the night continues with Ginevra

Edit: Clear the deck y’all, here comes the duet! à la “Lasciarmi” in Tancredi!


(and Ariodante and Polinesso, AND the chorus)
I’m currently flip-floping between two Ginevras: the one from the previous post with Myrtò Papatanasiu in Mayr’s version and Patricia Petibon in the Genevre 2007 radio broadcast version, which turns out I have listened to before several times.. but now with finer-tuned ears…

It sounds like she (Ginevra) is being mis-treated all the same in both operas. In the Mayr’s version, given the opera is in her name, i thought perhaps she’d have more room to put her case to the front to defend herself.. but after making the sort-of entrance (sort-of because she doesn’t even have her own aria, fighting all the time with all the male roles..) at minute 10 or so… we barely hear from her again until the dust settles (end of Act1, Ariodante jumping off already!) to gorgeous solo-cello (then all the males enters + male chorus). I can hear how she (MP) can maneuver Violetta in Traviata the way she sings this. I’d categorize her voice as focused but has a particular pinch whenever she doesn’t take it soft on the high notes. An example is when she ascends softly at 01.30, 02.30, or 02.59 here, it sounds fantastic. Overall, the voice is indeed quite flexible and has an “edge” to it. I remember during Mitridate thinking she’s got a little of that “edge” that one hears in ACA but ACA’s voice is much more warm and has more body/volume.

Myrtò Papatanasiu, Ginevra Aria #2 (Act 1 Finale):

But what happened before all this? First, Polinesso and Ariodante got into a jaw-ing match belcanto style: (when i say belcanto, i mean it sounds to me like Bellini 🙂 )

Polinesso and Ariodante going at it:

Then, this is the closest we get to Scherza infida, only in the recitative format! But to lovely solo-flute. After that, Ariodante took a sprint à la long-jump-sprint off the cliff, OF COURSE with the chorus “cheering on” from behind: (the other female voice is Lucarnio)

Ariodante’s lament: Ariodante olympic-style sprint off the cliff:

What can we draw from all these so far: That Mayr loved choral music 🙂 . Moving on to Act 2.. I’m holding out hope to get a Ariodante-Ginevra duet! (and perhaps some more soft music for Ginevra?)

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