belcanto
addition, French Romantic opera was the great Joan Sutherland specialty . One of the highlights of his career in the code was "Les Contes d'Hoffmann", having been the first singer who took the four decades leading soprano roles . Quite a feat given the extensive vocal range of them, from the agile soprano (Olympia) to Giulietta, rather close to the mezzo . The Decca led to the study (1971) the opera in the first edition of the same philological, critical to its revaluation conducted by Richard Bonynge expressly for the record. A couple of years after the debut MET production for the showcasing of the diva, who won a spectacular victory in each of the characters. As expected, one of the highlights of the night is "Les oiseaux dans la Charmille" Olympia's song in Act III. Soprano voice, used to whistle, a bell is a pleasure full, broad and vibrant on this page. Scales, chopped notes, trills, no soprano vocal pirouette not dominate with a master's insulting: in the second round of the song is a trill at a height unlikely. Only a slight hesitation in the last treble reminds us that this is a woman of flesh and bone. The public, heard, appreciated the comic talents of Sutherland for the number. Impressive also his gurgling of the waltz. As for the Venetian Act in principle the farthest of its strengths, it is true that does not allow much brilliance (still had not recovered solo Giulietta page) can rightly speak of success. Although not as complete as in the record edition, portraits of the hateful court is surprisingly vivid for work on the accent and even compares favorably with the enthusiastic advances Domingo. However, is the Act which establishes Antonia a very large interpretation. Although the paper is designed for a voice with a more youthful color than it had at that point in his career, the gentle melancholy of the song ("Elle to left, the Tourterelle") and the modest expression of love (the scene with Hoffmann) are nearly ideal for the character - perhaps missing some more in chiaroscuro love song. Finally, the slancio phrasing, the nerve of accent and clarity of his upper register comparisons do not support the masterful trio, a page where the lyric sopranos are serious problems. The last bars of this number could be cited as one of the highlights of a career: the terrifying rise to do # 5, a range almost impracticable, is resolved with a perfection that summarizes a lifetime of study of the technique. A note does not suggest any effort and yet it is hurtful in its limpid beauty. If the recording is admirable study this passage in vivo seems even inhuman. Not far behind its intervention in the wonderful quartet of Epilogue. Sutherland's voice here flies the set with a monstrous facility. The highs are real lightning: you can not imagine more brilliant sound.
starring roles from Richard Tucker (between 1955 and 1957) could not be heard at the Met (or anywhere) a Hoffmann as exciting and passionate as that of Placido Domingo . The tenor affinity to the role is particularly fortunate for the scenes with his beloved, not only for the privileged velvet timbre, but the suggestion of his tremendous singing. This is particularly noticeable in the duet with Antonia, who shows him affection and caressing even without recourse to really low voice. These qualities also shine during the first act monologue. Seductive ways Sunday - well known and recognizable - fit completely sentimental style and cast the role, certainly not in special need of depth. For this reason there is only one of his best roles, but in this case just a couple of tenors that you can compare. Superb, by pushing and sympathy, is their story "Il était une fois", although the central section finds it a bit hard and diction tends to be a blur of sound "in bocca." A defect that is often cited in this singer. Less bright are the couplets Venetian the Act: the issue "cello" letting you get that ring dense and voluptuous in the range Central has its limits, even when in top form, when the tessitura demands slancio in passenger area, then becomes somewhat stringy and vulgar. Some of this is also seen at the beginning of the duet with Giulietta ("O Dieu! De quelle ivresse") although in this case the writing is more lucid linked. The site reaches a glowing passion for both parties ("Ah! Aujourd'hui les larmes"). Brilliant intervention in the Quartet, imposing the stunning breadth and intensity of its tone. The few high notes of the paper, isolated and therefore are acceptable and offered no major problems to the young Domingo.
As for the villains, for Bonynge was beyond dispute that should assume a single singer and the task fell to Thomas Stewart . Net baritone, is comfortable as Coppelius and Lindorf, Couplets whose voice acquires decidedly dull, guttural tone. Things get worse in the aria dAPERTutto, since it is down a half step, yet the sharp increases you are very arduous. So, the problem seems intractable. Miracle is the best role exceeded, particularly in terms of accent, always honest and effective in any case.
Huguette Tourengeau is much better than might be expected in This singer, who inexplicably went on to hold a fixed place in the Clan. The buzzer sounds fresh and without the haughty ingrate who used to spoil. The rest of the papers comprimarios is covered with the usual (and recognizable) Effectiveness of the house.
address Bonynge in the background is due to the remoteness of the orchestra (this is a live recording in- ). Fortunately fascinating musicological and musical work is properly documented by the studio record. But still emerge from its colorful flashing, its elegance and fantasy nervous.
This feature is the premiere production, which won a huge hit with audiences. Not well understood however, the coldness of Shawe-Taylor in his review (available in the database TEM).
Enjoy.
Enjoy.
November 29, 1973
Hoffmann Placido Domingo
Olympia ................ ................. Joan Sutherland Joan Sutherland
Giulietta
............... ................. Antonia Stella Joan Sutherland
...... Joan Sutherland
Lindorf ............ ................. ............. Thomas Stewart
Coppelius .. ............. Thomas Stewart Thomas Stewart
Dappertutto Dr. Miracle ............. Thomas Stewart .............. Nicklausse
Huguette Tourangeau Huguette Tourangeau
Muse Andrès .................... ...... Andrea Velis
Cochenille ............ .............. ........... Pitichinaccio
Andrea Velis Velis
Andrea Frantz. Andrea Velis
Luther ................. .................. ....... Edmond Karlsrud
Nathanael Anthony Charles Hermann
........ ................. .............. Russell Christopher
Spalanzani
Nico Castel
Harvuo Schlemil Crespel ................ ................. Clifford James Morris
Voice of Antonia's mother ... Cynthia Munzer
...... ............... Richard Bonynge Address
CD 1 CD 2
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