Giuditta Pasta
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- Duration: 2:58
- Published: 07 Sep 2009
- Uploaded: 25 Jun 2011
- Author: castadivaresort
Giuditta Pasta
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Adelaide Kemble
Adelaide Kemble (November 1815 – 4 August 1879) was an English opera singer of the Victorian era, and a member of the Kemble family of actors. She was the younger sister of Fanny Kemble, the famous actress and anti-slavery activist. Her father was actor Charles Kemble.
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Emma Albertazzi
Emma Albertazzi (1 May 1814–25 September 1847) was an English stage contralto.
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Ferdinando Paer
Ferdinando Paer (1 July 1771 - 3 May 1839) was an Italian composer.
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Gaetano Donizetti
Domenico Gaetano Maria Donizetti (29 November 1797 – 8 April 1848) was an Italian composer from Bergamo, Lombardy. Donizetti's most famous work is Lucia di Lammermoor (1835), although arguably his most immediately recognizable piece of music is the aria "Una furtiva lagrima" from ''L'elisir d'amore (1832). Along with Vincenzo Bellini and Gioachino Rossini, he was a leading composer of bel canto'' opera.
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Maria Callas
Maria Callas () (December 2, 1923September 16, 1977) was an American-born Greek soprano and one of the most renowned opera singers of the 20th century. She combined an impressive bel canto technique, a wide-ranging voice, and great dramatic gifts. An extremely versatile singer, her repertoire ranged from classical opera seria to the bel canto operas of Donizetti, Bellini and Rossini; further, to the works of Verdi and Puccini; and, in her early career, to the music dramas of Wagner. Her remarkable musical and dramatic talents led to her being hailed as La Divina.
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Pauline Viardot
Pauline Viardot [née García] (18 July 182118 May 1910) was a leading nineteenth-century French mezzo-soprano, pedagogue and composer of Spanish descent.
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Vincenzo Bellini
Vincenzo Salvatore Carmelo Francesco Bellini (3 November 1801 – 23 September 1835) was an Italian opera composer. His most famous works are La sonnambula (1831), Norma (1831) and I puritani (1835). Known for his long flowing melodic lines for which he was named "the Swan of Catania", Bellini was the quintessential composer of Bel canto opera.
http://wn.com/Vincenzo_Bellini
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Blevio
Blevio is a comune (municipality) in the Province of Como in the Italian region Lombardy, located about 40 km north of Milan and about 2 km northeast of Como. As of 31 December 2004, it had a population of 1,276 and an area of 5.9 km².
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Como
Como (Còmm in the local variety of Western Lombard) is a city and comune in Lombardy, Italy.
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Italy
Italy (; ), officially the Italian Republic (), is a country located in south-central Europe. To the north it borders France, Switzerland, Austria and Slovenia along the Alps. To the south it consists of the entirety of the Italian Peninsula, Sicily, Sardinia — the two largest islands in the Mediterranean Sea — and many other smaller islands. The independent states of San Marino and the Vatican City are enclaves within Italy, whilst Campione d'Italia is an Italian exclave in Switzerland. The territory of Italy covers some and is influenced by a temperate seasonal climate. With 60.4 million inhabitants, it is the sixth most populous country in Europe, and the twenty-third most populous in the world.
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London
London () is the capital of England and the United Kingdom, the largest metropolitan area in the United Kingdom and the largest urban zone in the European Union by most measures. London has been a major settlement for two millennia, its history going back to its founding by the Romans, who called it Londinium. London's core, the ancient City of London, largely retains its square-mile mediaeval boundaries. Since at least the 19th century, the name London has also referred to the metropolis developed around this core. The bulk of this conurbation forms the London region and the Greater London administrative area, governed by the elected Mayor of London and the London Assembly.
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Milan
Milan (, ; Western Lombard: Milan, ) is a city in Italy and the capital of the region of Lombardy and of the province of Milan. The city proper has a population of about 1,310,000, while the urban area is the first in Italy and the fifth largest in the European Union with a population of 4,345,000 over an area of . The Milan metropolitan area, by far the largest in Italy, is estimated by the OECD to have a population of 7,400,000.
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Naples
Naples ( , , Neapolitan: Napule) is a city in Italy; it is the capital of the region of Campania and of the province of Naples. Known for its rich history, art, culture, architecture, music, and gastronomy, Naples has played an important role in the the Italian peninsula and beyond for much of its existence, which began more than 2,800 years ago. Situated on the west coast of Italy by the Gulf of Naples, the city is located halfway between two volcanic areas, Mount Vesuvius and the Phlegraean Fields.
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opera
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Saronno
Saronno is a comune of Lombardy, Italy, in the province of Varese. It received the honorary title of city with a presidential decree in 1960.
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Venice
Venice ( , Venetian: Venesia) is a city in northern Italy known both for tourism and for industry, and is the capital of the region Veneto, with a population of about 272,000 (census estimate 1 January 2004). Together with Padua, the city is included in the Padua-Venice Metropolitan Area (population 1,600,000).
http://wn.com/Venice
- Anna Bolena
- Blevio
- Como
- Davide Banderali
- Don Giovanni
- Emma Albertazzi
- Ferdinando Paer
- Gaetano Donizetti
- Girolamo Crescentini
- Giulietta e Romeo
- Giuseppe Scappa
- Italy
- La sonnambula
- Leonardo
- London
- Maria Callas
- mezzo-soprano
- Milan
- Naples
- Norma (opera)
- opera
- Paris
- Pauline Viardot
- Saronno
- Scappa
- soprano
- soprano sfogato
- Théâtre Italien
- Venice
- Vincenzo Bellini
Intervista a Giuditta Pasta di Marco Ciapparelli
- Order: Reorder
- Duration: 5:24
- Published: 07 Apr 2010
- Uploaded: 12 Jun 2010
- Author: radiopunto
Giuditta Pasta e'considerata, insieme a Maria Malibran, come la più celebre cantante lirica del XIX secolo. Intervistata da Marco Ciapparelli On Air ogni sabato alle 12:00 con Spettacolando. Radio Punto La Radio Dell'Altomilanese - FM 88.150 - www.radiopunto.it - SMS 3481288150
Accademia Giuditta Pasta
- Order: Reorder
- Duration: 7:42
- Published: 13 Apr 2010
- Uploaded: 19 Apr 2010
- Author: ComoGiudittaPasta
Maria Callas - Al Dolce Guidami (Score Animation)
- Order: Reorder
- Duration: 4:32
- Published: 27 Nov 2009
- Uploaded: 07 Jul 2011
- Author: primohomme
Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. One of the most beautiful and touching bel canto arias ever written, and an absolutely master class in singing by Maria Callas. Written for the fabulous Giuditta Pasta, from Donizetti's Anna Bolena. The last minute is pretty much a cadenza, so didn't put the scoring for that. I hope y'all enjoy it.
Joan Sutherland - Casta Diva (Score Animation)
- Order: Reorder
- Duration: 6:22
- Published: 08 Feb 2009
- Uploaded: 24 May 2011
- Author: primohomme
My favorite aria, written for the amazingly "encyclopedic" Giuditta Pasta, sung by the equally amazing Joan Sutherland. Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Elizabeth Futral - Mura Felici (Soprano version, Rossini's Otello, Malibran ver.)
- Order: Reorder
- Duration: 10:05
- Published: 13 Jun 2009
- Uploaded: 16 Apr 2011
- Author: primohomme
- http://wn.com/Elizabeth_Futral__Mura_Felici_Soprano_version,_Rossini's_Otello,_Malibran_ver
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This aria that later ended up as a contralto aria in "La donna del Lago" was also used as an alternative entrance scene for Desdemona, in Malibran's version of Otello, in which Desdemona is more sopranish than in the original (since the range in the original is Bb3-Bb5, and in Malibran's version Desdemona has a written high Db) probably written for Henrietta Sontag or Giuditta Pasta, whenever they sang the role. Originally also, Giuditta Pasta performed Otello, and that's where Malibran got the idea of performing as Otello!! The range in the contralto version is Ab2 to A and the tessitura is generally low. The range in this soprano version is Db4 to Db6 and the tessitura is generally high!
Beverly Sills - Anna Bolena, Finale (Score Animation)
- Order: Reorder
- Duration: 4:29
- Published: 21 Nov 2009
- Uploaded: 10 Jul 2011
- Author: primohomme
Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. One of the most powerfully dramatic scenes written by Donizetti, demanding a full heroic tone as well as great agility...requiring a diva capable agility in the upper register like the easiest high coloratura soprano, and also declamate on the low register like a dramatic mezzo/contralto! Anna Bolena is about to be executed, and her desperation can be felt with her heroic use of the passagio. She realizes it is the point of no return, and the melody dips down to a low B-flat which must be sung strongly with chest voice like a true mezzo would. Then the heroic fioratura of "Coppia Iniqua" with it's many up and downs in register, its low phrases which also must be delivered with force and high fioraturas which require great ease in the upper register. Written for the great Giuditta Pasta, a diva with the rare gift of singing both high soprano as well as contralto, and her greatest roles such as Norma and Anna Bolena were written to showcase that. Beverly Sills did not have a voice type like Giuditta Pasta (a soprano sfogato) but she fully commits to the music and delivers chest voice as strongly as her <b>...</b>
Cecilia Bartoli - Ah non credea / Ah non giunge! (La Sonnambula)
- Order: Reorder
- Duration: 8:38
- Published: 24 Dec 2008
- Uploaded: 29 May 2011
- Author: primohomme
- http://wn.com/Cecilia_Bartoli__Ah_non_credea_/_Ah_non_giunge!_La_Sonnambula
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Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. First HISTORICALLY CORRECT (THAT MEANS WHAT BELLINI ACTUALLY WROTE!) recording of "La Sonnambula", eliminating the overly ornamented parts later on added for Fanny Persiani and Adelina Patti, preserving only the handwritten notes by Bellini for Giuditta Pasta.
Felia Litvinne - D'amor sull'ali rosee
- Order: Reorder
- Duration: 3:34
- Published: 19 Nov 2009
- Uploaded: 04 Jun 2011
- Author: primohomme
Re-Upload with better sound quality Lately I've been getting into the tradition of the "assoluta", the divas likes Isabella Colbran, Giuditta Pasta, Giuseppina Ronzi De Begnis, Mary Anne Paton, Maria Malibran, Pauline Viardot, etc that championed the hardest roles written for the female voice in opera. They had the characteristic of having a dark colored voice, being able to alternate tessitura of high soprano as well as contralto (as the greatest castrati were able to do), having a powerful majestic voice, the greatest agility in both liric and heroic coloratura. We don't have recordings of these divas, but we do have recordings of some of those who survived them and kept the tradition such as Felia Litvinne, who was a pupil of Pauline Viardot and was said to have a similar sound to Pasta or Ronzi De Begnis. As Pauline Viardot and the other assolutas, Felicia alternated both soprano roles and mezzo soprano. In this beautiful recording her trills are simply flawless, her high notes are clear and beautiful, her voice possesses a dark hued color almost reminscent of the great assoluta of the 20th century Maria Callas, and she surprises us finishing the aria with the cadenza taking it down to a low A-flat as a contralto would do!!
LA GELOSIA PROMO DVD I LEGNANESI E LA VITA LA VA'
- Order: Reorder
- Duration: 2:00
- Published: 28 Sep 2010
- Uploaded: 10 Jul 2011
- Author: LGMULTIMEDIAVIDEO
Estratto della ripresa live effettuata con 3 cam HD al Teatro Giuditta Pasta di Saronno
Ewa Podles - Di Tanti Palpiti (Score Animation)
- Order: Reorder
- Duration: 3:13
- Published: 08 Feb 2010
- Uploaded: 02 Jul 2011
- Author: primohomme
Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. One of Rossini's greatest hits, here sung by the greatest contralto of the last 50 years, Ewa Podles, a modern golden era singer. This aria though written with a somewhat narrower range (C4-F5) and less ornamented, is embelished manificently by Podles as she covers a range of over two octaves with complete ease (Ab3-A5). Tancredi was a favorite role of divas like Giuditta Pasta and Maria Malibran.
Marisa Galvany - Sommi Dei - Medea In Corinto (Mayr)
- Order: Reorder
- Duration: 5:52
- Published: 22 Apr 2010
- Uploaded: 17 Apr 2011
- Author: primohomme
Fabulous aria, cavatina and cabaletta sung by the awesome Marisa Galvany. The role of Medea in Corinto was written for the amazing Isabella Colbran, and was a favorite of Giuditta Pasta.
Davide Van De Sfroos Show - Ventanas
Saronno, 26/11/09 Teatro "Giuditta Pasta"
Elizabeth Parcells - Ma la sola, ohimè! son io (Beatrice di Tenda, Bellini)
- Order: Reorder
- Duration: 9:17
- Published: 28 Jun 2011
- Uploaded: 04 Jul 2011
- Author: primohomme
- http://wn.com/Elizabeth_Parcells__Ma_la_sola,_ohimè!_son_io_Beatrice_di_Tenda,_Bellini
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I usually don't listen much to light high coloratura sopranos, I tend to prefer darker voices, but Elizabeth Parcells had such beauty and purity in her singing that I love her. Though this aria was written for an Assoluta...Giuditta Pasta, the role is all high soprano, and in this recording Elizabeth Parcells sings in the style of Jenny Lind, one of the first "nightingale" type of sopranos from the mid 19th century whose upper range would go all the way up to G6.
100 Greatest Singers: CECILIA BARTOLI
- Order: Reorder
- Duration: 4:02
- Published: 26 Feb 2009
- Uploaded: 29 Jun 2011
- Author: 100Singers
THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! Cecilia Bartoli, Mezzo-Soprano (born 1966) Gioacchino Rossini - Il Barbiere di Siviglia Io sono docile, son rispettosa (Recorded 1988) My personal opinion: In October 2008 I decided to start this project. From the very beginning it was quite clear to me, I couln´t make it satisfying for everyone. Most of you sent me nice comments and mails with interesting suggestions and constructive criticism. For all this I would like to thank you again. My main motive for this project was to start a discussion about great singers. Any time I knew, this is only an experiment and I don´t want to enrage someone if his personal favorite isn´t in my subjective list. There´sa reason, why I selected most of the time singers from the past. I´m sure, we have wonderful voices nowadays such as Renée Fleming, Nathalie Dessay or Angela Gheorgiu. Young Laura Claycomb is amazing (her "Caro nome" is breathtaking) and I rate 1975 born Celso Albelo as one of the most interesting young tenors (who sings "Ah, mes amis" in a quality near to Pavarotti and Kraus). To have them not in my list, it doesn´t mean, they´re second rate. But I´m convinced it is very difficult to give today´s world of opera something new. In 100 years of recording probably everything important about music and opera was said resp. sang. Maybe some singers escaped from my notice, but for me the most thrilling new impulse came from Cecilia Bartoli, who succeeded to find a new audience for <b>...</b>
Saverio Mercadante - Emma d'Antiochia - "Io soffrir mortale in terra" (Bruce Ford & Colin Lee)
- Order: Reorder
- Duration: 7:27
- Published: 01 Jan 2009
- Uploaded: 10 May 2011
- Author: LindoroRossini
- http://wn.com/Saverio_Mercadante__Emma_d'Antiochia__Io_soffrir_mortale_in_terra_Bruce_Ford_Colin_Lee
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Although "Emma d'Antiochia" was written at the height of Mercadante's career, had a libretto by the prolific Felice Romani and was written specifically for super-diva Giuditta Pasta (along with almost-as-popular star Domenico Donzelli and the soon to be super-diva Eugenia Tadolini), the opera was a disaster at its' premiere at La Fenice, March 8, 1834. Pasta was ill, but "graciously consented to appear" in a highly truncated version of the opera. But at the third performance Pasta was back in form and the opera was awarded a sensational reception. It was performed almost annually though the mid-1840s, disappeared briefly, had a few revivals and was last performed in Malta as late as in 1861. The plot is a typically heavy-duty, angst-ridden early-19th-century Italian opera, with a nice pair of suicides and a tragically unrequited love. Oddly, it has no villains. We are in 12th-century Tyre, and Ruggiero (tenor) is about to marry his uncle Corrado's (baritone) daughter, Adelia (soprano). Adelia knows that Ruggiero once had another love and that somewhere in his heart he still pines for her. Corrado returns victorious from battle against the Saracens, and with him he brings a new wife, Princess Emma (soprano), you guessed it, Ruggiero's former love (she brings with her a male slave/confidante, Aladino, another tenor). As soon as they see each other they realize the flame still burns, Ruggiero marries Adelia anyway, though suspicions are aroused. Corrado discovers the messy <b>...</b>
Non minganno Duetto, Otello & Jago (Malibran version)
- Order: Reorder
- Duration: 6:50
- Published: 09 Jul 2009
- Uploaded: 27 Aug 2010
- Author: primohomme
Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. Great duetto of Otello and Jago, from Rossini's Otello. This particular recording is the "Malibran version" in which Otello is sung by a mezzo soprano. The so called Malibran version truly started after Giuditta Pasta had been singing Otello en travesti in a couple of festivals and special occasions, up an octave was of the taste of Maria Malibran who idolized Giuditta Pasta and she officially asked Rossini to adapt certain things for her virtuosic technique.
Renee Fleming - Casta Diva
- Order: Reorder
- Duration: 7:06
- Published: 04 Jun 2009
- Uploaded: 24 May 2011
- Author: primohomme
Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use. Gorgeous interpretation of this majestic sublime aria, by the always fabulous Renee Fleming. This is definetely a role she should sing, even though all the hateful queens hate on her and prefer the teapot coloraturas with no chest tones.
100 Singers - In Memoriam: DAME JOAN SUTHERLAND
- Order: Reorder
- Duration: 4:03
- Published: 11 Oct 2010
- Uploaded: 30 Jun 2011
- Author: 100Singers
Please open the bar to read more about this artist! Joan Sutherland, Soprano (1926-2010) Just like Maria Callas, the australian primadonna Joan Sutherland (1926-2010) also reanimated belcanto-singing anew, but Callas was a dramatic, Sutherland a virtuoso. Callas was in the tradition of Giuditta Pasta and Lilli Lehmann, Sutherland a successor of Adelina Patti, one of 19th century nightingales (A YouTube comment: Callas sang for the snobs, Sutherland for the crowd). Sutherland stepped into Callas´ footprints in 1959 singing LUCIA DI LAMMERMOOR under Tullio Serafin at Covent Garden. When Callas passed her prime in the early sixties, the career of a new primadonna began: Joan Sutherland, shortly afterwards called"La stupenda!" Sutherland was born in Sydney. At 18 she started studying voice. In 1947 she made her concert debut as Dido, in 1951 her stage debut. Then she went to London to further her studies at the Royal Opera School. ROHCG engaged her as utility, in 1952 she sang Clotilde in Norma beside Callas. One month after that, she sang her first leading role as Amelia. In 1954 she married australian conductor Richard Bonynge, who convinced her to sing the coloratura Fach and that she should explore the whole repertory of Belcanto. 1960 she recorded the album "The Art of the Prima Donna", a collection of known and unknown coloratura arias. In 1961 she sang BEATRICE DI TENDA at La Scala and Lucia at the Met, 1962 again in Milano SEMIRAMIDE. She added the great heroines of <b>...</b>
100 Greatest Singers: JOAN SUTHERLAND
- Order: Reorder
- Duration: 6:06
- Published: 28 Feb 2009
- Uploaded: 07 Jul 2011
- Author: 100Singers
THIS PROJECT IS RESERVED ONLY FOR THE GREATEST! Please comment Dame Joan Sutherland! Joan Sutherland, Soprano (1926-2010) Giuseppe Verdi - Rigoletto Caro nome With Riccardo Cassinelli, Tenor Christian du Plessis, Baritone (Recorded 1971) My personal opinion: "She threw back my work for about 100 years!" Not exactly nice words Maria Callas had for Joan Sutherland. The australian primadonna as well reanimated belcanto-singing anew, but Callas was a dramatic, Sutherland a virtuoso. Callas was in the tradition of Giuditta Pasta and Lilli Lehmann, Sutherland a successor of Adelina Patti, one of 19th century nightingales. Sutherland stepped into Callas´ footprints in 1959 singing Lucia under Tullio Serafin at Covent Garden. When Callas passed her prime in the early sixtys, the career of a new primadonna began: Joan Sutherland, shortly afterwards called "La stupenda!" Sutherland was born in Sydney. At 18 she started studying voice. In 1947 she made her concert debut as Dido, in 1951 her stage debut. Then she went to London to further her studies at the Royal Opera School. ROHCG engaged her as utility, in 1952 she sang Clotilde in Norma beside Callas. One month after that, she sang her first leading role as Amelia. In 1954 she married australian conductor Richard Bonynge, who convinced her to sing the coloratura Fach and that she should explore the whole repertory of Belcanto. 1960 she recorded the album "The Art of the Prima Donna", a collection of known and unknown coloratura <b>...</b>
Joan Sutherland - Ma la sola, ohimè! son io (Beatrice di Tenda, studio recording)
- Order: Reorder
- Duration: 7:46
- Published: 29 Jun 2009
- Uploaded: 06 Jul 2011
- Author: primohomme
- http://wn.com/Joan_Sutherland__Ma_la_sola,_ohimè!_son_io_Beatrice_di_Tenda,_studio_recording
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Beautiful bel canto aria, cavatina and its cabaletta, entrance scene of Beatrice in "Beatrice di Tenda" by Bellini. Joan's legatto is absolutely flawless in the phrase involving a trill on G# and up to high Db down to B an octave below, and then trill on G and up to high B and then down to G# an octave below, and then trill on F# and then back up to G# and then back to B in the middle register! Absolutely fabulous and beautiful. The cabaletta is ended with a wonderful interpolated high E!
C. Bartoli & JD Florez - Son geloso del zefiro errante
- Order: Reorder
- Duration: 7:29
- Published: 15 Mar 2009
- Uploaded: 01 Jul 2011
- Author: primohomme
One of the most beautiful duets ever written, from Bellini's "La sonnambula".Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
Maria Callas - Anna Bolena (mad scene pt.2)
- Order: Reorder
- Duration: 10:40
- Published: 04 Mar 2009
- Uploaded: 03 Jul 2011
- Author: primohomme
The greatest assoluta from the 20th century in one of her defining roles. Disclaimer- Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.
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By J.M. Hirsch, Associated Press WriterPosted: 08/03/2011 12:38:39 PM PDTUpdated: 08/03/2011 12:51:35 PM PDT This June 6, 2011 photo shows whole egg pasta carbonara in Concord, N.H. Clocking in with just seven ingredients, this delicious take on pasta carbonara will have you in and out of...
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31 Jul 2011
The Examiner
Company is coming, but it’s just too hot to grill. Never fear. Cook inside, stay cool and enjoy this three course dinner that everyone will love. In the last article, we talked about the appetizer. Now we’re on to the main even of the evening: creamy shrimp pasta. This colorful shrimp is...
Knox News
By Linda Gassenheimer McClatchy Newspapers (MCT) Wild salmon is so flavorful, it only needs a little olive oil and salt and pepper and it cooks in minutes. It's at the height of the season now, which runs from mid-May until mid-September. At other times of the year, good quality wild salmon can be...
MSNBC
Looking to add something new to your pasta dish? Try fish. Here, chef Joel Huff shares his fresh and flavorful take on carbonara, an Italian classic. Recipe: Crab carbonara with meyer lemon, black pepper and parsley (on this page) Advertise | AdChoices Advertise | AdChoices Recipe: Crab carbonara...
Giuditta Pasta
Giuditta Angiola Maria Costanza Pasta (née Negri; October 26, 1797 - April 1, 1865), born in Saronno, Italy, was a soprano considered among the greatest of opera singers, to whom the 20th-century soprano Maria Callas was compared.
Studies and career
Pasta studied in Milan with Giuseppe Scappa and Davide Banderali and later with Girolamo Crescentini and Ferdinando Paer among others. In 1816 she made her professional opera début in the world première of Scappa’s Le tre Eleonore at the Teatro degli Accademici Filodrammatici in Milan. Later that year she performed at the Théâtre Italien in Paris as Donna Elvira in Don Giovanni, Giulietta in Niccolò Antonio Zingarelli’s Giulietta e Romeo, and in two operas by Paer.Pasta's first appearance in London in 1817 was a failure. Further studies with Scappa were followed by a successful debut in Venice in 1819. She caused a sensation in Paris in 1821-22, where the immense range of her voice and her dramatic gifts were matched by poignancy of expression. She sang regularly in London, Paris, Milan and Naples between 1824 and 1837. She created Donizetti's Anna Bolena in Milan (Teatro Carcano) in 1830 and Amina in Bellini's La sonnambula and Norma (both in Milan in 1831).
Pasta also taught singing in Italy. Among her notable pupils were contralto Emma Albertazzi and soprano Marianna Barbieri-Nini and the English soprano Adelaide Kemble who records this in her memoirs. She also records how when after her career was really over Pasta unwisely came to London for a charity concert. Kemble asked fellow-singer Pauline Viardot what she thought of her voice now and got the reply ‘It is a ruin, but then so is Leonardo’s Last supper’.
Voice
Giuditta Pasta's voice was what could be called a soprano sfogato
Madame Pasta's voice has a considerable range. She can achieve perfect resonance on a note as low as bottom A, and can rise as high as C#, or even to a slightly sharpened D; and she possesses the rare ability to be able to sing contralto as easily as she can sing soprano. I would suggest ... that the true designation of her voice is mezzo-soprano, and any composer who writes for her should use the mezzo-soprano range for the thematic material of his music, while still exploiting, as it were incidentally and from time to time, notes which lie within the more peripheral areas of this remarkably rich voice. Many notes of this last category are not only extremely fine in themselves, but have the ability to produce a kind of resonant and magnetic vibration, which, through some still unexplained combination of physical phenomena, exercises an instantaneous and hypnotic effect upon the soul of the spectator.This leads to the consideration of one of the most uncommon features of Madame Pasta's voice: it is not all moulded from the same metallo, as it is said in Italy (which is to say that it possesses more than one timbre); and this fundamental variety of tone produced by a single voice affords one of the richest veins of musical expression which the artistry of a great cantatrice is able to exploit."
Death
Pasta died in Blevio, a town in the province of Como at the age of 68.
References
Bibliography
Category:1797 births Category:1865 deaths Category:Operatic sopranos Category:Italian female singers Category:Italian opera singers Category:Italian sopranos Category:People from the Province of Varese
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