And finally the pièce de résistance of our rare Aida recorded live in Auckland in 1949-the act III duet between Aida and her father Amonasro. Germana Di Giulio and the exquisite Mario Basiola are positively hair raising here!
A review from earlier in their Australian tour:
"Germana di Giulio, as Aida, the Ethiopian slave of Amneris, brings power, too, and tenderness to her pitiful role. She sustains the heavy burden of singing allotted to her in the score with ease and such things as her lament for her country in the third act and her part in the tomb scene duet are among the highlights of the production. Among the men, Mario Basiola, as Amonasro, King of the Ethiopians and Aida's captive father, is magnificent in voice and
characterisation. His part in the great third act, by the Nile, where
he prevails upon his daughter to win from Rhadames the Secret
of the Egyptian army's position, rises to the greatest heights of
night."
_______________________________________
March 1, 1949
His Majesty's Theatre
Manno Wolf-Ferrari, conductor
The National Orchestra of New Zealand
Augmented Australian Opera Chorus
Aida - Germana Di Giulio
Radamès - Rafael Lagares
Ameris - Dora Minarchi
Amonasro - Mario Basiola
Augusto Romani - Ramfis
Il Re - Plinio Clabassi
#Baritones #Sopranos #Opera
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This channel is primarily about vocal emission-aural examples of basically correct singing, correct impostazione-chiaroscuro, vowel clarity, firm and centered pitch, correct vibrato action, absence of throatiness or thickness, sounds free from constriction and from the acoustic noise that accompanies it-with occasional video examples that demonstrate what the body, face, mouth, jaw, and tongue look like when used with correct impostazione-the vocal emission of the one and only Italian school.
Caveat: I'm biased in favor of baritones and baritone literature, but if you want to learn about and listen to all the greatest singers in the old-school tradition, explore this spreadsheet (voice parts are separated by tabs): bit.ly/2W4qmE3
3 фев 2017