When the diva is a mezzo Romantic opera brought at the centre of the stage sopranos, heroines of every love drama composed by Bellini to Donizetti to Puccini passing through Verdi. Mezzo-sopranos in those days played somehow the part of “Cinderella”, before the meeting with the fairy Godmother. Relegated mostly to a secondary role, they were seldom able to share the popularity and admiration granted to the leading sopranos of their time. Ebe Stignani, one of the most beautiful voices of the last century Take for example Ebe Stignani. Not many know her or who she was, yet she was one of the most beautiful voices and of the finest musicians of the last century. Ebe Stignani and Maria Callas Stignani was a main star at the Teatro Alla Scala while Maria Callas was just starting her cooperation with the Milan stage. Those were Callas’ difficult first years at La Scala, where she debuted in 1950 as a replacement to Renata Tebaldi in Aida. There was certainly a pre-established criticism if not hostility and even a lack of interest for Callas’ vocal talents, that kept growing till 1953 when, after a Norma with Stignani, the Greek soprano left Italy to return […]
Pergolesi’s Stabat Mater is a sublime piece of sacred chamber music. Originally composed for two castrato voices, strings and basso continuo, is arguably one of the most important works in music history, which influence stretches to Mozart, Haydn and beyond. A sublime summary of the religious and aesthetics of its time. It is also a simple man’s expression of religious sense
Riccardo Zandonai was one of the last Italian operatic master craftsmen. Although many Italian composers after him continued to write operas, none will show the same consistent dedication or would produce such an impressive body of works. Composer of symphonic and chamber music as well as sacred music, Zandonai was also a sensitive and intelligent conductor.
La Serva Padrona, composed on a libretto by Gennaro Antonio Federico in 1733, is an intermezzo divided into two interludes. It was originally designed to be performed between the acts of the opera seria Il prigioniero superbo by Pergolesi himself, staged at the Teatro San Bartolomeo in Naples on the occasion of the birthday of the empress Elisabeth Christine of Brunswick, wife of the emperor Charles VI and mother of the empress Marie Therese of Augsburg. That very same libretto had been used by almost every composer in Naples and therefore was already popular in a number of successful versions. The definition of believable characters and the solid realism of the short story, revolving almost entirely around the characters’ psychology made of the libretto a success. Pergolesi’s genius turned it into a masterpiece.
