Là ci darem la mano - Antonio Scotti & Geraldine Farrar (1909) скачать в хорошем качестве

Là ci darem la mano - Antonio Scotti & Geraldine Farrar (1909)

Don Giovanni's villa. Don Giovanni is immediately attracted to Zerlina, and he immediately begins his seductive arts: "Là ci darem la mano" — "There we will entwine our hands"... The two voices work well together, too... neither dominates, at least in the recording... Geraldine Farrar (1882-1967) was not only a champagne glass smashing opera star, she made more than 200 recordings and appeared in 14 silent films. The first media diva claimed headlines in newspapers, graced countless covers of magazines, and shared her life story in two autobiographies. During her 16-season reign at the Metropolitan Opera, Farrar commanded higher fees and appeared in more new productions than any other leading soprano. She sang 671 performances of 34 roles in 29 operas, a record matched by no soprano in the nine decades since Farrar's retirement. Before arriving at the Met on the opening night of the 1906 season, Farrar made headlines in Berlin, Monte Carlo, Munich, Stockholm, Paris, and Warsaw. She appeared in the first Met performance of Puccini's Madama Butterfly in 1907 and remained a member of the company until her retirement in 1922 at the age of 40. Her performances at the Met included 95 appearances as Madama Butterfly and 58 as Carmen in 16 seasons. The title role in Puccini's Tosca, which she had added to her repertoire in 1909, was another one of her favorite Met parts. Physical glamour, vocal appeal, and star temperament guaranteed Farrar acclaim few prime donne have enjoyed. Farrar triumphed in an age of vocal titans. She sang with—and held her own against—Caruso, Chaliapin, Lehmann, Plançon, Fremstad, Stracciari, Eames, Martinelli, and Amato. Richard Strauss, Gustav Mahler, and Arturo Toscanini* coached her and conducted her performances. Theatrical artists like Sarah Bernhardt and David Belasco encouraged and counseled her. "Today," she argued, "people want something more than a voice." Farrar called herself "an actress who happens to be appearing in opera" and added, "I leave mere singing to the warblers. I am more interested in acting." Farrar had a seven-year love affair with Arturo Toscanini. Her ultimatum, that he leave his wife and children and marry her, resulted in Toscanini's abrupt resignation as principal conductor of the Metropolitan Opera in 1915. He returned to Italy. Farrar was close friends with Enrico Caruso and there has been speculation that they too had a love affair, but no substantial evidence of this has surfaced. It is said that Caruso coined her motto: Farrar farà ("Farrar will do it"). ------------------------------------- Antonio Scotti (1866-1936) An Italian-born baritone, he made his debut in Naples in 1889, then performed in Malta, Madrid, Buenos Aires and Moscow. He first appeared at La Scala in Milan in 1898, and thereafter primarily sang in the U.S. and England. Scotti was known for his smooth delivery, fine legato, and vocal ability in the upper register. He made his American debut in Chicago in 1899. From 1899 to 1933 he was immensely popular at the Metropolitan Opera, both for his acting and for his vocal artistry. On December 27, 1899 he made his first appearance in New York City at the Metropolitan Opera, undertaking the title role in Mozart's Don Giovanni. He would become an audience favorite at the Met, earning acclaim for his graceful singing of belcanto music as well as for the touch of elegance that he brought to his Verdi and verismo interpretations. Scotti appeared at Covent Garden in London for the first time in 1899, singing Don Giovanni. Scotti can be heard singing snatches of "O sommo Carlo" in part of a clearly exciting performance of Ernani that was recorded live at the Met on faint and crackly Mapleson Cylinders in 1903. He is partnered by Marcella Sembrich and Edouard de Reszke, with Luigi Mancinelli conducting:    • Ernani Mapleson Cylinder 1903 live MET   He also made intermittent visits to commercial recording studios from 1902 until the outbreak of World War I in 1914. Records which he cut for the British Gramophone and Typewriter Company and the American Victor Talking Machine Company and Columbia Phonograph Company have been reissued on CD. Featuring a range of solo arias and some operatic duets with Caruso, Marcella Sembrich and Geraldine Farrar, these records of Scotti's confirm that he was a stylish, well-trained and aristocratic singer. His voice was not particularly large or resonant; but it was rock steady, smooth toned and accurate in its execution of difficult vocal ornaments. A striking person on stage and off, Scotti was equally adept at portraying dramatic and comic characters.    • Don Giovanni, Mozart - Losey - LA' CI DARE...