Ieri e oggi, two versions of the beautiful aria from act 1 of La Rondine for you to compare: a) Naples 1958, R. Carteri and G. Sinimberghi b) Venice 2008, F. Cedolins and E. Giannino Buon ascolto.
Rosanna Carteri was a perfect example of how to sing PURE gorgeous vowels and a really well trained voice in the art of developing the right balance between the head and the chest register muscles. Like all the well trained singers of that period, she mastered an open throat (low larynx/open pharynx) for a ringing tone and a crystal clear diction, which leads to absolute freedom of expression. The second version shows how almost everybody sings today: their throats are closed, singers believe in “placement” (which makes impossible to create the sound from within while training the larynx) and that’s why their voices are pushed, out of tune, artificially darkened, supported on the throat or on the nose (sometimes even both at the same time) with a distorted and ugly vowel production and tiny, since they lack flare, command or resonance. No need to say that “surviving” an aria, leaves very little room for natural, honest acting. In the past, singers had squillo from top to bottom and their sound had both height and depth. They had VOICES. Today, singers have microphones to amplify their uneven and tiny voices. As always, thanks for a fantastic content, AfroPoli. :)
there is something very commanding about this performance with Magda taking over the piano and singing with such control and ease. I think it is the best of the versions on Utube
Great music has three purposes: 1) to make us feel exalted, 2) to mend our hearts, and 3) to break our hearts. When Rosanna Carteri hits that high C, it does all three.
The version with R. Carteri is outstanding!!!!!! The orchestra, the tenor, her charming voice! It has brought tears to my eyes. Such a wonderful scene!!! The second version....I´d rather not comment on it...
Rosanna Carteri - What a Beauty!! And with her lovely, strong voice. Could this aria have sounded even better, standing? She reminds me so much of Roberta Peters. Be still my heart! I've just fallen in love, Again.
First version is superb. Glorious singing and heartfelt acting, not to mention the beautiful, portamento rich orchestral playing. The entire video of this opera is wonderfully sincere and moving.
Once again and again and again etc, in order not to have ones intelligence insulted by what is defined progress in Cultural circles ,we have to go back almost half a century to listen what BEL CANTO and professionalism on the stage was all about ,mediocrity than ,is almost equivalent to today " labeled " Best . Thank you Afro Poli ,for posting this rarities Happy listening to all admires of Carteri and Sinimberghi Grazie Gino
Quando si sentono gli armonici della voce tutti fuori....è da lì che viene l'emozione....sentire come sprizzano quelli della Carteri!....sembra una cascata d'argento...magnifico anche il tenore Sinimberghi e il sontuoso suo mazzo di fiori, da confrontare con la rosa gettata per terra del secondo video....
Hats off to Carteri. Absolutely amazing with such an exuberant voice exuding from both technicality and emotion alike. The second , in my book, must simply be ignored to say the least.
I´ve been a fan of Rosanna ever since I heard her rendition of SELVA OPACA in Cetra´s recording of William Tell.Her Violetta, Mimi, the above and every thing else that she ever recorded make her sort of a GODDESS as to feeling and sheer voice projection, I definitely she was the best...JRT
che gioia mi dà l'ascolto del brano "Ch'il bel sogno di Doretta" che è eseguito in questo magnifico post che parecchio tempo fa ho proposto in FB e che oggi ripropongo... per la gioia dei miei amici .... in esso vi sono una preziosa Carteri e un signorile Sinimberghi e... poi .... ancora...F. Cedolins e E. Giannino.
La qualità dell'audio è ben diversa,cpmunque la bellezza della voce della Carteri si manifesta nella linea,nel recitar cantando signorile e fascinoso.Il paragone con la Cedolins ,calante,incerta,tremula è sconcertante.
Gino Sinimberghi is superb and compliments the wonderful Carteri beautifully. It's a pity that most versions of this wonderful aria only show the female part. The second version is totally overshadowed by Gino and Rosanna.
Molto bello questo antico video del 1958 con Carteri-Sinimberghi, non ne sapevo della esistenza.- Per gli ammiratori della Carteri informo che è uscito recentemente un libro sulla sua carriera: ROSANNA CARTERI, il fascino di una voce, di Paolo Padoan - pagine 236 - Marsilio Editore - con allegato un CD, completo di tante belle foto.--
Premetto che per me la signora Moffo ha fatto discograficamente il suo capolavoro nella Rondine dove (sempre per me )rimane inavvicinabile ... Detto questo accostare la Grande Carteri con una qualsiasi cantante di oggi é praticamente un oltraggio! Le due versioni sono vocalmente e interpretativamente inavvicinabili! un abisso le separa ...... Storico ed artistico ......
I would gladly place long stem roses at the feet of the lovely Rosanna Carteri, an artist of the very first order. Such beauty, both physically and vocally and such wonderful musical intelligence. In the second video, is that Martha Raye struggling with the music?
Mais ou sont les neiges d'antan !!!.Che bella voce , che bella donna senza ritocchi, Grandissima Rosanna, i filati la linea ,dove sono ormai i cantanti, oggi e sufficiente farsi ritocchi facciali o corporali, e cosi, si canta?.
Interessante il confronto tra le due scenografie... evidentemente gli specchi dei gusti delle rispettive epoche..., per quanto riguardo il paragone prettamente canoro... beh, secondo il mio gusto, l'interpetazione più recente appare come un'involuzione di performance; inconfondibile per la sua classe, oltre ad essergli affettivamente legato... apprezzo molto il timbro di voce soave del tenore Gino Sinimberghi, impressionante la potenza vocale del soprano Carteri... Interesting the comparison between the two sets... evidently mirrors of the tastes of their respective times..., about purely singing... well, according to my taste, the most recent done interpretation appears as an involution of performances; unmistakable for his class, in addition of the emotional bond... I really appreciate the sweet timbre of the tenor Gino Sinimberghi, impressive the vocal power of soprano Carteri...
Che bellissima ! This is one of my absolute favorite arias.And in my opinion,Carteri was an excellent and underated soprano.But she is almost unknown here in the US. Che peccato ! AfroPoli,can you tell me if Carteri had a brief or lengthy career in Italy? Grazie mille mio amico for sharing this wonderful piece with us.
cosa si scopre smanettando su youtube grande Sinimberghi e fantastica la Carteri La Rondine - Ch'il bel sogno di Doretta - Carteri, Sinimberghi, Cedolins 1958-2008
Commovente la Carteri, voce timbratissima e fiera. Che dire invece di quegli smandruppati erotomani ubriaconi?...la sottil carezza alla bottiglia di whisky...:-)
Vocalmente un bel confronto, ma in quanto a classe , eleganza, bellezza e emozione trasmessa la Carteri è grande! Lasciamo perdere la messa in scena attuale!
what difference, l cannot understand why some singers are gaining so much notoriety. Belle la donna ad anche la voce , Rosanna ,grande anche come artista. Tante grazie. How poor la Fenice,
Joana Banyeres. You mean like Jorge de León who sings everywhere with NO SOUND IN THE FIRST OCTAVE and so out of tune that it hurts, with the musicality of a dog and pushing his squeezed high notes to unsuspected limits, right? He will be remembered for developing the biggest wobble in the shortest period of time.
I don't think the more recent performance is not valuable- it shows a "critical" way of approaching a story...with a hint of irony- not that bad- Carteri is totally wonderful, nevertheless Cedolins sketches a different charcter, the one of a "demi monde" woman, with no true sensitivity..just graces...interesting! she sings properly., but Carteri is on an other planet..she is heavenly
Truth be told, Cedolins is not the worse among the "modern" singing. There are male and female sounds which can be hardly identified as opera nowadays. And if you dare to probe Wagnerian productions... well, it's simply scary. Frightening.
Yes we seem to agree that we like the Carteri version, but taking into context the setting and costume of Cedolins (and not having seen what comes prior to this and what character development the director has given her) she couldn't sing it in the same way that Carteri does. Cedolin's Magda seems much more 1950s glamour-puss than a woman introspectively singing the lyrics.
io mi riferisco solo alla carteri non é stata ditrutta non so dove trovi certe scemenze il ritiro é stata una scelta di vita era all 'apice della carriera richiesta da tutti i grandi teatri ancora. una volta informati
guarda che non é affatto vero la voce era intatta anzi migliorata basta documentarsi sui critici di allora il ritiro è dovuto alla gravidanza e al timore di un secondo aborto
The modern version is heartless. The orchestra the singers are so generic, cold and indifferent.what is soprano doing? Taking a shower? Touching herself? So awful and cliche stage direction.
Woof woof woof woofy and zero core. 2nd group awful but unfortunately there is no way to put this side by side for an audience. It's different but if it isn't pointed out and examples given then no one can tell or the untrained ear cannot
