LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Il Grande Inquisitor (was Re: Giulio Neri)
From: Premiere Opera <[log in to unmask]>
Reply-To:Premiere Opera <[log in to unmask]>
Date:Thu, 27 Oct 2016 17:03:25 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (159 lines)


Almost all basses try for the low E, but some are inaudible in my
experience.

Here is the entire great scene from the entrance of The Grand Inquisitor
from an RAI live broadcast from 1956 with Cesare Siepi and Giulio Neri,
just two years before he died.

I think this does full justice to one of Verdi's very greatest scene!

https://youtu.be/rFXKq5I39ow

On Thu, Oct 27, 2016 at 4:44 PM, Jon Goldberg <[log in to unmask]> wrote:

> Yes to all of this. And yet, when the bass playing the Inquisitor can also
> voice a full
> rumbling low E (on "Sire"), it's just chilling.
>
> Filippo has some choice low notes as well - that final phrase of the duet
> spans 2 octaves,
> from the high F on "trono" to the low F on "altare" - but another one of
> my favorite spots
> in the opera is in that *other* amazing duet for low-voiced men - the
> Rodrigo/Filippo
> scene. Leading into the final section, Filippo cadences on a scale passage
> leading down to
> a low F ("nella leal tua man") followed immediately by an ascending
> passage from Rodrigo
> ("inaspettata...") leading to a high F. The juxtaposition of the 2 moments
> - that sudden
> jump up - is wonderfully dramatic.
>
> I would also add that not only is the Inquisitor duet remarkable on its
> own, but is part of a
> truly remarkable, unique sequence. First "Ella Giammai m'Amo" (complete
> with that
> stunning cello introduction - so sue me for loving it), then this duet,
> then the scene with
> Elisabetta that leads to the quartet, and then the scene between the women
> which breaks
> them apart forever, capping with "O Don Fatale" - an aria which doesn't
> even resolve in a
> traditional way on its own terms, but has Eboli leading us to her actions
> in the next scene.
> Pretty amazing stuff.
>
>
>
> On Thu, 27 Oct 2016 14:47:27 -0400, Max D. Winter <[log in to unmask]>
> wrote:
>
> >Bob Rideout wrote:
> >
> >"The "why not" is pure speculation, but Filippo is a highish role with a
> >couple of real "busters" like "dunque il trono dovra sempre all'altare!"
> >and Neri had a very low placed, short topped voice, ideally placed, in
> >fact, for the Inquisitor."
> >
> >Well, the Inquisitor is in fact a killer role in terms of high tessitura
> for a bass, all the more
> >so because the singer has very little time to warm up.  In fact, several
> of the Inquisitor's
> >phrases are at least as difficult, IMO much more so, for a bass than
> Filippo's "Dunque il
> >trono:"  the passage beginning, "Ed io, l'Inquisitor," which demands
> powerful, sustained
> >singing in the top register climaxing on a high F on "tranquilLI lascio
> andar;" and the
> equally
> >difficult passage beginning at, "O Re, se non foss'io con te," which
> again leads to a high F
> >after many measures of very high tessitura sung at top volume.  The part
> contains
> >numerous high Ds and E-flats.  It also requires a "black" quality in
> terms of bass sound (I
> >refer to vocal color, not race), that the role of Filippo does not.
> Talvela and Gottlob Frick
> >were supreme in that regard.
> >
> >I certainly would agree that the role of Filippo makes huge demands upon
> a bass and is
> >more difficult to sing over an entire evening.  But minute for minute,
> the Inquisitor is as
> >brutal a role, vocally, as any in the bass repertoire, not least because
> of its tessitura.  In
> >fact, more than tessitura and high notes, I think what sets Filippo apart
> from the
> Inquisitor,
> >in terms of vocal demands, is the sustained legato singing the former
> requires.  The bass
> >singing the Inquisitor can make quite an effect just punching out the
> notes con forza
> >(although real legato makes the "ritorna al tuo dover" passage really
> creepy).  Punching
> out
> >the notes just won't do for Filippo, who needs a more cantante quality.
> >
> >Incidentally, I agree with those who find the Filippo-Inquisitor scene
> one of the greatest
> >Verdi ever wrote, and one of the greatest single scenes in all opera.
> There really is
> nothing
> >else like it anywhere in any opera by any composer.
> >
> >MDW
> >
> >**********************************************
> >OPERA-L on Facebook:
> >http://www.facebook.com/groups/25703098721/
> >-----------------------------------------------------------
> ---------------
> >To UNSUBSCRIBE, send a message to [log in to unmask]
> >containing only the words:  SIGNOFF OPERA-L
> >-----------------------------------------------------------
> ---------------
> >To stay subscribed but TURN OFF mail, send a message to
> >[log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> >-----------------------------------------------------------
> ---------------
> >Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> >-----------------------------------------------------------
> ---------------
>
> **********************************************
> OPERA-L on Facebook:
> http://www.facebook.com/groups/25703098721/
> --------------------------------------------------------------------------
> To UNSUBSCRIBE, send a message to [log in to unmask]
> containing only the words:  SIGNOFF OPERA-L
> --------------------------------------------------------------------------
> To stay subscribed but TURN OFF mail, send a message to
> [log in to unmask] containing only the words:  SET OPERA-L NOMAIL
> --------------------------------------------------------------------------
> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> --------------------------------------------------------------------------
>



-- 

Best,

Matt @ Premiere Opera

Shop our entire catalog at www.premiereopera.com.

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager