contraltos Ruggiero & Medoro ftw

for those getting a headache this past week in Venice from Medoro, let me offer a solution that works on so many levels, or as I say it, music written for contraltos sung by contraltos, ❤

do take a moment (or five) just to hear how WARM the sound is!!! as well as the acting!!

And while we are at it, please feel absolutely free to imagine Lucia Cirillo’s Alcina to this Ruggiero…

to jog our memory, at about here, Alcina is caressing Ruggiero on top of the steps…

while the adorable hippogriff kneeling to Bradamante…

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About thả diều
writing-challenged opera-addict

21 Responses to contraltos Ruggiero & Medoro ftw

  1. Agathe says:

    ❤ that scenario! 🙂 And this is a truly wonderful Mingardo interpretation! Basso is great as well of course!

  2. dehggial says:

    really liked Basso’s trill where she looks like she’s going to break the chains with her teeth 😉 (I see that’s the production with MN-L in the title role – I should watch it and try to blank PJ (is that him?)) and SM is a different level altogether. Poor Vistoli, he’s good but this is way beyond his wildest dreams.

    • thả diều says:

      actually i sat through that production.. the staging is.. i’d say almost as bad as that Tamerlano+Alcina set .. and somehow the way they sing really made me feel why i was not into Vivaldi for a long time… some confession: when i first heard V.Genaux sang lots of Vivaldi, for me i don’t get anything except lots of coloratura.. no emotion.. and so i always stashed it away as .. well not faucet, but just not stirring much in me… and i recalled also attempting to listen to this back in 2004 and had the same problem.. and interesting that now many years after and with more Vivaldi under my belt i still feel the same way.. there’s something very “generic” and “sameness” about the way it’s conducted and all the singings (like i can’t tell apart).. and so for that reason i really appreciate the latest Alcina more.. and then we can also go into Orlando’s sound: interestingly enough i prefer Prina’s sound much better.. but i might also be how i have seen her live and how her voice carried well this particular timbre that separate the character apart… anyhow long story.. so i sat through the latest Orlando.. and then i went searching for *moar* Vivaldi to listen to hence encountering the problem with Juditha which i reported…

      • dehggial says:

        interesting, I just listened to MN-L from that production and thought she really came through dramatically via the voice. But what you’re saying is similar to what Fasolis says in the interview by the theatre, that Vivaldi needs to be done “right” or else it can be very boring.

        • thả diều says:

          jeah, i think it was the texture that caught me off-guard.. like you can’t be listening to Prina and switch to MN-L.. you have to unhook the brain somehow 😉 , but then the production and conducting didn’t motivate me to listening more in.. i quit about 1/3 in.. but might try again…

          • dehggial says:

            I really appreciate that MN-L can sing the Orlando arias at the “right” speed – most anyone beside her, Prina and Galou slow them down considerably. Spinosi tends to do everything super speedy, so maybe he came off samey in the the soulful arias. Must listen to more.

    • thả diều says:

      ps- this ties back to exactly what we hear you know.. as i mentioned occasionally i think “music” for me has so much emphasis on phrasing and arcs and only certain singers can help me sort that out.. and without those trailblazers things sound “the same”… which was the problem for me also with Monteverdi’s Poppea until SM and ACA in separate occasions 🙂

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