Opera title: | Don Carlo |
Composer: | Giuseppe Verdi |
Language: | Italian |
Synopsis: | Don Carlo Synopsis |
Libretto: | Don Carlo Libretto |
Translation(s): | English Deutsch |
Type: | aria |
Role(s): | Elisabeth |
Voice(s): | Soprano |
Act: | 4.01a |
Previous scene: | Ella giammai m'amò |
Next scene: | Francia nobile suol |
Romanian soprano Angela Gheorghiu's magnificent rendition of "Tu Che Le Vanità" (conductor Riccardo Chailly, "Verdi Heroines" CD Album; Decca, 2000) + "E Dessa!...Un Detto, Un Sol" + "Ma Lassu Ci Vedremo" (conductor Claudio Abbado, "Verdi per Due" CD Album; EMI, 1998). Giuseppe Verdi - Don Carlo - 1867 - the tenor in the duets is Roberto Alagna. Sung in true Verdian style, this rendition ranks with the very best in the history of opera. In her late 40s Angela began to sing "Tu Che Le Vanità" regularly in her concerts - one of these live performances (from December 2014) is available on my channel.
Check out also the playlist "Angela Gheorghiu - A Vocal Portrait of the Great Diva": it contains 200 clips adding up to more than 25 hours of superb music - it is Youtube's most comprehensive resource on Angela Gheorghiu (you find the playlist by doing a Youtube search with the full name of the playlist).
Frequently compared with MARIA CALLAS for her innate musicality, dramatic flair, sense of style, and exquisite musicianship, and with RENATA TEBALDI for the extraordinary quality of her voice and her natural affinity for verismo roles, Romanian soprano ANGELA GHEORGHIU is the most known contemporary soprano and probably the only one from the current generation who will be remembered 100 years from now. Gheorghiu's luscious, ravishingly beautiful timbre is instantly recognizable and her stage presence, glamour, and charisma are legendary. Situated in the transition zone between full lyric and spinto, her velvety, silvery, slightly veiled voice conveys morbidezza and is remarkably phonogenic and rich in harmonics.
"Anytime I think that something is beyond this woman's capacity, she ALWAYS proves me wrong. Whatever reservations I may have had about her choice of repertory, I would never deny that Gheorghiu is probably the greatest soprano in the world now. I am a collector of opera recordings with some 60 other sopranos in my collection, so this isn't something I would say lightly. To badly paraphrase Lord Byron, all that's best of dark and bright meet in her aspect and her voice. Listening to her sing is like looking at a nebula through a telescope and seeing the glowing of new stars cradled in the interstellar dust that gave them birth. Her voice has power in addition to sweetness, and most important of all, it has soul. Gheorghiu's technique and musicianship are superb. More important is her superb sense of line, her beautiful control of dynamics (all the way down to heavenly pianissimi), her intelligence, her instinctively right feelings regarding musical expression. With Gheorghiu, like with Callas, it is the music first and foremost which dictates her emotions. As many others have noted, she finds the right individual voice and personality for every character and situation, and not only that, she makes each individual word mean something. Gheorghiu is a rarity, a singer of true individuality and genius. May she continue to astonish us." Joy Fleisig, New York (Amazon.com review)
"Vocally, Angela is leagues above any other soprano in recorded history. Not only is the voice thick, luscious, and velvety, but she is also able to emote her VOICE in a way that to me is unprecedented. I have yet to hear a singer who carries emotion into the voice better" (comment made on Youtube by user longliveclassicmusic).
"I continue to feel that Angela Gheorghiu's voice comes the closest to Maria Callas's in tone, texture, and focus. There is a voltage factor in her voice that I have yet to match in any modern classical soprano. I am never disappointed. And I am always energized by her incredible concentration. She always draws me into wanting more....." (comment made on Youtube by user johntmarohn1)
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.
ATTO QUARTO
Il Chiostro del Convento di San Giusto come nell'Atto primo. Notte. Chiaro di luna.
SCENA PRIMA
Elisabetta entra lentamente assorta nei suoi pensieri, s'avvicina alla tomba di Carlo V e s'inginocchia.
ELISABETTA
Tu che le vanità conoscesti del mondo
E godi nell'avel il riposo profondo,
Se ancor si piange in cielo, piangi sul mio dolor,
E porta il pianto mio al trono del Signor.
Carlo qui dee venir! che parta e scordi omai...
A Posa di vegliar sui giorni suoi giurai.
Ei segua il suo destin, la gloria il traccierà.
Per me, la mia giornata a sera è giunta già!
O Francia, nobil suol, sì caro ai miei verd'anni!
Fontainebleau! ver voi schiude il pensiero i vanni.
Giuro eterno d'amor là Dio da me ascoltò,
E quest'eternità un giorno sol durò.
Tra voi, vaghi giardin di questa terra ibéra,
Se Carlo ancor dovrà fermare i passi a sera,
Che le zolle, i ruscel', i fonti, i boschi, i fior,
Con le loro armonie cantino il nostro amor.
Addio, bei sogni d'ôr, illusion perduta!
Il nodo si spezzò, la luce è fatta muta!
Addio, verd'anni, ancor! cedendo al duol crudel,
Il core ha un sol desir: la pace dell'avel!
Tu che le vanità conoscesti del mondo
E godi nell'avel d'un riposo profondo,
Se ancor si piange in cielo, piangi sul mio dolor,
E il tuo col pianto mio reca appié del Signor.
ACT FOURTH
The Cloister of the Convent of San Giusto as in the First Act. Night. Moonlight.
FIRST SCENE
Elizabeth enters slowly in her thoughts, approaches the tomb of Charles V and kneels.
ELIZABETH
You who knew the vanities of the world
And enjoy deep rest in avel
If you still cry in the sky, cry on my pain,
And bring my tears to the throne of the Lord.
Carlo here dee venir! that leaves and forgets omai ...
Posa di vigil on his juraes days.
And he follows his destiny, the glory will trace it.
For me, my day in the evening has already arrived!
O France, nobil suol, so dear to my two years!
Fontainebleau! the vices are opened to you.
I swear eternally of love there God listened to me,
And this eternity one day only lasted.
Among you, vague gardens of this Iberian land,
If Carlo still has to stop the steps in the evening,
That the clods, the ruscel ', the sources, the woods, the flowers,
Our harmonies sing with their harmonies.
Goodbye, beautiful dreams d'ôr, lost illusion!
The knot broke, the light is mute!
Goodbye, two years, still! yielding to the cruel duol,
The core has a sol desir: the peace of the avel!
You who knew the vanities of the world
And enjoy in the avel of a deep rest,
If you still cry in the sky, cry on my pain,
And yours with my weeping bears the sign of the Lord.
Sheetmusic for aria | Sheetmusicplus.com |
Sheetmusic for opera | Sheetmusicplus.com |
MP3's for this aria | on Amazon.com |
DVD/CD's for this opera | on Amazon.com |