“À ce moment là, le ténor est dans l’urgence d’aider Agelotti. Néanmoins avez-vous entendu beaucoup de chanteurs qui font pas de point d’orgue? Non!, Ça dure un quart d’heure!” He says ironically, referring to great tenors of the past who enjoyed holding the high B for as long as possible. “Par example quand le tenor chante la phrase: la vita mi costase, il n’y a pas de point d’orgue. Maestro Grazioli remarks that Puccini rarely writes a fermata and instead he writes a lot of allargandos and ritenutos which are misinterpreted many times for a fermata, particularly on high notes. However, it doesn’t mean that what Callas added, for example, is going to work for all the sopranos that sing Tosca.)”įor this production of Tosca we have a very strict come scritto (as written in the score) version. It’s an opera that has been sung so much and every singer of the past has added their own personal touch. (The problem in Tosca is first of all, from the first rehearsal with the singers you have to start peeling out layers and layers of tradition. “Le problème dans Tosca, la première chose, au premier contact avec les chanteurs, il faut enlever les couches de tradition qu’il y a, parce que ç’a été tellement chanté que chaque chanteur a amené quelque chose de très personel et ç’a ne veut pas dire que ce qu’a ammené Callas par exemple va marcher pour toutes les sopranos qui chantent Tosca’.
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