Jun 30, · Check out The Art Of Rosa Ponselle by Rosa Ponselle on Amazon Music. Stream ad-free or purchase CD's and MP3s now on progressive.dathistazahnmoditius.infoinfo Rosa Ponselle made her Metropolitan Opera debut on November 15, , just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage. Discover releases, reviews, credits, songs, and more about Rosa Ponselle - The Art Of Rosa Ponselle at Discogs. Complete your Rosa Ponselle collection/5(2).
It can be said that she added to her repertoire an embodiment which will increase her fame and which deepens the impression created in recent seasons that the ripening of her talent has been the result of a growing sincerity of purpose and earnest study.
To be a great Norma is more difficult in these days of specialized singing than it was in those of Pasta and Grisi, when every operatic artist was expected to be thoroughly grounded in the technics of florid song.
Miss Ponselle proved last evening that she has given much time and labor to the practice of vocalises, although there was much simplification and curtailing of the time-honored cadenzas. She had also given study to the Euch Werde Lohn In Bessern Welten (Leonore, Florestan, Rocco, Pizarro) - Ludwig Van Beethoven - Fide recitative.
We are bound to confess, however, that in the recitatives, not only Miss Ponselle, but every one else in the cast was heavy and monotonous. The recitatives are in themselves conventional and not stirring, but they are susceptible of a more vivacious treatment than they received.
Marion Telva as Adalgisa was painstaking and Sobsister - Schlaraffenland lachrymose. But she was in deep water and her conscientious efforts to keep her head above it commanded sympathy rather than enthusiasm. For Mr. Lauri-Vopi, the idol of all upstanding Italians, in the role of Pollione, the gentleman who preferred priestesses, little commendatory can be said.
He is not given to lyric legato such as Brignoli poured into this music in the ante-Metropolitan days, nor has he anything approaching subtlety of nuance. His Pollione was little like a Roman patrician, but rather like a challenger of Bully Bottom, who wished to roar like a lion.
His countrymen filled the air with their shouts of glorification. What is Bellini compared to a strong-throated tenor? There is only one other principal in the opera and a small one at that, the high priest, which part Mr. Pinza sang indifferently. The master hand in this revival was that of Tulio Serafin. It was manifest that he had bent himself to the restudy of the old work with deep devotion.
He had even taken the trouble to go to the original manuscript score. He had trained the singers phrase by phrase and was responsible for the delivery of the cadenzas as well as the bodies of the arias and the recitations.
He had built up an ensemble which had coherence of style and which made all the dramatic points with theatrical skill. The scenic attire of the opera by Joseph Urban is excellent. The sacred oak of the first scene from which Norma cuts the branches of the parasitic mistletoe is imposing and quite in the mood of the episode. The sunlit exteriors of the second and last scene with their ponderous columns furnish a fitting background for the action. There is little attempt to break with the traditions of operatic scenery of the period, but rather the suppositions of a veneer of the better technic of contemporaneous scene painting.
A word for the indefatigable Giulio Setti. His chorus sang better than it had ever sung before in an Italian opera. Perhaps Mr. Serafin should have a share of the credit for this, but Mr. Setti surely did the hard work. And yet, despite the fame that it has enjoyed through a lifetime only four years short of the century mark, Mr. And if there A LAime (To My Beloved) - Rosa Ponselle - The Art Of Rosa Ponselle one glory for the eminent impresario there is another for the indefatigable Maestro Serafin, whose personal supervision of every detail of the revival and whose conducting last night was the very soul of the performance.
Miss Rosa Ponselle, the Norma and Mr. Lauri-Volpi, the Pollione, furthermore, transcended any previous achievements of theirs upon our tight little island. Altogether, it was such an evening as the Metropolitan, or any other opera, provides about once in a blue moon. Rosa Raisa as the Druid priestess who forgets her vows for the love of a Roman, and there have been several local presentations of less note by smaller companies.
Still the temptation is strong to dwell now on the beauties of the score and one might single out also many a felicitous passage from the poem.
On that one might descant, as well as on the grace, the purity, the patrician hauteur of his idiom. One might examine also the aptitude of the melody for lofty and pathetic expression, without resort to more complicated attendant means. Laat Je Ketjien, Ketjien. - Various - 14 x Knotsgek + 4 Gouwe Ouwe Extra, there is the ever-interesting game A LAime (To My Beloved) - Rosa Ponselle - The Art Of Rosa Ponselle resemblances to play.
Bellini, a student of Beethoven, shows the result of his studies again and again in this score, The Victors - Me A Tell Yuh the overture on. Bellini and Beethoven This device of the tonic-supertonic repetition, so dear to Beethoven, he employs freely. How Beethovenish again, the rising passage for cellos and bassoons in the introduction to the second act third act as the Metropolitan divides the opera.
Wagner, who testified in various ways to his admiration for the Italian master, was well aware of Norma when he A LAime (To My Beloved) - Rosa Ponselle - The Art Of Rosa Ponselle Tristan und Isolde.
Berlioz borrowed from the march of the Druids for his chorus of Carthaginians in Les Troyens a Carthage a resemblance somewhat obscured by the change of rhythm from to Verdi remembered Norma in many of his operas, and Flotow even borrowed a phrase from the superb finale for use in augmentation in the tenor air in Martha.
Since Norma is likely to be repeated at the Metropolitan many times, the game of resemblances can be resumed at will. It should be sung and acted with fanatical consecration, rendered by the chorus and orchestra especially, with artistic reverence, led with authority by the conductor, and to every single eighth note, should be given the musical tribute that is its due. Each and every measure was a monument to his devotion, his sympathy, his understanding, his imagination, his sense of beauty, his communicative enthusiasm.
Miss Ponselle, whose growth both as singer and as actress has been notable in the last two or three years, essaying Norma for the first time anywhere gave a performance of which she may well be proud. It marked the culmination of her career so far. But already she has gone far toward the complete mastery of her role in particular she evidently understand the value of the dramatic coloratura in which it aboundsand it is doubtful whether she could ever surpass her magnificence of yesterday in the inexorable final scene.
Credit for the Rest Mr. Lauri-Volpi as Pollione, the Roman pro-consul who is secretly married to Norma, both looked and acted his part admirably, besides singing with unwonted discretion and respect for style. Miss Telva has sung no other role with the feeling for legato, the sense of the phrase, the artistic dignity that she disclosed as Adalgisa.
Unfortunately her control of her upper voice is imperfect. And, for that matter, Adalgisa is properly a part for a full soprano voice. The weak point in the cast was the guttural unsteady singing of Mr. The orchestra obeyed Mr. And EwQQ - Graffiti Mechanism - cdr was elaborate and ingenious scenery supplied by Mr.
Urban, beginning with a particularly splendid specimen of a gnarled and sacred oak. Throughout the evening it remained exceedingly and properly enthusiastic. Gatti-Casazza's best bet. Last winter he revived Mignon after it had been absent for nearly a Electrodomésticos - ¡Viva Chile! of years from the Metropolitan stage.
The revival was made with some hesitation, experimentally. It turned out, as far as the favor of the patrons went, the event of the entire operatic term. Wednesday evening of last week Mr. Gatti-Casazza restored to currency Bellini's Norma and amid such scenes of enthusiasm as the Metropolitan has seldom witnessed. This was a riskier revival that that of Mignon, for though Norma is a work of infinitely greater genius, it dates from an earlier generation and a remoter mode, and it is inexorable in the demands that it makes on those who sing it.
Moreover, there had been no Metropolitan performances of "Norma" since February 3,when the singing-actress who filled the tile role was that soprano of legendary prowess and abiding fame, the mighty Lilli Lehmann. But in the case of this restoration from so distant a past the risk involved resulted in immediate and impressive gain. Norma was a triumph alike for the director who sponsored it and for Missing You - Various - Absolute Music 19 artists who participated in the presentation - in particular for Mr.
Serafin, the devoted and tireless conductor, and Miss Rosa Ponselle, who proved herself a singer worthy to wear the mantle that has descended to her from the old-time divas of imperishable renown. To hear the beautiful, touching, and noble melodies of the Druid priestess sung by a voice so rich and with such a lovely appreciation of the true spirit of "bel canto" was in itself a keen and rewarding pleasure.
How the audience felt about it may be gathered from the fact that at the end of "Casta Diva," that exquisite supplication to the moon, the performance came to a full stop while the venerable walls of Mr. Gatti-Casazza's yellow temple fairly shook with the storm of delight and approval that burst from the huge audience. Similar tempests of applause punctuated the performance throughout the evening for the score of Norma abounds in solos, duets, trios, and large concerted numbers, which, when properly sung, cannot fail to stir the listener to enthusiastic manifestations.
Am I Stupid Or Am I Great? - Trefethen* - Am I Stupid Or Am I Great? is worth noting, by the way, that those who consigned the plague of carriage calls to oblivion and stayed though regardless to the very end were abundantly compensated for so doing by a thrilling performance of the great closing ensemble in E major with the flatted sixtha movement which anticipates the culminating pages of Tristan und Isolde, and from which not only Wagner always a fervent admirer of Bellinibut Liszt borrowed with alacrity.
If ever a role of opera demanded acting, this role of Norma does. A combination of factors caused her retirement from the stage in By this time, she had married Carle Jackson, the rich son of the mayor of Baltimore. Johnson refused on economic reasons even when Ponselle offered to sing for free. A LAime (To My Beloved) - Rosa Ponselle - The Art Of Rosa Ponselle two factors compelled her to resign from the Metropolitan and retire at age forty at the height of her vocal powers to the comforts of her mansion, away from the stresses of performing.
One might expect Ponselle to disappear into isolation and seclusion like many a retired Diva. This was true for only a decade: Carle was away in the Navy during WWII, and their marriage never recovered from this interruption. In they divorced. She also became involved in teaching, helping encourage such notables as James Morris and Beverly Sills. Ponselle passed away quietly on May 25, Listening to her early acoustic recordings, one notices a natural free voice that thins out at the top.
By the mids, her vocal mastery was complete. The pricey Romophone does a good job in transferring the electric recordings from — Komm Zurück - Various - Das Beste Aus Der Unterhaltungs-Hitparade two complete operatic performances seemed to have survived: a La Traviata and a Carmen.
Unfortunately for us, the technology of that era, and problems with mike placement only gives us a glimpse of her incredible voice. Even so, one cannot help but be astounded by it. A number of Radio Broadcasts from the s were also A LAime (To My Beloved) - Rosa Ponselle - The Art Of Rosa Ponselle and serves as the best testament of the effect of her voice. He had noticed an interesting stereo effect in her voice that close-miking did not pick up. Of the handful of CD transfers out there, Rosa Ponselle on Radio under The Radio Years label does the best job in recreating what her voice must have really been like.
If only we could forget that she left singing in her prime or that technology was not ready to fully capture the splendor of her voice or her greatest roles for posterity.
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WHEN THE curtain rose in the old Metropolitan Opera House on the night of Nov. 15, , Rosa Ponselle stood before an opera audience for the first time in her life. Aug 05, · Toastmaster Speech with progressive.dathistazahnmoditius.infoinfo can't see the Powerpoint and this is what the slide says:Enormous, commanding sound calling troupes to war 2. . Nov 09, · In most cases Ponselle's very large voice is well accommodated, with distortion only on fortissimo notes. The tone is not as mellow as she was given by Victor engineers, but she has a more relaxed and expansive feeling; in this setting SHE was in control, rather than the conductor, and the live audience encouraged her.5/5(1).
Aug 05, · Toastmaster Speech with progressive.dathistazahnmoditius.infoinfo can't see the Powerpoint and this is what the slide says:Enormous, commanding sound calling troupes to war 2. .
Oct 31, · The other take is very famous and you can find it on numerous youtube posts, just search 'ponselle pace ' (or check the video responded to). This take to my . American soprano, Rosa Ponselle (Jan – May She sang mainly at the Met Opera. First Thread of the Singer in Depth Project: Rosa Ponselle Rosa Ponselle - Find A Grave Memorial American opera singer, Rosa Ponselle (January 22, – May 25, ), was an .
Rosa Ponselle made her Metropolitan Opera debut on November 15, , just a few days after the Great War had finished, as Leonora in Verdi's La forza del destino, opposite Caruso. It was her first performance on any opera stage.
Apr 07, · The foundation, to which Ponselle bequeathed her estate upon her death in , has operated Villa Pace as a museum for four years. But according to its president, Elayne Duke, the endowment income of the estate was being spent mostly on maintenance and staffing of the villa and its acre grounds. May 26, · Rosa Ponselle, indisputably one of the greatest operatic talents this country has ever produced, died of a heart attack yesterday in her Baltimore mansion, Villa Pace, at the age of She had suffered several strokes in recent years and was confined to a wheelchair. In an operatic career.
When the name of Ponselle appeared among artists recording for RCA Victor in , it was as though MGM had announced a new film with Garbo in the s. America’s (and many would say the world’s) greatest soprano had withdrawn from public life at the age of She returned briefly to the recording studios in , singing one of her old favourites, but now with new meaning: “When I.
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