Friday, January 14, 2011

Another Favorite Clip - In questa voce...

This will not come as a shock to many of you. I have a love for big voices that borders on the extreme. Don't get me wrong, I like a smaller voice that can move with laser beam precision, too. However, it is pretty safe to say that like my taste in cars, if given the choice I'd most likely chose a voice that was built for comfort over a voice that was built for speed. Yes, there are a few exceptions ... but, we'll get into that another time.

If it were up to me to name a Patron Saint of Big Voices, it would definitely be Bulgarian soprano Ghena Dimitrova (may she rest in peace). Let's be perfectly honest with one another ... the voice was gigantic!

ANYWAY, a colleague of mine mentioned in her Facebook status today that she spent the morning discussing Puccini's last opera Turandot ... thus infecting those around her with her love for Puccini. Well, she certainly got my mind fixed on it.

Over to YouTube I went and re-discovered this utterly fantastic clip of Ms. Ghena singing Princess Turandot's tour-de-force "In questa reggia" at Arena di Verona (Oh yea, Nicola Martinucci is singing Calaf somewhere in there).

You've undoubtedly seen it here before. But, it certainly deserves another viewing - I, for one, just can't get enough. So here it is, this week's installment of Another Favorite Clip. For those who would like a translation of the aria, make sure to check out the Aria Database.


1 comment:

the UNchecked other said...

Beautiful! I always favoured Maria Callas's version--loved the sharp, jagged tones that express anger, and moved to tears by the soft, almost whispery way she said "Princessepessa Lou-o-Ling." You could hear how the ghost of her ancestor torments her still, how her pain lives on through her. In short, a heartbreaking performance that never fails to bring tears.

Dimitrova's version is equally stunning. It's not as emotionally painful to hear as Callas's (which I'm sure was drawn from her own traumatic life), but it's powerful in that it's defiant. Whereas Callas' version made you feel like Turandot inherited the victimization of her ancestor, Dimitrova's version makes you feel Turandot's strength. You understand how, despite her seemingly heartless nature, men are still drawn to her.

All this is just a long way of saying I love your blog! I discovered you through Twitter, and I'm glad to see that there's someone else who's an opera nut who is politically active as well.

Keep on rockin'.

Leilani aka the Unchecked other

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