Mark Adamo’s “Little Women” a Hot Property in Opera

Here is a recent review from the Calgary Herald, and an interview with composer Mark Adamo, whose opera “Little Women” has just premiered at Calgary Opera.

From the Calgary Herald (February 3, 2010)

Little Women hits operatic high note (Calgary Herald, Jan. 31, 2010)

Published in: on February 5, 2010 at 7:31 pm  Leave a Comment  
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February’s Singer of the Month: Renata Tebaldi

The glorious one with the voice of an angel:  Renata Tebaldi

One of the most beautiful Italian voices ever to grace the stage, Renata Tebaldi was born in Pesaro on February 1, 1922.  In memory of Madama Tebaldi’s birthday, having fallen just a few days ago, I decided to implement a new section to this blog called, “Singer of the Month.”  It is only appropriate, knowing my devotion to the old-school and to Italianante singing, that Renata Tebaldi be the first singer featured in this new section.  Every month, I will select a singer or artist of the past or present who has contributed their talents to the field of opera, in one way or another.

Tebaldi was one of those voices that is unforgettable.  Madama’s voice was liquid, lush, filled with vibrancy, with a burnished middle voice, a magnificent upper range, and the power of a hundred chariots.  Her charisma and musicianship combined with her God-given gift, not only made her famous in her day, she remains a true example for any young singer who wants to understand what the “real deal” is.

She studied at the Conservatorio di Musica Arrigo Boito, in Parma with Carmen Mellis and made her debut in 1944 in Arrigo Boito’s “Mefistofele” as Elena. In 1946, when La Scala reopened, she partook in that concert under Toscanini’s baton and subsequently sang Mimi and Eva in the 1946-47 season. From 1949-1954, she sang regularly at La Scala in roles such as:  Maddalena in Andrea Chenier, Tosca, Adriana Lecouvreur, Desdemona in Otello, and La Wally.  She soon made debuts in London and in San Francisco as Aida.  In 1955, she became a prima at the Metropolitan Opera, where she remained for 20 years.

Tebaldi’s voice was capable of nearly anything.  Not only did she perform the “lirico spinto” repertoire, she also delved into such roles as Cleopatra in Handel’s Giulio Cesare, Spontini’s Olympia, and Verdi’s Giovanna D’Arco, showing a tremendous versatility and range.  Her Forza del Destino is the stuff of legend and I, of course, have a personal devotion to her understanding of Puccini’s repertoire, most specifically Minnie in La Fanciulla del West, and Mimi in La Boheme; not to mention Angelica in Suor Angelica.

If you’ve never watched or seen, or heard her, for that matter, WHAT ARE YOU WAITING FOR!? Her elegance, her mannerisms–a true lady–the way in which she used her hands, the beauty of her persona were all aspects that made La Tebaldi what she was, an artist of true value. Her voice lingers in one’s mind and heart, and her’s is a historical lexicon of recordings that we as operagoers, historians, and afficionados must make sure to preserve and introduce to those too young to have known about her.  On this anniversary of her birth, on behalf of all who loved her and continue to, “Madama, we remember…we can never forget and we fight that your legacy continue, that your art, as you saw it and understood it so intimately, be preserved as it were, now and always.  In grand devotion, we thank you.  Grazie mille, Brava!”

Elegance personified: a true diva, private, respectful of her art, and authentic