложений(нетребко,доминго,вилазон и т.п.)
Не поэтому.
Поменялись ценности , все говорят, Нетребко лучшая, ей платят хорошие гонорары, вот студенты и будущие певцы ее слушают и думают, что это эталон, несчастные))
How could Lanza mock a man who sins like this?
Henry Webb
Henry Webb You mean "sings"? What Martinelli does on his own time is nobody's business. I agree with you that Martinelli is great with Ponselle in this duet. I also happen to like Bjoerling a great deal. Love the way that Martinelli rolls those "r's". Perhaps the only contemporary soprano who was Ponselle's equal would be Claudia Muzio.
Henry Webb Maybe Lanza was insecure about himself when he realized that there was someone who could sing better than he could. There is nothing like the singers of the past, and sadly there are no singers who can match Matinelli, Bjoerling, Gigli, and of course, the king of them all--CARUSO!!! I also enjoy your website, and I am sure that you must have quite a collection of old recordings. Unlike most pop and contemporary music that is ephemeral, opera is here to stay and will be listened to by posterity. My only regret is that I never had a chance to listen to the great singers live.
+diarci Thanks for the clarification. It's important that someone's reputation is not unjustly besmirched.
@SHICOFF1 However one classifies Lanza, there is no doubt he made opera lovers out of an entire generation. Periodically someone appears to bring great music back to a starving public. More recently that job has been done by Boccelli, Paul Potts, and the many opera singing janitors and 1st grade teachers on contest shows. Easy to find fault but they bring this art to the masses. I saw a cartoon as a child : "the whale who sang at the Met". Changed my life forever!
Due forze della natura.
Commoventi
ZWEI TRAUMSTIMMEN DER OPERNGESCHICHTE ABSOLUTE SUPERKLASSE