Jessica Pratt sings Lucrezia's aria and intricate cabaletta скачать в хорошем качестве

Jessica Pratt sings Lucrezia's aria and intricate cabaletta

Note: I recorded this from the RAI broadcast, which had a few minor dropouts. THE SONGBIRD: Jessica Pratt was born in Bristol in 1979, moving to Australia in 1991. In 2003, she won the Australian Singing Competition, after which she relocated to Italy to study at the Rome Opera and with Renata Scotto, then to Milan to work with Lella Cuberli. Pratt launched her career singing the core bel canto heroines in Italian cities such as Pavia, Cremona, Florence, Pesaro, Naples, Como, and Venice. She sang Lucia in Zurich in 2008 and in Geneva in 2010. Her debut at La Scala came in 2011, at the Vienna Staatsoper in 2012. After appearances across Europe and Australia, she made her debut at The Metropolitan Opera in 2016 as Queen of the Night, returning in later seasons for Lucia and La Fée in "Cendrillon." Pratt has continued to specialize in the bel canto repertoire and helped revive some obscure works such as Rossini's "Ciro in Babilonia," Donizetti's "Rosmonda d'Inghilterra," and Verdi's "Giovanna d'Arco." THE MUSIC: Donizetti's "Lucrezia Borgia" was first performed at La Scala in Milan in 1833; the libretto is based on a French play by Victor Hugo (he managed to block productions in France under French copyright law). It made its way through Italy under various new titles and was first seen in London in 1839 and in the U.S. in New Orleans in 1843. It mostly fell in obscurity until a revival in New York in 1965 put it back on the map during the bel canto revival, a production which also ignited the career of Montserrat Caballe (who had learned the role in a month as a replacement for Marilyn Horne). Caballe made the first studio recording in 1966. The plot centers on Lucrezia Borgia, a beautiful Italian noblewoman who was rumored to have committed incest, poisoning, and murder for political gain and romantic intrigue. She sings a tranquil entrance aria, "Com'e bello, qual incanto" in admiration of the sleeping Gennaro, who it turns out is her son and who she accidentally poisons at the end of the opera. The highly florid cabaletta "Si voli il primo a cogliere" was added by Donizetti for the 1840 Paris production and is often omitted.