Page 2 of 32 FirstFirst 12345612 ... LastLast
Results 16 to 30 of 479

Thread: Mezzo arias; the best of both worlds

  1. #16
    Senior Member Aksel's Avatar
    Join Date
    Dec 2010
    Location
    Norway
    Posts
    1,582
    Post Thanks / Like

    Default

    Quote Originally Posted by moody View Post
    I made this point already !
    I know. I was reading from above, and didn't see that you'd already responded to it.

  2. #17
    Senior Member Aksel's Avatar
    Join Date
    Dec 2010
    Location
    Norway
    Posts
    1,582
    Post Thanks / Like

    Default

    Quote Originally Posted by moody View Post
    They were all sopranos as far as I'm concerned.
    Cossotto was a mezzo. Lady Macbeth was one of the only soprano parts she took on, and it was in studio only.

  3. #18
    Member Ritter's Avatar
    Join Date
    Apr 2013
    Location
    Spain
    Posts
    50
    Post Thanks / Like

    Default

    Quote Originally Posted by moody View Post
    They were all sopranos as far as I'm concerned.
    Cossotto, Verret and Bumbry sang mainly roles for mezzo, although they took on sopranos roles as well. Aksel explained it well talking about Verret and Bumbry: "transitioned into sopranodom in the course of their carreers". Callas of course was a soprano, I mentioned her to point out the best Lady Macbeth interpreters from my point of view. So, the conclusion for me is that Lady Macbeth doesn't have a very clear nature when it comes to vocal range.

  4. Likes MAuer liked this post
  5. #19
    Senior Member Aksel's Avatar
    Join Date
    Dec 2010
    Location
    Norway
    Posts
    1,582
    Post Thanks / Like

    Default

    Quote Originally Posted by Ritter View Post
    Cossotto, Verret and Bumbry sang mainly roles for mezzo, although they took on sopranos roles as well. Aksel explained it well talking about Verret and Bumbry: "transitioned into sopranodom in the course of their carreers". Callas of course was a soprano, I mentioned her to point out the best Lady Macbeth interpreters from my point of view. So, the conclusion for me is that Lady Macbeth doesn't have a very clear nature when it comes to vocal range.
    Cossotto did not take on soprano roles. She recorded Lady Macbeth, one of the soprano leads in Il viaggio di Reims, and did a recording of Verdi soprano arias. Other than that, complete mezzo.

    But the vocal range of Lady M is pretty soprano-y (although parts of it are relatively low). Cossotto was a freak of nature (I mean this in the best way possible), and Verrett and Bumbry were sopranos in hiding for parts of their carreers. Even though mezzos have taken it on, does not make it a mezzo role. I mean, you clearly hear Cossotto (and Baltsa (who only recorded the arias, mind)) straining (but oh! what fabulous straining) when she is singing it.
    Also, the fact that mostly sopranos sing it, should give you a pretty good indication as to the voice type required.

  6. Likes moody liked this post
  7. #20
    Senior Member deggial's Avatar
    Join Date
    Jan 2013
    Location
    Boisvert
    Posts
    1,751
    Post Thanks / Like
    Blog Entries
    1

    Default

    ok, let's leave Lady Macbeth for the sopranos; nonetheless, this reminded me of Bumbry's Carmen which I enjoy quite a bit.


  8. Likes MAuer liked this post
  9. #21
    Senior Member (Ret) moody's Avatar
    Join Date
    Nov 2011
    Location
    uk
    Posts
    4,666
    Post Thanks / Like

    Default

    Quote Originally Posted by moody View Post
    They were all sopranos as far as I'm concerned.
    I must be losing my marbles---those first three ladies were mezzos of course--apologies.
    Fools talk because they have to say something, wise men talk because they have something to say.

  10. #22
    Senior Member Hesoos's Avatar
    Join Date
    Jun 2012
    Location
    Finland and Catalonia
    Posts
    223
    Post Thanks / Like

    Default

    I thought it was mezzo role because I always listened to Verrett and Cossotto versions.
    1813 - 2013 Verdi and Wagner 200 years

  11. #23
    Senior Member (Ret) moody's Avatar
    Join Date
    Nov 2011
    Location
    uk
    Posts
    4,666
    Post Thanks / Like

    Default

    Quote Originally Posted by Hesoos View Post
    I thought it was mezzo role because I always listened to Verrett and Cossotto versions.
    You mean Carmen and it can be both as can Rosina in Il Barbiere. But I suppose everything might be as long as the ladies can reach the notes,but Lady M. not I think.
    But then if you consider Don Giovanni and Dr. Dulcamara they can be baritone or bass---the most famous Giovanni was Ezio Pinza who was most certainly a bass.
    Fools talk because they have to say something, wise men talk because they have something to say.

  12. #24
    Senior Member guythegreg's Avatar
    Join Date
    Jun 2012
    Location
    Brooklyn
    Posts
    1,387
    Post Thanks / Like
    Blog Entries
    16

    Default

    Quote Originally Posted by deggial View Post
    ... does what it says on the tin....
    I like that. Ingredients: heartbreak, coloring, vitamin C.

  13. #25
    Senior Member deggial's Avatar
    Join Date
    Jan 2013
    Location
    Boisvert
    Posts
    1,751
    Post Thanks / Like
    Blog Entries
    1

    Default

    hehe, it's true, though. I always imagine the composer with the libretto in hand going "hmm, I need some heartbreak here, but not too much, a bit of mood coloring and a jaunty cabaletta at the end for energy." Or "ooh-oh, this one is saucy, we need a bouquet of ambiguity, some strong spice and a mesmerizing arpeggio."

  14. Likes moody, MAuer, guythegreg liked this post
  15. #26
    Moderator mamascarlatti's Avatar
    Join Date
    Sep 2009
    Location
    Auckland, NZ
    Posts
    5,848
    Post Thanks / Like

    Default

    "Va tacito e nascosto" from Giulio Cesare in egitto. And "Se in fiorito, ameno prato". Preferably sung by Sarah Connolly in a long red coat.
    Natalie

  16. Likes Aksel liked this post
  17. #27
    Senior Member GiulioCesare's Avatar
    Join Date
    Apr 2013
    Posts
    216
    Post Thanks / Like

    Default

    Quote Originally Posted by mamascarlatti View Post
    "Va tacito e nascosto" from Giulio Cesare in egitto. And "Se in fiorito, ameno prato". Preferably sung by Sarah Connolly in a long red coat.
    Va Tacito is my favourite aria ever, but strictly speaking it's a contralto aria, sung now at times by mezzos.

  18. #28
    Moderator mamascarlatti's Avatar
    Join Date
    Sep 2009
    Location
    Auckland, NZ
    Posts
    5,848
    Post Thanks / Like

    Default

    Quote Originally Posted by GiulioCesare View Post
    Va Tacito is my favourite aria ever, but strictly speaking it's a contralto aria, sung now at times by mezzos.
    So Senesino would have sounded like a contralto? Makes sense I suppose.

    Anyway I love contraltos - waiting for the Minkowski Giulio Cesare to become a little more affordable so I can hear Mijanovic in the role. Stutzmann would be cool too.
    Natalie

  19. #29
    Junior Member
    Join Date
    May 2012
    Posts
    19
    Post Thanks / Like

    Default

    I choose Handel, too: "Dopo notte" from Ariodante, sung by Janet Baker. When I heard it for the first time, I just couldn't get enough of it for weeks.

  20. Likes deggial liked this post
  21. #30
    Senior Member GiulioCesare's Avatar
    Join Date
    Apr 2013
    Posts
    216
    Post Thanks / Like

    Default

    Quote Originally Posted by mamascarlatti View Post
    So Senesino would have sounded like a contralto? Makes sense I suppose.

    Anyway I love contraltos - waiting for the Minkowski Giulio Cesare to become a little more affordable so I can hear Mijanovic in the role. Stutzmann would be cool too.
    Yes, Senesino was a contralto castrato. Which is quite fortunate for us today, since it means we can use countertenors to play the roles written for him without losing much on the side of fidelity.

    When Händel's operas began being revived in the 70s, the parts in works like Giulio Cesare were played by tenors and basses. Some of those recordings are still available out there, but I'd approach them with caution. They are great historical material, but nothing more.

    That Minkowski recording you refer to is great. I got it off Ebay for 27 euros.


Page 2 of 32 FirstFirst 12345612 ... LastLast

Similar Threads

  1. Replies: 10
    Last Post: Nov-07-2012, 12:04
  2. Worlds Apart for string quartet and woodwind quartet
    By violadude in forum Today's Composers
    Replies: 3
    Last Post: Mar-23-2012, 05:43
  3. Replies: 388
    Last Post: Feb-04-2011, 19:46
  4. Replies: 16
    Last Post: Nov-14-2008, 04:03
  5. 5 Arias
    By LeahClef in forum Opera
    Replies: 3
    Last Post: Jun-22-2007, 16:56

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •