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“Aureliano in Palmira” (𝟣8𝟣3) – G. Rossini by Luca

“Aureliano in Palmira” (𝟣8𝟣3). Here in the role of Arsace (II Act – “Gran Scena di Arsace”), Martine Dupuy, young and fresh from one of her most important successes, Romeo in Martina Franca. Dupuy did not repeat Arsace on stage, instead performed in concert the arias, which already in 1980 emphasized elegance, softness of emission […]

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FALSETTISTI E CASTRATI – di Franco Fussi by Luca

Una possibilità d’emissione dei toni acuti è, notoriamente, quella di ricorrere al registro di “FALSETTO”. […] Il timbro vocale (dei falsettisti) risulta […] povero di armoniche (per la vibrazione del solo bordo libero delle corde vocali), debole d’intensità (per la vibrazione del solo bordo e la riduzione della cavità di risonanza da sollevamento laringeo) e […]

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ROSSINI’S VOCAL REFORM  by Luca

The unique style of Gioacchino Rossini and his operas have a very important role in the art of singing. His vision helped bringing the florid style of baroque opera to a whole new level of virtuosity and make way to the Bel Canto era. Rossini’s vocal ideal was still the castrato. He felt that they […]

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ROSSINI’S TENORS by Luca

In the beginning of the nineteenth century opera seria, the tenor was beginning to be accepted for the role of the young lover or hero in place of the castrato, but the more common option was to use women in pants roles, especially contraltos. These women sung the roles originally written for castrati, but new […]

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THE GREATEST ROSSINI TENORS IN THE NINETEENTH CENTURY. by Luca

Several tenors made it into the opera history books because of their importance and contribution to the art. In the first half of the nineteenth century and Bel Canto era, most of them were either Italian of French. The styles, although initially very different, were being combined in the search for the more exciting and […]

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ROSSINI & THE TENOR ANDREA NOZZARI by Luca

On December 12, 1832, exactly 186 years ago, Andrea Nozzari died in Naples: besides being the first Otello in the homonymous opera by Gioachino Rossini (dated 1816), he is remembered above all for his particular voice, to the point that we can speak of the “baritenore” par excellence. Briefly reviewing his biography can help us […]

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THE VOCALISM IN ROSSINI by Luca

The Rossini vocalism is still closely linked to the belcanto ideal that sees the primacy of the voice on the other components of the opera: the singer is coauthor with the composer and in his arias he is free to improvise. With Rossini, who begins to write all the “colorature”, the phase of the singer’s […]

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MARIA CALLAS IN ROSSINI’S MUSIC – BY MARION LIGNANA ROSENBERG by Luca

Maria Callas as Armida Dr. Robert Seletsky, a distinguished musical scholar, questions the attribution to Maria Callas of a “revival of forgotten repertoire and the performance traditions that accompanied it.” He notes that many of the works cited to bolster this assertion (including Il Turco in Italia, Il pirata, and Anna Bolena) had been produced […]

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ROSSINI’S LA CENERENTOLA AND THE EUROPEAN FAIRY TALE. BY JOSEPH THOMAS by Luca

17th century France played a crucial role in the development of the European fairy tale. During the last half of that century, the oral traditions of the folk began to bubble up into the literary salons of the haute bourgeoisie and the aristocracy orbiting around Louis the XIV’s court. While writers like Marie Catherine d’Aulnoy, […]

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