Maria Stuarda (La memoria) (Italian Edition)

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August Learn how and when to remove this template message. Pier Paolo Pasolini, Der heilige Paulus [original title: San Paolo , ], film-script translated, edited and with a critical commentary by Dagmar Reichardt and Reinhold Zwick, Marburg: A Conversation with Dacia Maraini". The Pleasure of Writing: The Political Aesthetic of Dacia Maraini. From Alienation to Feminism". A Multitude of Women: The Challenges of the Contemporary Italian Novel. Moda Made in Italy. Il linguaggio della moda e del costume italiano , edited and with a preface by Dagmar Reichardt and Carmela D'Angelo Ed.

Retrieved 27 Apr Italian Women's Writing, The pleasure of writing: Critical Essays on Dacia Maraini. Awards received by Dacia Maraini. Recipients of the Strega Prize. Recipients of the Mondello Prize. Single Prize for Literature: Prize for foreign literature: Prize for foreign poetry: Raffaele Nigro , sec. Maurizio Cucchi , ter.

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Paolo Di Stefano , sec. Mario Fortunato , sec. Toni Maraini , ter. Andrea Bajani , sec. Antonio Scurati , ter. Mario Desiati , sec. Osvaldo Guerrieri , ter. Lorenzo Pavolini , sec. Roberto Cazzola , ter. So after signing all the needed documentation, I had the real, original Donizetti score in front of me.

It was a very exciting moment.

You released "Spirito" with your own label - Prima Classic. Can you tell us how the idea of making your own record label came about? At the moment, the major labels don't have a lot of interest in adding singers to their roster. In today's market, they heavily promote one or two leading singers and they ignore the rest. I have lots of excellent colleagues who are singing all around the world, they are well-known, but they don't have any recordings. There is a sort of monopoly in terms of promoting certain artists and not others, which I don't think is correct. People should know that there are many other singers capable of doing great things.

There is also another reason - the sound quality of the recording. Some voices are considered to be good for recordings and others are not. This happens with big voices that have large dynamics and amplitude: There are big voices that sound shouty, harsh or too loud in recordings but in a live performance, they are the ones that cut through the orchestra and fill the hall without any effort.

There is the other side of the coin, where there are voices which can't be heard that much in live performances but sound amazing in recordings.

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When I met my husband, who is a sound engineer, he taught me a lot about the physical and technical aspects of recording. This process shouldn't be the same for every voice. It can be a creative process also. As is the case with many singers, we hate listening to our own recordings but at least we want our albums to sound almost as equal as possible to what our voices sound like live. I also want to add that my record label is not just for my albums. We are planning several projects with other singers, conductors, and orchestras.

Prima Classic is a truly independent label with its own philosophy, and actively searching for extraordinary singers. We asked to Edgardo Vertanessian - What about the technicalities of the way "Spirito" was recorded?

"SPIRITO", il nuovo CD di Marina Rebeka

What makes it different from other albums? The approach we used for the sound of "Spirito", from a technical perspective, was one that allowed us to bring the listener closer to the singer and to the orchestra. We believe that a recording should be technically transparent, but in order to create an engaging and meaningful listening experience, it should show every nuance that both the singers and the orchestra do. For various technical reasons, some opera recordings sound as if there were a veil between the listener and the singers' voices, or at other times as if the singers were physically far away from where the music is happening.

Dacia Maraini

To get the results we set out to achieve, we used a slightly different microphone technique and a lot of attention was paid during the mixing process. The fact that at Prima Classic we count with our own recording and mastering studio, allowed us to invest the time and effort needed to achieve this goal. We hope that the listeners will not think about the sound itself—because a recording is just a medium—but instead, let the voices and the music speak directly to each one of them, with beauty and clarity. When I listened to "Spirito" I noticed that your interpretations of the arias sound fresh, even if we have already heard them with other singers, in your voice, they sound as if you had inserted your own seal.

I think it has to do with the emotional aspect of how I wanted to sing the music. It's much easier to just sing it beautifully, but without getting too involved, without adding anything personal. If you put your emotions and your own vision of the situations these characters are going through in the arias, it becomes something that is identified with you. You have to de code the score with your own interpretation.

Because the album opens with this famous aria Everybody knows Norma because of "Casta diva". I always say that it is a prayer for peace and it is important that this aria opens the album because of the situation we are living in nowadays in the world. It is also the most famous piece of the whole album. In sense of interpretation - everyone prays in his or her own way, and so did I. Did you enjoy singing the original version of "Ah, bello a me ritorna" in the recording? If you sing it too fast, it would seem it is a happy and funny moment, and it really is a moment of Norma talking to herself.

It is a desperate wish for the relationship she had with Pollione, a memory, but also a very intimate moment for her. Except for the several performances of the Buondelmonte version noted above, productions of Maria Stuarda were staged in Reggio Emilia and Modena , in Ferrara and Malta —40 , in Florence , Ancona , Venice and Madrid , Bologna , Porto , Granada , Malaga , and Barcelona plus Venice and Padua , Lisbon , and finally Pesaro —45 , all variously trimmed versions.

Prior to the discovery of the original autograph in Sweden in the s, [22] the only performances which began the 20th century revival were those of what Ashbrook described as 19th Century "sanitized" versions. The premiere in England took place on 1 March in London. By the late s, after a critical edition was prepared from the autograph, what was revealed at that point was that Donizetti had re-used a couple of numbers in La favorite , and that in post- Favorite performances, starting with one in Naples in , they had been replaced by different numbers from his other lesser-known operas.

Presentations of the trio earned some degree of fame for American soprano Beverly Sills who took the starring role in each. Dame Janet Baker sang the title role in English translation in a production at English National Opera conducted by Sir Charles Mackerras beginning in , which was recorded and filmed.

The opera has been given in a variety of European and North American locations in recent times, which begin to increasingly establish it as part of the standard repertoire.

A production which was noted as "no longer a display piece for rival divas, nor does it maintain the simplistic view that the opera presents Mary as noble victim and Elizabeth as vengeful monster [but] here, the rival queens are both profoundly tragic, complex figures", was given by English Touring Opera in [25] and Maria Stuarda was presented at both the Teater Vanemuine in Estonia and Pacific Opera in Victoria, B. The Minnesota Opera staged all three between and A mezzo singing the role is not uncommon today, as has been noted below.

David Rizzio

Welsh National Opera presented all three of Donizetti's "Queens" operas throughout the UK from September to November [29] This historic season was premiered in Cardiff then toured to venues in England and Wales in Originally the roles of Maria and Elisabetta were written for sopranos. However, given the precedent of Malibran singing the role of Maria, many modern-day productions, dating from the late s onwards, cast a mezzo-soprano as either Maria or Elisabetta. After the King of Naples banned the opera when it was in rehearsal, it became Buondelmonte with one or other of the queens probably Elisabetta turned into the tenor title-role and de Begnis singing a role called Bianca.

Malibran who sang Norma but also Leonore and Cenerentola and had a range of g-e''' [30] then decided that she wanted to sing Maria Stuarda, which she did until it was banned again. It was performed for a time subsequently in "sanitised" form and was eventually revived in , still sanitised. As musicologist and Donizetti expert William Ashbrook notes, in many respects the musical structure of the opera is fairly straightforward and follows many of the conventions of the day.

For example, Elisabeth, Mary, and Leicester "are each given a "double-aria" a cavatina followed by a cabaletta at their first appearances and Mary is also given one at the opera's end. However, the composer's strength lies in being able to tailor the framework to "a specific set of dramatic circumstances". Ashbrook notes two of these conventions: Most significantly, the other is in the great dramatic scene unusually long and elaborate tempo di mezzo , between the pezzo concertato and the stretta at the end of act 1 act 2 in some productions — the confrontation between the two queens — which gives "the climactic moment something of the immediacy of the spoken theatre.

In any sense, this dialogue is one of the most original and powerful passages that Donizetti ever composed" [34] or, as another critic puts it, "so that the outrageous text is heard in shocking relief. In regard to the music of the ending of act 2, in the dramatic action it has been noted as fitting to the "sparse, clearly-constructed action leading to an inescapable end.

And since that end is the focus of all interest, it is not surprising that the final act is musically as well as dramatically the culmination of the work, growing out of but eclipsing all that has gone before". With the delay between the cancelled performances in Naples and the premiere of Maria Stuarda in Milan almost a year and a half later, Donizetti was to replace the prelude with a full overture and added a new version of a duet between Elizabeth and Leicester using previously written music.

They express their joy as Elizabeth enters. She considers the proposal, one which would create an alliance with France, but she is reluctant to give up her freedom and also pardon her cousin Mary Stuart, the former Queen of Scots, whom she has imprisoned because of various plots against her throne Cavatina: He betrays no signs of being jealous, and the Queen assumes that she has a rival. Alone with Leicester, Talbot reveals to him that he has just returned from Fotheringay and gives a letter and a miniature portrait of Mary. Again I see her beautiful face". Talbot leaves and, as Leicester is about to do so, Elizabeth enters.

Clearly knowing what has gone on between the two men, she questions him, asks about a letter from Mary, and then demands to see it. Reluctantly, Leicester hands it over, noting that Mary has asked for a meeting with her cousin and he pleads with the Queen to agree to do so. Also, upon her questioning, he confesses his love for Mary Duet of Leicester and Elizabeth: Told that Elizabeth can join a hunting party on the estates where Mary is imprisoned, she agrees to the meeting, albeit with revenge on her mind Cabaletta to the duet: Mary reflects on her youth in France with her companion, Anna Cavatina: The sounds of a royal hunt are heard and, hearing the hunters cry out that the Queen is close by, Mary expresses her disgust Cabaletta: To her surprise, Leicester approaches and warns Mary of Elizabeth's imminent arrival, counseling her to behave humbly towards the Queen, who is then despondent Duet: But assuring Mary that he will do whatever is necessary to obtain her freedom, Leicester leaves her to meet Elizabeth.

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