- published: 23 Oct 2007
- views: 20007
Senesino (pronounced [seneˈziːno]; Traditional Tuscan pronunciation: [seneˈsiːno]) (Francesco Bernardi, [franˈtʃesko berˈnardi]) (31 October 1686 – 27 November 1758) was a celebrated Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel.
Senesino was the son of a barber from Siena (hence his stage-name). He joined the cathedral choir there in 1695 and was castrated at the comparatively late age of thirteen. His debut was at Venice in 1707, and during the next decade he acquired a European reputation and, by the time he sang in Lotti's Giove in Argo in 1717 at Dresden, a commensurately enormous salary.
As with many castrati, reports of Senesino's acting were not always positive, to say the least. The impresario Count Francesco Zambeccari wrote of his performance in Naples in 1715: "Senesino continues to comport himself badly enough; he stands like a statue, and when occasionally he does make a gesture, he makes one directly the opposite of what is wanted." Of the singer's vocal abilities, however, there was no doubt. In 1719, the composer Quantz heard him in Lotti's Teofane at Dresden, and stated: "He had a powerful, clear, equal and sweet contralto voice, with a perfect intonation and an excellent shake. His manner of singing was masterly and his elocution unrivalled. … he sang allegros with great fire, and marked rapid divisions, from the chest, in an articulate and pleasing manner. His countenance was well adapted to the stage, and his action was natural and noble. To these qualities he joined a majestic figure; but his aspect and deportment were more suited to the part of a hero than of a lover."
Andreas Scholl interpreta Stelle Ingratte da ópera Starto de Albinioni!
Lettura dell’articolo di Matteo Rubboli - I Cantanti Castrati: una Moda che all'inizio del XVIII Secolo faceva operare 4.000 Bambini l'Anno - https://www.vanillamagazine.it/i-cantanti-castrati-una-moda-che-all-inizio-del-xviii-secolo-faceva-operare-4000-bambini-l-anno/ Questo il video YouTube con l'audio di Alessandro Moreschi: https://www.youtube.com/watch?v=KLjvfqnD0ws Fra le fonti: H. Pleasants, "The Castrati", 1966 Narratore: Matteo Rubboli Seguimi su INSTAGRAM: https://www.instagram.com/matteorubboli/ Tutte le immagini e il video sono di pubblico dominio. Relaxing Piano Music by Kevin MacLeod Link: https://incompetech.filmmusic.io/song/4273-relaxing-piano-music License: http://creativecommons.org/licenses/by/4.0/
Listen to Younger on Spotify: http://po.st/YoungerSP Younger - EP on iTunes: http://po.st/SSYy http://www.seinabosey.com Produced by Magnus Lidehäll Credits Director: Gustav Johansson Producer: Erik Torell & Joel Rostmark DOP: Niklas Johansson, fsf Colorist: Sofie Borup @ Company 3 Focus Puller: Tommy Sandberg Clapper Loader: Josephine Owe Assistant Director: Fredrika Andersson Stylist: Jessica Mittelton Set Designer: Susanna Karlborg Make Up: Sainabou Secka Hair: Katri Chune Production Assistant: Richard Simonsson Executive Producer: Kristina Wibom Produced at Camp David Film
Senesino (pronounced [seneˈziːno]; Traditional Tuscan pronunciation: [seneˈsiːno]) (Francesco Bernardi, [franˈtʃesko berˈnardi]) (31 October 1686 – 27 November 1758) was a celebrated Italian contralto castrato, particularly remembered today for his long collaboration with the composer George Frideric Handel.
Senesino was the son of a barber from Siena (hence his stage-name). He joined the cathedral choir there in 1695 and was castrated at the comparatively late age of thirteen. His debut was at Venice in 1707, and during the next decade he acquired a European reputation and, by the time he sang in Lotti's Giove in Argo in 1717 at Dresden, a commensurately enormous salary.
As with many castrati, reports of Senesino's acting were not always positive, to say the least. The impresario Count Francesco Zambeccari wrote of his performance in Naples in 1715: "Senesino continues to comport himself badly enough; he stands like a statue, and when occasionally he does make a gesture, he makes one directly the opposite of what is wanted." Of the singer's vocal abilities, however, there was no doubt. In 1719, the composer Quantz heard him in Lotti's Teofane at Dresden, and stated: "He had a powerful, clear, equal and sweet contralto voice, with a perfect intonation and an excellent shake. His manner of singing was masterly and his elocution unrivalled. … he sang allegros with great fire, and marked rapid divisions, from the chest, in an articulate and pleasing manner. His countenance was well adapted to the stage, and his action was natural and noble. To these qualities he joined a majestic figure; but his aspect and deportment were more suited to the part of a hero than of a lover."
(Zuriani/Nuar)
Verse 1:
Dari cacian
Aku terima
Angkara kata
Ucap berdusta
Bridge 2:
Hatiku berendam hiba
Meniti hari
Hampir kelabu..
Chorus :
Bayangan
Sepi mengemis angkapan
Makna sebuah tuduhan
Sesaknya..
Nafasku
Dengan fitnah
Yang dilemparkan
Dengan dusta bersulam kata
Menambahkan luka..
Verse 2:
Telah tiada
Makna bersuara
Tuduhan tetap
Untuk diriku
Bridge 2:
Kemanisan madu
Tetap bukan untukku
Nikmatinya..
(CHORUS )
Kesan parutnya
Masih terasa
Dalamnya luka
Sukar disembuh
Kucari penawar
Kini masih
Ku mencari
Kekuatan diri..kembali
Untuk diriku