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: Henri in Les Vêpres Siciliennes
From: Jean Michel Pennetier <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Thu, 1 Jun 2017 19:51:39 +0200
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (81 lines)


I absolutely agree with Geoffrey.
To some extent, Henri is a bit like Violetta : it requires a different voice for "Ô jour de deuil" and for "La brise souffle".
It's even more tricky in italian as "La brezza aleggia intorno" is higher than the french version (I don't know why) : there's a high C in french, and a D in italian !

All the best.

BTW : about "Ô jour de deuil". In french you would say that you need "une voix plus large" which doesn't mean "loud", "powerful" but something like "more baritonal". It's more a question of colours. How would you say in english ?

----- Mail original -----
De: "Geoffrey Riggs" <[log in to unmask]>
À: [log in to unmask]
Envoyé: Jeudi 1 Juin 2017 19:38:59
Objet: Re: Henri in Les Vêpres   Siciliennes================

[G.R.] The short answer might be -- all of it's tricky! :-)

Seriously, though, the more one drills down into the Verdi canon, the more
evident it becomes that a strong argument could be made that the three
toughest tenor roles in Verdi are (chronologically) Henri in Vepres, Alvaro
in the original (Tamberlick) Forza and the Verdi Otello.  Of those three,
while Otello obviously requires unremitting intensity and strength, the more
varied requirements in Vepres, from bel canto suppleness and an easy
extension on top to heroic declamation, likely make that the trickier
"sing". -- And yes, an even trickier "sing" than the original Forza.

The three sequences that, together, arguably make Henri the most demanding
tenor role in Verdi are the opening aria in the fourth act ("Giorno di
pianto" in the Italian version), with its heavy declamation and high
tessitura, the "La brise soufle", with its highly contrasted lyricism at the
other end of the spectrum but still with the very high tessitura and even a
trill thrown in for good measure(!), and the last-act trio, with the
heaviest declamation of all.

One might argue that the other individual sequences in this role are not, in
a vacuum, individually as unremittingly arduous as, say, much of Otello or
the original Alvaro.  What makes them still extremely tricky, though, is the
degree to which they are placed, cheek by jowl, alongside other sequences
that seem, on their face, to require two or three entirely different sortS
of tenors rather than a single type.  The three sequences I spotlight above
merely amp up those extreme contrasts to an extent unparalleled throughout
Verdi's extensive writing for the tenor voice.

Finally, lest there be any doubt that some of the trickiest vocal writing
here, even regardless of context and contrasts, remains intrinsically
demanding on its own terms, let's not forget that "Giorno di pianto" has
sometimes been cut or replaced with something else during the course of
Vepres's spotty performing history.  It has felled more than one tenor voice
in its staggering combo of heroic declamation and high tessitura.  The words
"Don't try this at home" suggest themselves!

Cheers,

Geoffrey Riggs

http://www.operacast.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
--------------------------------------------------------------------------

**********************************************
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