A DUET FOR BARITONE AND MEZZO ???
Dima
Does anybody know an example of the beautiful duet (high baritone - non
dramatic mezzo) from the rare opera (the end of XIX - XX ), like Massenet
and other French, Cilea and other Italians, Menotti and other Americans? It
may be even by a modern composer. It has to sound well with piano too and
to be concertable. If somebody knows or even will be in grade to manage the
score by Internet , I'll be glad to hear from you here or on my email.
Thanks a lot
Dimitri
rus...@mail.ru
Ed Rosen
at the start of act 2 of Samson. It's not beautiful, but it is a stunning,
impressive scene.
I'm hearing it with Bumbry and Bacquier from a wonderful sounding house tape of
a Samson from Dec. 10, 1971, which also featured Richard Tucker in his first
Met Samson.
Best,
Ed
Tom Kaufman
>dramatic mezzo) from the rare opera (the end of XIX - XX ), like Massenet
>and other French, Cilea and other Italians, Menotti and other Americans? It
One of my favorite duets for baritone and mezzo is from Act III of Donizetti's
Don Sebastien. It is between the second baritone (Abayaldo) and the mezzo:
Zaide.
Cheers
Tom
Tom Kaufman
URL of web site:
<A href="www.geocities.com/Vienna/8917/index.html">Tom Kaufman's site</A>
Karen Mercedes
Here are some possibilities:
Argento - THE ASPERN PAPERS - duet for Tina and the Lodger
Balfe - THE BOHEMIAN GIRL - I will do thy high behest - for the Gipsy
Queen and Devilshoof
Britten - ALBERT HERRING - Love Scene for Sid and Nancy
Donizetti - LA FAVORITA - Quando le soglie paterne varcai (for Leonora and
Alfonso - can also be sung in French)
Donizetti - MARIA STUARDA - duet for Sara and Nottingham
Verdi - UN GIORNO DI REGNO - duet for La Marchesa and Belcore
von Weber - OBERON - An dem Strande der Garonne (duet for Fatima and
Sherasmin)
Saint-Saens - ASCANIO - Rassure-toi! tete folle...Je me tiendrai pour
saitsfaite - or - Et je sais le sort qui m'attend!...Que dis-tu,
malheureuse! (duets for Scozzone and Benvenuto Cellini)
Rossini - L'ITALIANA IN ALGERI - Ai capricci della sorte (for Isabella and
Taddeo)
Mozart - COSI FAN TUTTE - Il core vi dono (for Dorabella and Guglielmo)
Purcell - DIDO AND AENEAS - What shall lost Aeneas do?...Thus on the fatal
banks of Nile (for Dido and Aeneas)
Karen Mercedes
=====
My NEIL SHICOFF Website:
http://www.radix.net/~dalila/shicoff/shicoff.html
My Website:
http://www.radix.net/~dalila/index.html
-----
Es en balde, majo mio, que sigas hablando
porque hay cosas que contesto yo
siempre cantando:
Tra la la...
Por mas que preguntes tanto:
tra la la...
En mi no causas quebranto
ni yo he de salir de mi canto:
tra la la...
- Fernando Periquet
Karen Mercedes
> Just as I am reading this post, I am listening to the long baritone-mezzo duet
> at the start of act 2 of Samson. It's not beautiful, but it is a stunning,
> impressive scene.
>
> I'm hearing it with Bumbry and Bacquier from a wonderful sounding house tape of
> a Samson from Dec. 10, 1971, which also featured Richard Tucker in his first
> Met Samson.
>
> Best,
> Ed
Wonderful, exciting duet - but I'm not sure I'd recommend it for a high
baritone and a non-dramatic mezzo. The Grand Pretre needs a good solid
lower register, and Dalila is definitely a dramatic mezzo.
Karen Mercedes
Evelyn Vogt Gamble (Divamanque)
as "bass" (and Dalila as "contralto"). Although many French
bass roles don't lie so low a baritone can't negotiate them,
I'm not sure a "high baritone" would fill the bill - and
Dalila is definitely no lightweight, vocally speaking.
Ed Rosen
has been sung at the Met by Warren, Merrill, Valentino, Singher, and more
recently by other baritones. Never, to my knowledge, by a basso.
Best,
Ed
Helmut Fischer
End of Act 4 of Debussy's PELLÉAS ET MÉLISANDE
7th or 9th Scene of Delius' FENNIMORE UND GERDA (but sounds hardly well with
piano)
Scene of Mme Schleyer and Herr von Lips in von Einem's DER ZERRISSENE (Act
1)
Scene V of Act 2 of Magnard's GUERCOEUR (Scene Guercoeur + Gieselle)
Ravel's L'ENFANT ET LES SORTILEGES - Duet of the two cats
Ravel's L'HEURE L'ESPAGNOLE - Scenes of Ramiro + Conception (rather a
soprano, but can be sung by mezzos)
Have fun with your research!
Helmut
TheDivo
GRNDPADAVE
Reverenza,
==G/P Dave
Hemidemi
Mark D. Lew
grndp...@aol.com (GRNDPADAVE) wrote:
> Try the wonderful Falstaff / Dame Quickly duet in Act II Scene 1 of FALSTAFF.
With the exception of the double fugue at the end, nothing in FALSTAFF is
really concertable. Yes, I know it's been done, but the music resists
strenuously.
mdl
MQ Writer
>With the exception of the double fugue at the end, nothing in FALSTAFF is
>really concertable. Yes, I know it's been done, but the music resists
>strenuously.
Ford's Aria ("E sogno o realta?").
britt...@my-deja.com
Really? I've never had the slightest problem with it. The
great tavern scene with Ford and Falstaff, containing the wonderful
Ford aria -- that's a great number for a Verdi concert with a couple
of singers. (I don't mind the Ford aria on its own either!) And
I've heard the "l'onore" monologue done many times, also in recital
with piano.
I'd be interested to know why you think these things don't work.....
they sure work for me!
regards, Britta
Sent via Deja.com
http://www.deja.com/
orp...@my-deja.com
"Dima" <rus...@mail.ru> wrote:
> HI! A russian young singer asks:
> Does anybody know an example of the beautiful duet (high baritone -
non
> dramatic mezzo) from the rare opera (the end of XIX - XX ), like
Massenet
> and other French, Cilea and other Italians, Menotti and other
Americans?
Hi
what's about
MACBETH
Macbeth - Lady/ 3rd act
DIE WALKUERE
Wotan - Fricka/ 2nd act
regards
Orphee
Karen Mercedes
People keep reading this wrong because of the break at the end of the
line. He's asking for a duet for a high baritone and a NON-dramatic mezzo.
I fear that neither the Macbeth scene nor the Walkuere scene would
qualify for a non-dramatic mezzo - nor, should I think, would Wotan be the
best choice for a high baritone.
KM
=====
My NEIL SHICOFF Website:
http://www.radix.net/~dalila/shicoff/shicoff.html
My Website:
http://www.radix.net/~dalila/index.html
-----
We're sitting in the opera house;
We're waiting for the curtain to arise
With wonders for our eyes,
A feeling of expectancy,
A certain kind of ecstasy,
Expectancy and ecstasy....Sh's's's.
- Charles Ives
Mark D. Lew
> Really? I've never had the slightest problem with it. The
> great tavern scene with Ford and Falstaff, containing the wonderful
> Ford aria -- that's a great number for a Verdi concert with a couple
> of singers. (I don't mind the Ford aria on its own either!) And
> I've heard the "l'onore" monologue done many times, also in recital
> with piano.
>
> I'd be interested to know why you think these things don't work.....
> they sure work for me!
I see that I overspoke myself when I said "nothing". I do know Falstaff,
but not as well others I've studied carefully, so I should have known not
to make sweeping generalizations about it....
Ford's aria is definitely entirely excerptable. I stand corrected on that
point. Falstaff's "l'onore" I don't really like out of the context that
prompts it, but I can see that it's no worse off for it than, say, "Eri
tu".
As for the entire tavern scene, that's not really what I had in mind when
discussing excerpting pieces for concert. Of course you can do large scenes
in concert. For that matter you can do the entire opera in concert. I was
thinking in terms of extracting individual arias or duets.
The point that I was (unsuccessfully) trying to make is that in Falstaff --
in contrast to most Verdi and most Puccini -- each scene is well-woven into
the next, so that it is difficult to find a starting and stopping point for
the sake of presenting a single episode. That's why neither Nanetta's nor
Fenton's aria really works, notwithstanding their appearance in various
anthologies. The same seems to apply to the duets and women's ensembles
I've seen attempted.
Ford's aria is definitely an exception. Falstaff's "l'onore" really isn't.
The ending works fine because it's the end of the act. The beginning really
doesn't work so well. You just have to let the "Ehi, Paggio" stuff come out
of nowhere.
mdl
britt...@my-deja.com
> As for the entire tavern scene, that's not really what I had in mind
>when
> discussing excerpting pieces for concert. Of course you can do large
>scenes
> in concert. For that matter you can do the entire opera in concert. I
>was
> thinking in terms of extracting individual arias or duets.
Not the entire tavern scene, just Ford and Falstaff. Start with
Ford's entrance. You can put it together very well with two singers.
> The point that I was (unsuccessfully) trying to make is that in
>Falstaff --
> in contrast to most Verdi and most Puccini -- each scene is well-
>woven into
> the next
What was that about sweeping generalizations? I think Verdi, and
especially Puccini, were generally pretty good weavers....
> Ford's aria is definitely an exception. Falstaff's "l'onore" really
>isn't.
> The ending works fine because it's the end of the act. The beginning
>really
> doesn't work so well. You just have to let the "Ehi, Paggio" stuff
>come out
> of nowhere.
No, you simply start with "L'onore! Ladri!" No introduction at
all, the singer just starts to sing. It takes the audience by
surprise, it's a good gag.
Britta (who remembers Geraint Evans singing "Quand' ero paggio" as
an adorable bis)
Christina West
<britt...@my-deja.com> wrote in message
news:95dsh9$fpv$1...@nnrp1.deja.com...
> In article <markdlew-ya0240800...@news.earthlink.net>,
> Britta (who remembers Geraint Evans singing "Quand' ero paggio" as
> an adorable bis)
And Victor Maurel, the creator of the role, sang it three times on one side
of an old 78 rpm Fonotipia.
Christina
Christina West
xi...@ukgateway.net
Matthew B. Tepper
<95eail$n6u$1...@lure.pipex.net>:
><britt...@my-deja.com> wrote in message
>news:95dsh9$fpv$1...@nnrp1.deja.com...
>> In article <markdlew-ya0240800...@news.earthlink.net>,
>
>> Britta (who remembers Geraint Evans singing "Quand' ero paggio" as
>> an adorable bis)
>
>And Victor Maurel, the creator of the role, sang it three times on one
>side of an old 78 rpm Fonotipia.
The last time, in French.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
"Compassionate Conservatism?" * "Tight Slacks?" * "Jumbo Shrimp?"