the other Ariodante

Anna Bonitatibus (Ariodante), Myrtò Papatanasiu (Ginevra) © Weinretter , Festsaal Ingolstadt, Festkonzert am 14.06.2013

Anna Bonitatibus (Ariodante), Myrtò Papatanasiu (Ginevra) © Weinretter , Festsaal Ingolstadt, Festkonzert am 14.06.2013

I have been on a bit of a hunt for Myrtò Papatanasiu’s Alcina after hearing a clip of her singing the role which I must say I quite enjoyed. Nothing turns up yet.., but what i found instead is this photo to the right.

Yes, you see it correct, that’s Anna Bonitatibus singing Ariodante, and yes, that’s Myrtò Papatanasiu to the right as her Ginevra!! i was about to run up and down the hall screaming for joy.. until i realized it’s Giovanni Simone Mayr’s version of the story entitled “Ginevra di Scozia”. Given he put Ginevra at the center, hopefully she won’t be languishing and packing her bags leaving town like in Händel’s version? Am not sure yet since I just made it to 1/5 of the broadcast. Anyhow, it’s belcanto. And sadly our favorite contralto role Polinesso is replaced by a tenor (bah). In place, Lurcanio is now a soprano! Or may be a mezzo? whoever she was her tone is not very focused I must admit. In any case, how about an introduction to a new Ariodante (and Ginevra) then?

Given the Belcanto style, Ariodante makes his entrance in grand style (à la Tancredi stepping off his ship):

Anna Bonitatibus, Ariodante:

Just before his (her) entrance was Ginevra’s:

Myrtò Papatanasiu, Ginevra:

Quite fine style, with lots of chorus singing which I like! They recorded it for cd release apparently, so the audience was quite mute after each aria. M.Papatanasiu’s voice is focused and she does phrasing quite nicely, but I must admit it has a particular tightness at the top that gives me headache if listening for too long.. though surprisingly not so much the case in Mitridate, and even much more surprisingly not in that clip of Alcina.. A.Bonitatibus, on the other hand :-), talk about warmth! yeah! i’d love to see her live in a staged version making this entrace. In any case, the libretto is here. And the above clips are from a radio broadcast back in 14.Jun.2013 . If there’s interest I can also put it up. Meanwhile, enjoy another photo here from a different performance, via this gbopera site, do go there for the fantastic high res versions!

© gbopera

© gbopera

About thả diều
writing-challenged opera-addict

28 Responses to the other Ariodante

  1. Anik LaChev says:

    oh, yes, Bonitatibus. And didn’t she wear that tux for Cherubino in concert, too? Bowtie included?

    the Mayr is a bit more on the romantic side already, but the main hero is still a mezzo voice, (while the anti-hero already is a tenor), the recording is available in the very affordable <a href="http://“>Naxos Line

    And re: that elusive Alcina recording, how about a live event instead?

  2. Anik LaChev says:

    darn, the links don’t work.

    Naxos Givevra:

    Alcina with Papatanasiu:

    • thả diều says:

      🙂 🙂 🙂 !!!!
      That’s a *very* difficult time because it’s always proposal deadline PLUS big meeting.. but let me go check when those deadlines are for this year, because I *want* to see this live!
      (ok, deadline 18/Oct/2016, and meeting is planned for 1/Nov/2016: would you *just* look at that, the god is finally smiling at me 😀 😀 )

      • Anik LaChev says:

        …don’t forget the goddesses.

        • thả diều says:

          yes, wanted to mod the comment after i hastily typed it 😉 (goddess Alcina is really looking over.. am gonna sleep sooo well now.. — after finishing 2 more sentences on the most difficult and last part of proposal! ahhhh, i giggling happy)

    • dehggial says:

      is that the only recording? I had one ages ago from the local library and I quite liked it but it’s ripped on my defunct hard drive.

  3. dehggial says:

    ha, the entrance is so Tancredi style, I love it! I will go and replay it for 2hours 😉

    • thả diều says:

      i’m still stuck at the entrance 😀
      actually coz while listening to this i discovered i *did* have a radio broadcast with P.Petibon as Ginevra (the one w/ JDD as Ariodante and A.Forsythe as Dalinda) so i went back to that Ginevra . It’s pretty rare (or may be not?) in an opera you have 2 (even 3?) sopranos all singing Ginevras and Alcinas but are now singing love duet to each other 😉

      • dehggial says:

        haha, good point! though if you’re going to have that it should be a Baroque opera since most roles are high.

      • dehggial says:

        I remember what part of Tancredi that choir most reminds me of: this bit.

        • thả diều says:

          oh? let me go check… currently debating between going to bed and following intently Rusalka.. with Myrtò Papatanasiu of course… actually i was listening repeatedly on AB’s clip but MP’s clip kept giving me headaches hence i didn’t make it far 😀 , but very fasciatingly she’s singing with a really warm voice as Rusalka, hence one can here all the nice phrasing.. got my hand on the full broadcast.. i think that part is *VERY* low for a soprano and apparently her low part (ahem) is very nice! (one can hear it well in duet w/ P.Petibon too, the low bit)

          • dehggial says:

            I guess only her top notes are shrill, which is normal, no?

          • thả diều says:

            well, since i can’t really tell relative high vs low.. i could only tell certain roles she sounds warm (Alcina’s di cor mio, Rusalka) while other is pure headache (La finta giardiniera).. i’m doing diligent investigation in anticipating able to get to Wien in oct 😉
            an interesting to note though: when listening live i have *never* gotten a headache from A.Forsythe, but on that Ariodante recording with her singing Dalinda i get major headache.. so i’m also suspecting: quality of sound of course, but also size of hall + size of orchestra.. i guess if intimate haus like this one at La Monnaie for Rusalka or at TCE for Mitridate no need to “scream”.. so combination 🙂

          • dehggial says:

            I know what you mean, though, she did sound ping-y in that Ginevra bit. Live is a different thing, even the ping-y ones can be bearable (most of the time 😉 ).

            What role did she have in Giardiniera? I’m most familiar with the Harnoncourt one (really, really good) and Dawn Upsahw (Serpetta) in that one has the MOST annoying voice I’ve ever heard!

          • thả diều says:

            “What role did she have in Giardiniera?”
            no idea :-), i’m totally clueless about that opera.. was this clip, major headache.. but this Rusalka, was interesting that i heard that clip and thought the night was young to investigate the whole thing! it’s got quite good review on staging idea too.

          • dehggial says:

            yea, that’s the staging I saw too. I liked it, many criticised it as usual.

            aha, she’s the main girl. You should read Anik’s story about Giardiniera, you get all you need about it and some nice ws “staging” 😉

          • thả diều says:

            should make good read on my 5hr train munich to wien 😉

          • dehggial says:

            very good read 😀 by the time you get there you’ll be needing a cold shower! but you’ll know you early Mozart like you wouldn’t believe.

          • thả diều says:

            ps- anyhow, this is my first time ever listening to Rusalka, the range is realllly warm and low actually! and very lovely music…

          • dehggial says:

            I’ve only heard it once or twice too, didn’t make a huge impression either way.

          • thả diều says:

            done re-watching 2nd full round, highly recommend 🙂 . and i also am very impressed w/ MP’s phrasing. yes, the voice has a strange edge but on something like this character i find very fascinating — perhaps it fits with the staging of street girl (but vulnerable internally)

        • thả diều says:

          ps- omg the costumes (Tancredi) 😉

  4. ” hopefully she won’t be languishing and packing her bags leaving town like in Händel’s version? ”
    hmmmm actually in the Händel’s version Ginevra and Ariodante make up and get married and live happily ever after. You are thinking of the (ugly) production in Aix-en-provence, which I saw in Amsterdam, I think.

    • thả diều says:

      “make up and get married” is the typical ending yes, and that’s the “typical” way of brushing every mistreatments to Ginevra under the carpet because she really had no saying in any of it. So “make up” amounts to Ariodante and the clan forgave her.. for the wrongful things they accused her of. I really like the idea of the Aix-en-provence in that sense because it let’s you see a Ginevra who could think for herself — but I think you need a good actress-singer to pull off, e.g., P.Petibon . The scene where they confined her to her bed with the priest preaching to the bible & cross and whole clan “tending” to her state is quite chilling.

      • I completely agree with your analysis: it is a perfect example of women used as a tool to advance the plot, and not as human characters. I kind of hated the Aix production, but this particular interpretation was very much on the spot, it gave Ginevra some empowerment and it made her more human. It certainly wasn’t Haendel’s idea, though. Yes, you are right, the scene on the bed was terrifying.
        I saw that Ariodante in Amsterdam, with Anett Fritsch as Ginevra, and she was extremely credible in it. And Connolly was simply stunning. My review:

        • thả diều says:

          thanks, i did read your review quite thoroughly last month! especially after I got back from London having seen a live staging of Ariodante twice (with Dehggi, she wrote about it.. i was busy fighting my presentation and subsequently got a bit lazy…) and getting a much clearer feeling for the mistreatments Ginevra got. THere’s also another review i quite enjoyed by earworm.

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