|Norma / Adalgisa|
|Soprano / Soprano or Mezzo-Soprano|
|Previous scene:||Deh! con te li prendi|
|Next scene:||Alcun s'avanza|
Giannina Arrangi-Lombardi et Ebe Stignani - Norma - Mira o Norma - Columbia D 18022 enregistré le 22 avril 1927
Giannina Arangi-Lombardi (20 June 1891, Marigliano – 9 July 1951, Milan) was a prominent spinto soprano, particularly associated with the Italian operatic repertory.
After studies in Naples at the Conservatory of San Pietro a Majella with Beniamino Carelli, she made her debut in Rome in 1920, singing mezzo-soprano roles for the next three years. After further studies with the retired singers Adelina Stehle and Tina Poli-Randaccio, she made a second debut as a soprano in 1923.
She sang at the Teatro alla Scala in Milan from 1924 to 1930, making her debut as Elena in Boito's Mefistofele, under the baton of Arturo Toscanini. Rapidly invited to all the great opera houses of Europe, although she never appeared in Paris or London, she also sang to great acclaim in South America. She was chosen by Dame Nellie Melba to take part in her farewell tour of Australia in 1928. The tour included Arangi-Lombardi creating the title role in the Australian premiere of Puccini's Turandot.
Arangi-Lombardi was especially renowned in roles such as La vestale, Lucrezia Borgia, La Gioconda, and Aida. She sang in the first Italian performance of Ariadne auf Naxos. She appeared at the Salzburg Festival in 1935 but retired from the stage, while still in good voice, three years later. She then taught at the Music Conservatory in Milan, and later in Ankara, where she had the well-known soprano Leyla Gencer as a pupil.
She died in Milan shortly after her 60th birthday from undisclosed causes.
Source : Wikipédia
Ebe Stignani (July 10, 1903 [or 1904] - October 5, 1974) was an Italian opera singer, who was pre-eminent in the dramatic mezzo-soprano roles of the Italian repertoire during a stage career of more than thirty years.
Born in Naples in 1903 (some sources cite her year of birth as 1904), Ebe Stignani studied music for five years at the San Pietro di Maiella Conservatory in Naples, including piano and composition as well as singing. The date of her singing début is usually said to have been in 1925 at the San Carlo opera house in Naples, in the role of Amneris in Verdi's Aida, but there is evidence that she may have sung a number of roles in the previous year. In 1926, she was invited to La Scala Milan by Arturo Toscanini to sing the part of Princess Eboli in Verdi's Don Carlo, and Milan continued to be a principal stage for her during the rest of her career. She sang all of the major Italian mezzo-soprano roles, but also tackled Wagner's Ortrud (Lohengrin) and Brangäne (Tristan und Isolde), and Saint-Saëns's Dalila (Samson et Dalila) conducted by Victor de Sabata.
She appeared with the San Francisco Opera in 1938 and again in 1948 but never at the Metropolitan Opera in New York. She toured extensively in North America in the years after World War II. Her first appearance at Covent Garden was in 1937, as Amneris, and she returned to London a number of times, notably in the role of Adalgisa in partnership with Maria Callas's Norma in 1952 and 1957. She also appeared frequently in South America, including the Teatro Colón in Buenos Aires, and in many other European cities outside Italy including Paris, Madrid, and Berlin (where she sang in 1933, 1937 and 1941). Among the new roles which she created during her career were Cathos in Felice Lattuada's Le preziose ridicole (1929), and La Voce in Respighi's Lucrezia (1937).
She retired from the stage in 1958 after appearances in London (as Azucena) and in Dublin (as Amneris). Thereafter, she lived quietly in retirement at her home in Imola. She had married in 1941 and given birth to a son in 1944.
Stignani's voice was large and rich in tone, if sometimes hard-edged, and evenly balanced throughout its considerable range (extending from a low F to a high C). It had sufficient flexibility for her to undertake such roles as Rossini's L'italiana in Algeri, but it was in noble, dramatic parts that she was heard to greatest effect. Critics often referred to the grandeur of her performances. By her own account, she was short and plump, and she admitted her shortcomings as an actress, but she achieved dramatic power and characterization through the quality of her voice and technique. She knew her priorities: speaking to Lanfranco Rasponi, she said, "I was given a magnificent gift, and in a way I am like a priestess, for I feel that it is my responsibility to keep the flame lit in the best possible manner... I am Stignani because of my voice". She was highly disciplined in her choice of roles and in the number of appearances she made, refusing to take assignments which she felt were not right for her voice, and this no doubt contributed to the longevity of her career at the highest level.
Mira, o Norma, ai tuoi ginocchi
questi cari tuoi pargoletti.
Ah! pietade di lor ti tocchi,
se non hai di te pietà...
Ah! perché la mia costanza
vuoi scemar con molli affetti?
Più lusinghe, ah più speranza
presso a morte un cor non ha...
See, O Norma, at your knees,
these dear, dear children.
Let pity for them move you,
if you feel no pity for yourself...
Ah, why do you try to weaken me
with such soft feelings?
Such illusions, such hopes
are not for one about to die.
|Sheetmusic for duet||Sheetmusicplus.com|
|Sheetmusic for opera||Sheetmusicplus.com|
|MP3's for this duet||on Amazon.com|
|DVD/CD's for this opera||on Amazon.com|