Happy Birthday Agnes Baltsa!!!

Before it's too late!! Happy 70th Birthday Queen of the Queens, greatest singer of all time, Agnes Baltsa!!!

Ok, I just saw it turned 20th a second ago. let's pretend I posted this on November 19th still, alright!?;)

José Carreras Gala 2013 (Back after my long summer break;))

Now wasn't that a long, long summer?

Now I'm back and well, the new opera season in Vienna has started 2 weeks ago - I think by now I can say that opera house is my 2nd home! Seems to be so anyways, hahaha. 

However, the other day I was at the José Carreras Gala. It was a beautiful and quite touching matinée. I had seats for a change! The seats weren't expensive at all and the good thing was that a big part of the money you paid benefited José Carreras' leukemia foundation!! So this matinée was the most wonderful thing in any aspect.

The concert itself featured not only Carreras himself, but also some younger singers. 2/3 of these young singers were good. The baritone and the soprano did a nice job (though he got the lyrics wrong one time and she breathed terribly wrong at one point - but hey, not that big of a deal this time), but the mezzo soprano was terrible. ANYWAYS. Carreras was in a WONDERFUL shape, I tell you! Loved his singing♥
Also they sang SO many encores! I don't remember how many, actually!

José Carreras also got the "Ehrenring der Wiener Staatsoper" in the course of that matinée. It was quite some touching moment!!! There was only one criticizable moment ... When the director of the State Opera gave him that award, the director held a little speech (at least he tried to...) and he mentioned for only split seconds what an important singer Carreras is for the opera house, then he changed to the subject of the younger singers that were performing in that matinée. I mean - who does that!? In that moment you have to honor one of the most important singers of all time and NOT talk about how great the younger ones are, right? That should have been Carreras moment and his moment ONLY!!! After that event he could have talked about the younger generation as much as he wanted, but NOT DURING THAT MATINÉE!!!!! OMG!

Enough said about that now. He also wrote so many autographs that day for such a long time (2 hours I estimate that was)! Admirable! Also I got one :) And a photo:))) --->>>happiest girl;)

Today in the news I saw that also Baltsa was there. I expected her to be there actually. Tried to see where she sat, but I couldn't find her among the crowd. 

Here's a small article from today's newspaper. The picture above = Baltsa & Carreras --->> L-O-V-E-L-Y

On Wednesday (September 18) there will be Agnes Baltsa's solo concert at the State Opera - she'll be performing her Greek Songs. I'm SO looking forward to it! I've actually got 1rst row tickets!!!!!
(btw she performs the Greek songs again in November - in Linz)


Here's a short clip I uploaded on YT:

Programme of the Gala:

La gazza ladra - Ouverture

Te voglio bene assaje (Gaetano Donizetti) - José Carreras

Nel giardin' sotto il tiglio (Franz Schreker) - José Carreras

Una voce poco fa (Gioachino Rossini) - Margarita Gritskova

La ci darem la mano (W.A. Mozart) - Adam Plachetka, Anita Hartig

Vedrò, mentr'io sospiro (W.A. Mozart) - Adam Plachetka

Terra e mare (Giacomo Puccini) - José Carreras

Sole e amore (Giacomo Puccini) - José Carreras

Oh dieu, que de bijoux (Charles Gounod) - Anita Hartig

Je te veux (Erik Datie) - José Carreras, Anita Hartig

T'estimo (Edvard Grieg) - José Carreras

El eco de tu voz (Isaac Albéniz) - José Carreras

Canción del gitano (Francisco Alonso) - José Carreras

Les filles de Cadix (Lé Delibes) - Anita Hartig

Sogno (Francsco Tosti) - Adam Plachetka

Pecchè (Francesco Pennino) - José Carreras

Vierno (Vincenzo Acampora) - José Carreras

Habanera (George Bizet) - Margarita Gritskova

Dúo y Jota (Manuel Caballero) - José Carreras, Margarita Gritskova

Core n'grato (Salvatore Cardillo) - José Carreras

"Hai già vinta la causa! cosa sento?" Lyrics and translation (E, G)

The Count's aria (+ recitative)  from Mozart's "Le Nozze di Figaro" is one powerful example of an aria. Not only when it comes to the actual content of its lyrics, but mainly the music. Still one has to listen to the right version, sung by an "appropriate" singer. 

I even dare to say that whether a "Le Nozze di Figaro" performance is good or not depends very much on the conductor. I don't want to say here that conductors are unimportant - I mean, they aren't, just the contrary is the case! What I mean to say is that to me the "power" of "Le Nozze di Figaro" depends not so much on the singers' abilities, but on the conductor's capability to conduct this opera. 
To me the most powerful arias in this opera are "Non più andrai" and the mentioned "Hai già vinta la causa?". Today I want to focus on "Hai già vinta la causa" - respectively I want to link several performances here that I think are powerful and vigorous. Not to forget I will post my favorite version here that is of course sung by Ferruccio Furlanetto ;)

About my favorite version - why is it my favorite version? I've heard the recording studio version by Furlanetto (conductor: Ion Marin), which is wonderful and I've heard the latest version done by Furlanetto. He performed it in Amsterdam on December 25, 2012. The concert was conducted by Mariss Jansons.      
I think Jansons is the perfect conductor for this. I have never ever heard another version before that was as powerful and vigorous as this one. Simply marvelous. Also Furlanetto's voice has so much energy and force, it's unbelievable! This constellation Furlanetto/ Janosons has got this certain something.
When you listen to it you will know what I mean!

Now, here are some links that will lead you to some very good versions of the recitative/ aria (link will opern in a new window):

• Allen/ Levine, MET 1985
• Keenlyside/ Muti, Vienna 2001
• Prey/ Suitner, Dresden 1964
• Raimondi/ Marriner, London 1985 - I cannot link anything here, since it's not available on YouTube, but still I have the CD and THIS version is just worth mentioning, since it's my 2nd favorite! I can link you another version by Raimondi, which is not as good, but still - it's Raimondi after all ;)

 

Lyrics:

Original:

Hai già vinta la causa! Cosa sento!
In qual laccio io cadea? Perfidi! Io voglio...
Di tal modo punirvi... A piacer mio
la sentenza sarà... Ma s'ei pagasse
la vecchia pretendente?
Pagarla! In qual maniera! E poi v'è Antonio,
che a un incognito Figaro ricusa
di dare una nipote in matrimonio.
Coltivando l'orgoglio
di questo mentecatto...
Tutto giova a un raggiro... il colpo è fatto.
Vedrò mentre io sospiro,
felice un servo mio!
E un ben ch'invan desio,
ei posseder dovrà?
Vedrò per man d'amore
unita a un vile oggetto
chi in me destò un affetto
che per me poi non ha?
Ah no, lasciarti in pace,
non vo' questo contento,
tu non nascesti, audace,
per dare a me tormento,
e forse ancor per ridere
di mia infelicità.
Già la speranza sola
delle vendette mie
quest'anima consola,
e giubilar mi fa. 

English:

We've won our case! What do I hear!
I've fallen into a trap!
The traitors!
I'll punish them so! The sentence
Will be at my pleasure ... But supposing
He has paid off the claims of the old woman?
Paid her? How? ... and then there's Antonio
Who'll refuse to give his niece in marriage
To a Figaro, of whom nothing is known.
If I play on the pride
Of that half-wit ...
Everything favours my plan ...
The dice is cast.
Must I see a serf of mine made happy
While I am left to sigh,
And him possess a treasure
Which I desire in vain?
Must I see her,
Who has roused in me a passion
She does not feel for me,
United by the hand of rlove to a base stave?
Ah no, I will not give you
The satisfaction of this contentment!
You were not born, bold fellow,
To cause me torment
And indeed to laugh
At my discomfiture.
Now only the hope
Of taking vengeance
Eases my mind
And make me rejoice. 

German:

  

Der Prozess schon gewonnen?
Wie? Was hör' ich?
Also war dies ein Fallstrick?
Treulose! - Ich will euch, will euch
Schon streng genug bestrafen. -
Nach meiner Willkür
Wird der Urteilsspruch sein. -
Doch wenn mit Gelde
Man Marcellina abkauft? -
Mit Gelde? Mit was für Gelde?
Auch muss Antonio jetzt dem Landstreicher Figaro
Verweigern, Susanna, seine Nichte,
Zur Frau zu geben.
Ich erwecke den Hochmut
Des alten, eitlen Toren. -
Sicher wird er mir folgen. -
Es muss gelingen!

Ich soll ein Glück entbehren,
Das mir ein Knecht entziehet?
Der Wonne, die mich fliehet,
Soll sich ein Sklav' erfreun?
Das Herz, das ich begehre,
Verschmähet meine Liebe,
Begünstigt niedre Triebe.
Und ich soll ruhig sein?
Nein, nein! nein, nein! nein, nein! nein, nein!
Du sollst dein Spiel verlieren,
Verräterische Rotte!
Ihr sollt nicht triumphieren,
Noch dien' ich euch zum Spotte;
Doch bald wird über Figaro
Der Stab gebrochen sein.
Ich will durch Marcellina
An euch mich zehnfach rächen,
Das wird mir Wonne sein.

 

Ferruccio Furlanetto as "King Philipp II. of Spain"; 22 February 2013

So after a 3 month long absence from blogging I'm back again. That were quite some 3 months when I look back on what I experienced this time, when thinking about opera. Thanks to Ferruccio Furlanetto and Agnes Baltsa - but especially Ferruccio Furlanetto that I must emphasize.

Now I don't want to go back too far, don't feel like talking about "L'Italiana in Algeri" tonight, but that will surely come sooner or later. Just that much - it was magic.

Tonight I want to get my critique of "Don Carlo" off my chest. Most certainly, for those who read that I'm from Austria, it will be understandable when I say I just heard the performance from 22 February 2013 at the MET. There are several live-streams on the MET's radio station, so I'll always be up-to-date now when it's about the "Don Carlo" performances. Too bad it's no TV broadcast! But I know Nicholas Hytner's production of the piece, so I can at least imagine where all singers were "running around".

The cast is as follows: 

Philip II, King of Spain                                            Ferruccio Furlanetto

Don Carlo,                                                             Ramon Vargas

crown prince of Spain 

The Princess of Eboli                                                Anna Smirnova

Elisabeth of Valois,                                                     Barbara Frittoli

daughter of Henry II

of France

Rodrigo, Marquis of Posa                                            Dimitri Hvorostovsky        

The Grand Inquisitor                                                     Eric Halfvarson

conducted by Lorin Maazel

Performances on: February 22, 25, 28, March 6, 9, 13, 16

I'll keep my critique as short as possible.

 Well, I've got to admit that I was extremely curious about this "Don Carlo". Not only because Ferruccio Furlanetto would sing Philippo - no, he's always amazing, I don't have to be curious here. No, I was curious about finally getting to hear Ramon Vargas as Don Carlo. I've heard him several times here in Vienna, once he had a solo concert here which was good and I heard him as Gabriele Adorno in "Simon Boccanegra" in November 2012. I've always liked his voice, he's one great tenor in my opinion! Also he himself is just a nice person so he also has a good appearance on stage. However, this time his voice sounded a bit restrained in my opinion! Though, it was his first "Don Carlo" at the MET, so I will just skip my thinking about his voice being "restrained". He -his voice at least- absolutely suits this role, I liked to hear him very, very much - he's a true delight to hear in Verdi operas!                                                         

Anna Smirnova as Eboli, she was OK.. Finally a singer who puts a bit of fire in her "O don fatale" ! There are so many mezzos who perform this wonderful, furious aria in the most boring way possible! But she put at least a bit of fire into this famous part of the opera. Not an Agnes Baltsa, not a Luciana d'Intino, but she was OK. Case closed!

Dimitri Hvorostovsky was a very good, emotional Rodrigo, I've got literally nothing to complain about his performance, absolutely nothing! (though as personal side note: my favorite Rodrigo will always be Simon Keenlyside.... saw him last September as Rodrigo here - amazing! Apropos Keenlyside - he'll perform Alban Berg's "Wozzeck" here soon!)

Eric Halfvarson, well I don't really know what to comment here. I mean - the Grand Inquisitor is HIS role and he does it in the best way possible. His voice here sounds like the 90 year old Inquisitor, a very rough voice to my ears, but well. 

Ferruccio Furlanetto did the most amazing Philippo. His voice actually got new colors also in this role actually - that's what I think at least! Amazing!!! SO beautiful - I mean, there's nobody in this entire world who could do a Philipp more emotional, more authentic to the character! As soon as he puts on the costume HE IS the character! The "Ella giammai m'amo" - he shows the pain Philipp feels, he felt every single word! This performance made me cry. I cried. Literally. 

The anger during his duet with Elisabetta is overwhelming and makes me simply speechless. I loved it, every single second he sang. Looking forward to hearing him and seeing him performing Philippo in London!

The only actual complaint is about Barbara Frittoli. The worst Elisabetta I've ever heard! Surely she's a good singer, but the worst Elisabetta that I possibly could imagine. Emotionless and bland. The "Tu che le vanità" were some lifeless 11 minutes to me. She somehow sounded more than a bit nasal and I think she should pronounce the words a bit more clearly. The duet that I mentioned before, the "Giustizia, Sire" in Act IV - this duet should be full with emotions, full with anger from Philipps side -as it was- and it should include an Elisabetta who is absolutely indignant about what Philippo accuses her of and everything should be extremely vivid. It wasn't the case at all from Frittoli's side! Furlanetto performed his part of the duet full with rage and energy, but Frittoli just performed her part like a lullaby! Such a boring and lifeless Elisabetta, it's sad I couldn't skip her parts.

 All in all it was a performance of the opera that was OK. No singer, but Furlanetto, took my heart with his/ her performance, it was a performance that could have been 100000000 times better. That is sad to say, since when somebody like Lorin Maazel is conducting, I should be telling the opposite. 

Thank you Ferruccio Furlanetto, for saving this "Don Carlo"!He will always be the most amazing Philippo ever!

Here you can listen to my so loved duet from Act IV that was sort of destroyed by the lifeless performance of Barbara Frittoli. Nevertheless, the most amazing, enraged Philipp II of Spain by Ferruccio Furlanetto. 

Lyrics&Translation below the video. If the video doesn't display, click HERE

ITALIAN:

ELISABETTA
Giustizia! o Sire! Ho fè
Nella lealtà del Re.
Son nella Corte tua crudelmente trattata
E da nemici oscuri, incogniti, oltraggiata.
Lo scrigno ov'io chiudea, Sire, tutt'un tesor,
I gioiel'... altri oggetti a me più cari ancor...
L'hanno rapiti a me!... Giustizia! la reclamo
Da Vostra Maestà!

FILIPPO
Quello che voi cercate
Eccolo!

ELISABETTA
Cielo!
FILIPPO
A voi d'aprirlo piaccia.
FILIPPO
Ebben, io l'aprirò.
ELISABETTA
(Ah! mi sento morir!)
FILIPPO
Il ritratto di Carlo!...
ELISABETTA
Sì.
FILIPPO
Tra i vostri gioiel'!
ELISABETTA
Sì.
FILIPPO
Confessarlo osate! A me!
ELISABETTA
Io l'oso! Sì!
Ben lo sapete, - un dì promessa
Al figlio vostro - fu la mia man;
Or v'appartengo - a Dio sommessa,
Ma immacolata - qual giglio io son.
Ed ora si sospetta
L'onor d'Elisabetta!..
Si dubita di me...
E chi m'oltraggia è il Re!
FILIPPO
Ardita troppo - voi favellate!
Debole me credete e sfidarmi sembrate:
La debolezza in me può divenir furor.
Tremate allor - per voi, per me.
ELISABETTA
Il mio fallir qual è?
FILIPPO
Spergiura!
Se tanta infamia colmò la misura,
Se fui da voi tradito, lo giuro innanzi al ciel,
Il sangue io verserò!...
ELISABETTA
Pietà mi fate.
FILIPPO
Ah! la pietà d'adultera consorte!
ELISABETTA
Ah!
FILIPPO
Soccorso alla Regina! 

ENGLISH:

 ELISABETH
Justice, Sire! I have faith
in the King's loyalty!
I have been unworthily treated in your court,
and insulted by unknown enemies …
My casket … it contains, Sire, a whole treasury,
my jewels … some even more precious objects …
It has been stolen! From my rooms! I beg justice
from your Majesty!

PHILIP
Your casket, Madam,
here it is!

ELISABETH
Heavens!

PHILIP
May it please you to open it!
Elisabeth declines with a gesture.
Then I shall open it myself!

ELISABETH
(God! come to my aid!)

PHILIP
A portrait of the Infante! A portrait of the Infante!

ELISABETH
Yes!

PHILIP
Among your jewels?

ELISABETH
Yes!

PHILIP
What! You admit it before me!

ELISABETH
Yes, before you!
You know it!
I was promised to Don Carlos, to your son!
I came to you, submissive to God,
as pure as the French fleur-de-lys!
You dare, in a fit of madness,
to doubt a King's daughter!
To doubt a daughter of France! …
the Queen of all Spain … me!

PHILIP
You speak to me rashly!
You have known me only in my days of frailty!
But frailty may one day turn to fury.
Then, woe, woe betide you. Ah!

ELISABETH
What crime have I committed?

PHILIP
Perjury!
If your wickedness has run its full course,
if you have betrayed me … by almighty God
tremble! Tremble! I shall have blood!

ELISABETH
I protest!

PHILIP
You, protest, an adulterous wife!

ELISABETH
Ah!

PHILIP
Help for the Queen!

GERMAN:

ELISABETH

Gerechtigkeit! Sire! Ich vertraue
auf den gerechten Sinn des Königs!
Ich werde an Eurem Hof unwürdig behandelt
und von unbekannten Feinden beleidigt …
Meine Schatulle … Sire, sie enthält alles, was mir wert ist,
meine Juwelen … noch grössere Kostbarkeiten …
Man hat sie gestohlen! Aus meinen Räumen! Gerechtigkeit! Das fordere ich
von Eurer Majestät!
PHILIPP
Eure Schatulle, Madame,
hier ist sie!
ELISABETH
Himmel!
PHILIPP
Geruht Ihr sie zu öffnen?
Dann werde ich selbst sie öffnen!

ELISABETH
Gott! Stehe mir bei!
PHILIPP
Ein Porträt des Infanten! Ihr hüllt Euch in Schweigen?
Ein Porträt des Infanten!
ELISABETH
Ja!
PHILIPP
Unter Euren Juwelen?
ELISABETH
Ja!
PHILIPP
Wie! Und Ihr gesteht es vor mir!
ELISABETH
Vor Euch!
Ihr wisst es! Ich war
Don Carlos versprochen, Eurem Sohn!
Ich war Gott gehorsam und kam zu Euch,
rein wie die Lilien Frankreichs.
Ihr wagt es, mit Blindheit geschlagen,
einer Königstochter zu misstrauen,...
einer Tochter Frankreichs,...
der Königin von Spanien.... mir!
PHILIPP
Das nenne ich beherzt gesprochen!
Ihr habt mich nur ... an Tagen der Schwäche gekannt.
Doch die Schwäche kann eines Tages in Zorn umschlagen.
Dann wehe Euch und allen!
ELISABETH
Welches Verbrechen habe ich begangen?
PHILIPP
Meineidige!
Wenn das Mass der Schändlichkeit voll ist,
wenn Ihr mich betrogen habt,beim allmächtigen Gott,
dann müsst Ihr zittern! Dann vergiesse ich Blut!
ELISABETH
Ich kann Euch nur bedauern!
PHILIPP
Ihr! Mich bedauern! Eine Ehebrecherin!
ELISABETH
Ah!
PHILIPP
Helft der Königin!

  

Note in the newspaper

Today I found a little note in the Austrian newspaper "Krone", which announces the upcoming performances of Rossini's "L'Italiana in Algeri" with Ferruccio Furlanetto and Agnes Baltsa (so great - both of them in one performance - though for me the thing I'm looking forward to most is Ferruccio Furlanetto as Mustafa :)). Thought posting this here would be quite nice :) Great picture of Furlanetto;) I'll be at every performance and have some other plans all around these performances as well - if everything works out I'll tell you.

"Krone", Sunday, 30th of December, 2012

Translating for all that don't understand German;) :

Ferruccio Furlanetto at the Vienna State Opera:

This time he's going to sing the role of Mustafa in Rossini's "L'Italiana in Algeri". The female leading part - the capricious "Isabella" in Jean-Pierre Ponnelle's legendary staging will be sung by Agnes Baltsa. Conductor: Jesús López-Cobos

That's new/ "Da geh' ich ins Maxim" - my "Placido Domingo weeks"

• Some days ago I was re-reading a little book with many, many opera anecdotes - some really made me laugh. So I'll be starting a little "row of posts" with some anecdotes.
• Also I'll post a lovely part from Franz Lehár's operetta "Die lustige Witwe"("The Merry Widow"), a piece of music that I'm pretty sure of everybody knows - "Da geh' ich ins Maxim" sung by Placido Domingo - why I chose Placido Domingo? - because he's gonna appear in "Simon Boccanegra" in the upcoming 2 weeks and of course I'll be there at every performance! - So let's call the next 2 weeks "my Placido Domingo weeks":)
• As I told in my last post - my next posts probably be about Ferruccio Furlanetto mostly - he now has the place of "best singer of all time for ever and ever" in my heart:)  There are like no appropriate words to describe how I admire him!

Oh Napoléon!

Napoléon Bonaparte hated the so-called "cri". So before a performance he attended he would go up to the singers and greet them with the nice words :"Madame, would you do me a favor and don't yell as much as you usually do?"  

"Da geh' ich ins Maxim"

So - here's this catchy tune from Lehár's wonderful operetta "Die lustige Witwe". Placido Domingo sing this song just GREAT (like the best version probably!) - though there's one thing that "hurts" - a German speaking person at least. He sings (in every recording I've heard btw) "Da geh ich ZU Maxim..." and that's just not true - the "Maxim" is a restaurant, a club in Paris - NOT a person. I've heard this "Da geh' ich ZU Maxim" version from time to time, even sung by German speaking singers, but Maxim isn't Danilo's friend, "Maxim" is no person in this case!!!! If he wanted  to say "Now I go visiting my friend Maxim" - THEN it WOULD BE CORRECT to sing "Da geh ich ZU Maxim", but since the "Maxim" is a facility you go to it HAS to be "Da geh' ich INS Maxim". 

SO now this time's German lesson is finished ;)

 Click HERE for the correct version sung by Johannes Heesters (WONDERFUL!)

Lyrics (German only)

O Vaterland du machst bei Tag
Mir schon genügend Müh und Plag!
Die Nacht braucht jeder Diplomat
Doch meistenteils für sich privat!
Um Eins bin ich schon im Büro,
Doch bin ich gleich drauf anderswo,
Weil man den ganzen lieben Tag
Nicht immer im Büro sein mag!
Erstatte ich beim Chef Bericht
So tu' ich's meistens selber nicht,
Die Sprechstund' halt' ich niemals ein,
Ein Diplomat muss schweigsam sein!
Die Akten häufen sich bei mir,
Ich find' es gibt zu viel Papier;
Ich tauch' die Feder selten ein
Und komm' doch in die Tint' hinein!
Kein Wunder wenn man so viel tut,
Dass man am Abend gerne ruht,
Und sich bei Nacht, was man so nennt,
Erholung nach der Arbeit gönnt!
Da geh ich ins Maxim,
Dort bin ich sehr intim,
Ich duze alle Damen
Ruf' sie beim Kosenamen,
Lolo, Dodo, Joujou
Clocio, Margot, Froufrou,
Sie lassen mich vergessen
Das teu're Vaterland!
Dann wird champagnisiert,
Und häufig cancaniert
Und geht's an's Kosen, Küssen
Mit allen diesen Süßen;
Lolo, Dodo, Joujou
Clocio, Margot, Froufrou,
Dann kann ich leicht vergessen
Das teu're Vaterland!

So I didn't post for over 1 month already!?/ "La Calunnia" + Lyrics (I, E, Ger)

OMG! September was over so fast and I didn't post 1 single time? Oioioi - that shouldn't happen ever again! This September wasn't only hectic because of school and stuff, but also because I was at the opera often! I saw "Elektra" again - 3 times (Baltsa autographs, I got quite some), 3 times "I Vespri Siciliani", 2 times "Boris Godunow", 1 time "Don Carlo", "Le Nozze di Figaro", "Fidelio", "Arabella", "L'Elisir d'Amore"(now I have a picture of me together with Erwin Schrott!<3 He's a very, VERY nice person that has to be said!) and "Die Fledermaus". This Sunday I'm planning on going to see "Don Giovanni", next week "Il Barbiere di Siviglia" and again "Le Nozze di Figaro". So this was quite some "operatic" month, don't you agree?:)

However, instead of explaining the movie "Duett" (what I'm GOING TO do FOR SURE!) today, I'll post "La Calunnia" with lyrics (I, E, Ger). The next time I'll post some "Ferruccio Furlanetto stuff" so to speak - to me he's just the best opera singer ever. His voice is so -how to say?- calming, beautiful and ... no words to describe! No tenor, no baritone, not any other singer can top HIS voice! Last month I saw him in "I Vespri Siciliani"(as Procida) and "Boris Godunow" (as Boris - he played it so amazingly perfect that I cried during the final scene - I cried so hard!). I went to the stage entrance every time and I CAN TELL you that HE is the MOST FRIENDLY "opera-guy" ever! Absolutely. I might go see a recital in Prague in December, but I ain't sure about that. In January he sings "Mustafa" in "L'Italiana in Algeri" and in May there's a recital here. I'm so gonna attend this!

Also my music special subject in music has changed - I'm gonna write about him.

Moving on! "La Calunnia"  (from "Il Barbiere di Siviglia" - Gioachino Rossini) - there are so many marvelous versions sung by Ferruccio Furlanetto. The one I'm posting today is from 2009, recorded at the ROH. This one performance is VERY funny, in my opinion:) Enjoy!

Lyrics  (I, E, Ger)

Italian:

La calunnia è un venticello,
un'auretta assai gentile
che insensibile, sottile,
leggermente, dolcemente,
incomincia a sussurrar.
Piano piano, terra terra,
sottovoce, sibilando,
va scorrendo, va ronzando;
nelle orecchie della gente
s'introduce destramente,
e le teste ed i cervelli
fa stordire e fa gonfiar.
Dalla bocca fuori uscendo
lo schiamazzo va crescendo,
prende forza
a poco a poco,
vola già di loco in loco;
sembra il tuono, la tempesta
che nel sen della foresta
va fischiando, brontolando
e ti fa d'orror gelar.
Alla fin trabocca e scoppia,
si propaga, si raddoppia
e produce un'esplosione
come un colpo di cannone,
un tremuoto, un temporale,
un tumulto generale,
che fa l'aria rimbombar.
E il meschino calunniato,
avvilito, calpestato,
sotto il pubblico flagello
per gran sorte a crepar.          

                  

English:

Calumny is a little breeze,
a gentle zephyr,
which insensibly, subtly,
lightly and sweetly,
commences to whisper.
Softly softly, here and there,
sottovoce, sibilant,
it goes gliding, it goes rambling.
Into the ears of the people,
it penetrates slyly
and the head and the brains
it stuns and it swells.
From the mouth re-emerging
the noise grows crescendo,
gathers force little by little,
runs its course from place to place,
seems the thunder of the tempest
which from the depths of the forest
comes whistling, muttering,
freezing everyone in horror.
Finally with crack and crash,
it spreads afield, its force redoubled,
and produces an explosion
like the outburst of a cannon,
an earthquake, a whirlwind,
a general uproar,
which makes the air resound.
And the poor slandered wretch,
vilified, trampled down,
sunk beneath the public lash,
by good fortune, falls to death. 

German:

Die Verleumdung, sie ist ein Lüftchen,
Kaum vernehmbar, in dem Entstehen,
Still und leise ist sein Wehen:
Horch, nun fängt es an zu säuseln -
Immer näher, immer näher kommt es her. -
Sachte, sachte! - Nah zur Erde!
Kriechend, schleichend! - Dumpfes Rauschen!
Wie sie horchen, wie sie horchen!
Wie sie lauschen, wie sie lauschen!
Und das zischelnde Geflüster,
Dehnt sich feindlich, dehnt sich feindlich aus und düster,
Und die Klugen und die Tröpfe
Und die tausend hohlen Köpfe
Macht sein Sausen voll und leer! -
Und von Zungen geht's zu Zungen -
Das Gerede schwellt die Lungen -
Das Gemurmel wird Geheule -
Wälzt sich hin mit Hast und Eile;
Und der Lästerzungenspitzen
Zischen drein mit Feuerblitzen,
Und es schwärzt sich Nacht und Schrecken
Schaurig immer mehr und mehr.
Endlich bricht es los das Wetter,
Unter grässlichem Geschmetter!
Durch der Lüfte Regionen
Tobt's wie Brüllen der Kanonen,
Und der Erde Stoss und Zittern
Widerhallt in den Gewittern,
In der Blitze Höllenschlund! -
Und der Arme muss verzagen,
Den Verleumdung hat geschlagen. -
Schuldlos geht er dann, verachtet,
Als ein Ehrenmann zugrund.
Ja, schuldlos geht er dann zugrund,
Geht er zugrund!