Ponchielli LA GIOCONDA
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- Опубліковано 2 сер 2022
- Gioconda: Renata Scotto
Enzo: Luciano Pavarotti
Laura: Stefania Toczyska
Barnaba: Norman Mittelmann
Alvise: Ferruccio Furlanetto
La Cieca: Margarita Lilova
Zuane: John Del Carlo
Isepo: Tonio di Paolo
A monk: David Koch
A steersman: Winther Andersen
Conductor: Bruno Bartoletti
Stage director: Lotfi Mansouri
Set designer: Zack Brown
SF Opera Orchestra and Chorus
tv broadcast
I attended La Gioconda at S.F. Opera in 1979 in which Pavarotti was Enzo Grimaldi, and he was terrific. After the performance, I met him back stage, and he autographed an Album and a photo. He was a very gracious and likeable man. God Bless Pavarotti.
The role of Enzo Grimaldi is not suited for Pavarotti's voice, though his intelligence and technique go a long way to compensate; he sings the role well. Mittlemann has the vocal weight for Barnaba but the top tones do not have the thrust that the rest of the voice has. Scotto is tack-on.
Pavarotti was an outstanding tenor throughout his career. However, Enzo is not a role for his voice. He is dramatic and interprets well, but the role requires more heft.
👍@@hashatz
Beautiful Opera. I wish they gave it more often
This was an Amazing and Dramatic performance!
Tive a felicidade de assistir com ótimo elenco no Teatro Municipal de São Paulo. ELEna Suliotis, Marta Rose, Jane Raimondi, Gian Giacomo Guelfi. O prefeito de São Paulo era o competente Engenheiro e grande pianista Paulo Maluf. O Brasil era governado por elementos de bem
Scotto’s in no Gioconda.
It’s a Giocondina…
Mi piace molto Pavarotti in quest'opera, anche se non sono una sua fan. La sua voce mi sembra perfetta per il ruolo🎵💎.Adoro il bellissimo timbro della Tokzyska, una voce dal colore molto particolare🌹. Non mi hanno convinto molto la Scotto e il Barnaba: entrambi mi sono sembrati poco immedesimati nei loro ruoli.
Grazie
One can criticise Scotto all you want, but this is one hell of a performance !
Scotto's voice was a mess in this dramatic rep. When she stopped being a coloratura(after 1970) she undertook this ill suited roles that caused her to push her voice into unpleasant ugly tones. Scotto's voice in her prime was sublime.
@@kurtgarmaker3719To call this performance a ‘mess’ is, in my opinion ,wrong, it has it’s problems,but has thrilling moments, and is sung with complete conviction and passion, still well worth a watch.
Ma il Preludio?
La rivali duetto : 1:10:38
Suicidio!! : 2:04:46
The entire cast was also undercast with lighter singers to make this transition possible for La Scotto and her smaller yet passionate toned voice. Toczyska sings higher in a weaker part of her voice versus her usual lower scary sound. She sounds goat like and makes some really ugly sounds as Laura. The Barnaba in the form of Mittleman sounds more like a normal Don Giovanni and nowhere near as evil as it should be. Furlanetto was very tame and treats this more like bel canto. Weird reading, camp ballet/ dances and fascinating soapy acting. A good night out and a fun lighter watch to an opera that is usually overwhelmingly intense and heavy going. Lighter version 4.0.
Way off base....wow!
@@rugby8-PhiladelphiaThese singers are pale mosquitoes compared to the casts who sang ‘Gioconda’ in the 50’s and 60’s - Milanov, Cerquetti, Tebaldi, Tucker, Bergonzi, Warren, Bastianini, MacNeil, Siepi, Cossotto- this cast is pathetic by comparison.
@@ransomcoates546
That would be your opinion
.....does not make it correct
@@ransomcoates546
Tebaldi - without anything reliable above a Bb should have stayed with roles like Santuzza
Where do the following highlights come? Cielo e mar, Suicidio, the Laura/Gioconda duet and Enzo adorato?
La rivali duetto : 1:10:38
Suicidio!! : 2:04:46
Brava Renata Scotto.
1:41:06
Recomendo a gravação que ente outros, Giuseppe di Stefano, Zinka Milanoc, Leonard Warren, Rosalina Elias.
Certo puoi avere tutte le intenzioni che vuoi, anche il fraseggio drammatico ma se la voce giusta non c'è e la consistenza sonora non ti assiste, più di tanto non puoi fare.
Barnaba Norman Mittelmann
La Gioconda Renata Scotto
La Cieca Margarita Lilova
Zuane John Del Carlo
Isepo Tonio Di Paolo
Enzo Grimaldo Luciano Pavarotti*
Laura Adorno Stefania Toczyska
Alvise Badoero Ferruccio Furlanetto
A monk David Koch
A steersman Winther Andersen
A singer Boris Martinovich
Richard Halle
A voice John Glenister
James Meyer
Harlequin, first act Gary Chryst
Venus Martine van Hamel
Lord of Night Christian Holder
Harlequin Gary Chryst
Attendant of Venus Lisa Slagle
Sherri Parks
Conductor Bruno Bartoletti
Production Lotfi Mansouri
Designer Zack Brown
Lighting Designer Thomas J. Munn
Choreographer Margo Sappington
Chorus Director Richard Bradshaw
Musical Preparation Sue Marie Peters
Prompter Susan Webb
Costumes executed by Barbara Matera, Ltd., New York
Friday, September 7 1979, at 7:00 PM
Wednesday, September 12 1979, at 7:30 PM
Sunday, September 16 1979, at 12:30 PM
Friday, September 21 1979, at 8:00 PM
Tuesday, September 25 1979, at 8:00 PM
Saturday, September 29 1979, at 8:00 PM
Scotto has a Bautiful voice but Gioconda is too strong for her, she tries to do the low notes like Callas and it’s impossible for her!
2:05:21, Suicidio
2:10:32, Ecco il velen di Laura
2:15:03, entra Enzo
2:22:38, o furibonda iena
, terzetto con Laura
2:27:38, Gioconda sola
2:25:26, frasi Enzo e Laura
2:30:00,
2:33:38 volesti ilmio corpo
Como puede ser que esta opera la goconda de América ponchieli cantada por luciano pavarotti renata scotto ferruccio furlanetto grabada en directo tv de la opera de san francisco por los mejores directores de tv con tecnológico especialmente con buenas cámara tv como nuesta rematarisada para que el sello decca la edite en dvd y bluray porque está grabación esta grabación esta vien grabado tv de atados unido esta grabación esta mejor que grabado que luciano pavarotti en la rena di verona 1980 la única grabación esta editada cantada por luciano pavarotti con Montserrat caballe serril miner angnel balsa audio sello decca porfavor editar. Completa la goconda de luciano pavarotti renata scotto la opera de san francisco dvd y bluray del sello decca crítica dei crítico de música José andres maza m
Scotto had no business singing this role; it's about two sizes too big for her basically lyric-coloratura voice. She's pushing her voice, which spreads and becomes blousy. She sang too many too big roles later in her career.
I agree.
Leave it to Scotto to kill the divine phrase “Madre, Enzo adorato, ah, come t’amo”, probably the most gorgeous thing in the entire opera.Her “Suicidio” is just that…no wonder she and Pavarotti had a terrible fight in this production. This is on par with her disastrous Norma on Opening Night of the Met’s 82-83 season.