I saw Fiorenza Cossotto multiple times at the MET in the early 1970s; three times as Azucena. She was unimaginably electrifying. During the chest-voice sequence (following “il figlio mio”) she slid, flat on her belly, to the very edge of a downward-raked overhang that extended ABOVE the back section of the orchestra. She “broke the fourth wall” more powerfully and intimately than I’ve ever experienced (and I’m a professional theater director). The audience went absolutely berserk.
I laugh when I see people telling her acting is really bad... HEY have you ever thought what she is singing here ??? And second, Azucena let's say is not the most "normal" character she is a little crazy . Cossotto is Azucena... I think Verdi should be very satisfied
Nonetheless that is what one calls ham acting or chewing scenery. That always was here style - belongs to another era. Its understandable that people today cant necessarily relate to that today
operaclassicc io so esattamente cosa sta dicendo Azucena. la Cossotto è una stupenda magnifica Azucena . si vada a leggere il libretto del Trovatore di Cammarano e forse anche lei saprà apprezzare questo brano
Scusami bruna azzurra ma credo che non abbia capito quello che ho detto! Mi fanno ridere le persone che dicono sembra finta oppure esagerando la sua interpretazione. Io questo brano lo conosco benissimo e credo che la Cossotto e l'unica che fa onore allo spartito scritto cosi accuratamente da Verdi.
bene . abbiamo chiarito il malinteso. sono d'accordo con te su quanto dici , in quest'ultimo messaggio , sulla interpretazione di Azucena della Cossotto, ciao
People also forget that acting in opera is different from acting in a legitimate play. Once you sing something, it's already different from when you speak it. It's already in a different reality. People watching closeup videos also forget that she's playing to people sitting a good 150 feet away from her, and her acting has to project to those people. She might not have been a Callas in her acting, but it's perfectly legitimate in the operatic role she's playing.
