Admitting the technical prowess involved in changing the scene, things do not improve much in the following table. Leave aside the assessment of humble abode assigned to Rigoletto, who shows little concern Verdi's dynamic indications in the first sentence. In comes Ruggero Raimondi, who apparently is not as vain as his companion, as it allowed that characterizes it as a henchman. This singer would comment lot about the strangeness of their speech and its tone, but now it is also clear decline - nearly one can say that speaking instead of singing. However Sparafucile is a role of pure singing accent and Raimondi captured the atmosphere of the scene with his plausible sottovoce , including attention to p of "Sparafucil I nominate" and stressed with irony , without a shadow of the stark reality in which so many have fallen low. It is true that severe fa ended his speech might have more luck issued a spectator at random (I made myself a nice try at home) but any of his sentences was enough to destroy and bury a Sunday which touched the grotesque. One issue worthy of an ogre, issued since no one knows what part of your body, always provided ("confidences cry?) And accompanied by a facial expression frozen in a gesture of astonishment. Significantly better in the comfortable declaimed in "Pari siamo", which nevertheless had serious troubles to cope with the passage Tutta forza ("O dannazione"). Here's voice suddenly aged and seventy were heard. With all the strength continues to surprise the media and the authority of the interpreter, very able to get ahead of the shortcomings. Follow the lyrical scene of the opera, confronted, it must be said, without cuts. Aside from the recognizable - not to be confused with personal - way of phrasing and the relative health of the voice, nothing more can be said of the interpretation of baritenor. More comfortable in "Deh, non parlare the wretched" as in "Veglia, or donna" whose tessitura cost the same life, merely play the notes with plenty of encouragement and freedoms without pointing or minimally the ecstatic sweetness of the bel canto page. Simply Sunday singing with broadcasting increasingly heavy, opaque and just as likely had faced "hidden harmony", "No way" or "Love much."
As Julia Novikova, Gilda, one can say who sang it, preferring an angelic figure. With its light but pleasant voice, was morbid in his verse of the committed cabaletta, quite commendable. At some point the speech sounded a bit sappy, especially when one's eyes warned slaughtered lamb led him at all times to his father. The surprise - always taking into account the circumstances - the evening was the entrance to Grigolo. Although there is some issue in its lack of firmness, who breathed irregularly shaped and in several moments of falsetto doubt arose, we must recognize that from his phrase "Ah, inseparabile" raised an impression that one did not expect this kind of product in the media: that of a Duke risky, least original, intended resurrect the song di grazia, which used the average voice and elegant manner and stressed intencionadÃsima with fervor. The voice continued to hold the characteristic vibrato also can not be said to be a marvel, but her singing in "È il sol dell'Anima" almost seemed like a paradise in the middle of a wasteland. It is questionable as it would in a theater, because the support is far from perfect, but the intention of pointing to a model is there and it is something. It is questionable whether this can be attributed to a more merit than Mehta flexibility of your phone (so goes the melodrama). A pity it was not happening and the ballad singing. It also overcame the "Addio, addio", faced with courage and spirit (but not final reb.) The problem you will have the following wording in the Act is that Verdi is ruthless with the technical deficiencies: in addition to voice range like a light. As Novikova, who disappeared in anonymity by Grigolo, was correct her aria, without fanfare and rather discreet technically, the expression was at least adequate. The final act, always difficult to stand on stage, but Sunday was resolved with dignity chose to resort to calling Gilda cries rancid.
Tomorrow we will continue discussing. Open bar
opinions, m? Music and what happens to me, that this is my blog. 
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