Soprano singers are modern pop stars. Famous opera singers and singers

The owners are representatives of a high female singing voice. The sound is characterized by flexibility, technical performance, flight and mobility.

The following is accepted soprano classification:

Coloratura
Lyric-coloratura
Lyrical
Lyrical-dramatic
Dramatic

Listen to Juliet's Waltz from Gounod's Romeo and Juliet. Performed by Russian opera singer Anna Netrebko

Coloratura soprano

Range of coloratura soprano: up to the first - fa of the third octave

The lightest and most mobile female voice. The upper register of a coloratura soprano is light, brilliant, strong. The parts written for this voice contain decorations - melismas. The coloratura soprano is often not rich in timbre colors. It sounds somewhat monotonous, stands out from other voices and is not suitable for ensemble singing, since it does not blend in with the voices.

Extreme sounds of the range lyric coloratura soprano– the same as that of a coloratura soprano. Technically it is also agile, but it sounds softer and more melodious. Sounds good in an ensemble and blends in with the voices.

Range lyric soprano: up to the first – up to the third octave. The voice is characterized by softness and warmth of sound. Technically agile. In the middle register the sound is expressive and light, in the upper register it is bright, but in the low register the sound is weak.

Dramatic soprano– extreme sounds of the range: up to the first – up to the third octave.
Characterized by great sound power and a well-developed lower register. Technically less agile. But the sound in the lower and middle registers is brighter and richer.

Lyric-dramatic soprano- acts as an intermediate voice between lyric and dramatic soprano. She often performs dramatic soprano roles.

Classical operatic soprano roles

Example of soprano parts:

Alexander Borodin: part of Yaroslavna from the opera “Prince Igor”
Giuseppe Verdi: part of Gilda from the opera “Rigoletto”, part of Violetta from the opera “La Traviata”, part of Aida from the opera “Aida”
Mikhail Glinka: part of Antonida from the opera “Ivan Susanin”, part of Lyudmila from the opera “Ruslan and Lyudmila”
Alexander Dargomyzhsky: part of Natasha from the opera “Rusalka”
Wolfgang Amadeus Mozart: the role of Susanna from the opera “The Marriage of Figaro”
Nikolai Rimsky-Korsakov: the part of the Snow Maiden from the opera of the same name, the part of the Swan Princess from the opera “The Tale of Tsar Saltan”, the part of Marfa from the opera “The Tsar’s Bride”
Pyotr Tchaikovsky: Tatiana's part from the opera Eugene Onegin, Lisa's part from the opera Queen of Spades", the part of Iolanta from the opera of the same name.

Famous soprano singers:

Galina Vishnevskaya
Anna German
Tamara Miansarova
Evgenia Miroshnichenko
Antonina Nezhdanova
Anna Netrebko

The last century was marked by the rapid development of Soviet opera. New opera productions are appearing on theater stages, which have begun to require virtuoso vocal performances from performers. During this period such well-known opera singers and famous performers like Chaliapin, Sobinov and Nezhdanova.

Along with great singers, no less outstanding personalities appear on opera stages. Such famous opera singers as Vishnevskaya, Obraztsova, Shumskaya, Arkhipova, Bogacheva and many others are role models even today.

Galina Vishnevskaya

Galina Vishnevskaya

Galina Pavlovna Vishnevskaya is considered to be the prima donna of those years. Possessing a beautiful and pure voice, like a diamond, the singer went through difficult times, but, nevertheless, having become a professor at the conservatory, she managed to pass on her skills to her students.

The singer retained the nickname “Artist” for a long time. Her best role was that of Tatiana (soprano) in the opera “Eugene Onegin”, after which the singer received the title of main soloist of the Bolshoi Theater.

Elena Vasilyevna Obraztsova led a great deal of creative activity related to opera. Her reverent passion for music grew into a profession.

Having graduated from the Rimsky-Korsakov Conservatory as an external student in 1964 with “excellent plus plus”, Elena Obraztsova received her ticket to the Bolshoi Theater.

Possessing an exceptional mezzo-soprano timbre, she became a popular dramatic actress and played her opera roles in the best productions, including the role of Martha in the opera Khovanshchina and Marie in the production of War and Peace.

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Many famous opera singers promoted Russian opera art. Among them was Irina Konstantinovna Arkhipova. In 1960, she actively toured the world and gave concerts at the best opera venues in Milan, San Francisco, Paris, Rome, London and New York.

Irina Arkhipova's first debut was the role of Carmen in the opera by Georges Bizet. Possessing an extraordinary mezzo-soprano, the singer made a strong, deep impression on Montserrat Caballe, thanks to which their joint performance.

Irina Arkhipova is the most titled opera singer in Russia and is included in the book of records for opera celebrities in terms of the number of awards.

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Famous opera singers made no less contribution to the development of Soviet opera. Alexander Iosifovich Baturin had a magnificent and rich voice. His bass-baritone voice allowed him to sing the role of Don Basilio in the opera The Barber of Seville.

Baturin perfected his art at the Roman Academy. The singer easily handled parts written for both bass and baritone. The singer gained his fame thanks to the roles of Prince Igor, bullfighter Escamillo, Demon, Ruslan and Mephistopheles.

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Alexander Filippovich Vedernikov is a Russian opera singer who completed an internship performing in performances of the great Italian theater La Scala. Almost everything is on his account bass lines the best Russian operas.

His performance of the role of Boris Godunov overturned previous stereotypes. Vedernikov became a role model.

In addition to Russian classics, the opera singer was also fascinated by spiritual music, so the artist often performed at divine services and conducted master classes at the theological seminary.

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Many famous opera singers began their careers on the stage. This is how Vladimir Viktorovich Ivanovsky first gained his popularity as an electrician.

Over time, having received professional education, Ivanovsky became a member of the Kirov Opera and Ballet Theater. IN Soviet years he sang more than a thousand concerts.

Possessing a dramatic tenor, Vladimir Ivanovsky brilliantly performed the roles of Jose in the opera Carmen, Herman in The Queen of Spades, the Pretender in Boris Godunov and many others.

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For the development of art musical theater In the 20th century, foreign ones also had their influence. Among them are Tito Gobbi, Montserrat Caballe, Amalia Rodrigues, Patricia Chofi. Opera, like other types of musical art, having a huge internal impact on a person, will always influence the formation of a person’s spiritual personality.

• Coloratura and lyric-coloratura soprano
• Lyrical light and strong soprano
• Lyric-dramatic and dramatic soprano
• Lyric and dramatic mezzo-soprano
• Contralto

Soprano

Coloratura and lyric-coloratura soprano.

(Conditionally: TO And OK)

These are the lightest and most mobile voices. K-band: before first octave - G-sharp third. L-K range: before first octave - mi third. The lower fifth of the range is expressive on the piano, but the voice cannot sound here on the forte. Working middle – mi, F first octave - F, G-sharp second. Both types can be called the owners of the most brilliant highs, which sound a little warmer in OK. They easily cope with all types of decorations, but for coloratura this is inherent in to a greater extent nature, and for OK training matters. These voices are entrusted with the images of young heroines, cheerful, sly and playful; they can express impartiality, coldness and even cruelty. Dramatic colors are almost inaccessible to these voices: they express grief, suffering, cruelty through lyrical means.

Opera repertoire:

• Queen of the Night – Mozart “The Magic Flute” ( TO);
• Gilda - Verdi "Rigoletto" ( OK);
• Juliet - Gounod "Romeo and Juliet" ( TO);
• Elvira - Bellini "Puritans";
• Rosina – Rossini “The Barber of Seville” (now – TO);
• Owl - Tom "Minion";
• Violetta - Verdi "La Traviata" (now - TO);
• Lakme – Delib "Lakme" ( TO);
• Queen of Shemakha – Rimsky-Korsakov “The Golden Cockerel” ( TO);
• Antonida – Glinka “Ivan Susanin” ( OK);
• The Swan Princess – Rimsky-Korsakov “The Tale of Tsar Saltan” ( OK);
• Oksana – Rimsky-Korsakov “The Night Before Christmas”;
• Shahsenem - Glier “Shahsenem”;
• Lyudmila – Glinka “Ruslan and Lyudmila” ( OK);
• Lyuba Shevtsova - Meitus "Young Guard".

Performers: Antonina Nezhdanova ( OK), Valeria Barsova ( TO), Milica Korjus ( TO), Gohar Gasparyan ( TO), Alla Solenkova ( TO), Bella Rudenko, Galina Oleynichenko, Evgenia Miroshnichenko, Kathleen Battle ( TO), Montserat Caballe ( OK), D. Sutherland ( OK).

Lyrical lung ( LL) and strong lyric soprano ( OK)

These are also the so-called light voices with a warm timbre, but with less pronounced mobility. Range: from before first to before third octave, the lower fourth is convincing in shades. Working middle – from F first to salt second octave. For them in operas, the roles of heroines who have inner strength, restrained in expressing their emotions.

Opera repertoire:

• Michaela - Bizet "Carmen" ( LL);
• Margarita – Gounod “Faust” ( OK);
• Desdemona - Verdi "Othello" ( OK);
• Elsa - Wagner "Lohengrin" ( OK);
• Mimi – Puccini “La Bohème” ( LL);
• Cio-Cio-San – Puccini “Madama Butterfly” ( OK);
• Parasya – Mussorgsky “Sorochinskaya Fair”;
• Marfa – Rimsky-Korsakov “The Tsar’s Bride” ( LL);
• Volkhov – Rimsky-Korsakov “Sadko” ( OK);
• Iolanta – Tchaikovsky “Iolanta” ( OK);
• Tatiana – Tchaikovsky “Eugene Onegin” ( OK);
• Prilepa – Tchaikovsky “Queen of Spades” ( OK).

In passing, it should be noted that the part of Marfa is performed by a lighter soprano, and the part of Tatiana is performed by a strong or lyric-dramatic soprano.

Performers: M. Kuznetsova, E. Tsvetkova, Renata Scotto, Maria Bieshu, Mirella Freni, Tamara Milashkina.

Lyrical-dramatic ( LD) and dramatic soprano ( D)

Dramatic soprano is a stronger, more powerful voice with greater fullness over the entire sound range compared to those previously discussed. This is perhaps the richest soprano voice in terms of capabilities, which has a pronounced contrast between piano and forte, which is subject to both lyrical and dramatic colors. The lyric-dramatic and dramatic soprano has the same range as the previous voices, but a richer timbre and a variety of dynamic shades in the lower fifth, in the mixed range and in the head register. In addition, the chesty sound of these voices continues to higher notes. Range: from to first to before third octave, working middle – from F first to salt second octave. A lyric-dramatic soprano can perform both lyrical and dramatic roles, highlighting in the character of the heroines those features, those qualities that the timbre of the voice can describe. In operas, images of heroines are created for these voices, full of passions, deceit, overflowing strong feelings, one might say, images of strong personalities.

Opera repertoire:

• Turandot – Puccini “Turandot” ( D);
• Aida - Verdi "Othello" ( LD);
• Santuzza – Mascagni "Rural Honor" ( LD);
• Tosca – Puccini “Tosca” ( OK, LD);
• Gorislava - Glinka “Ruslan and Lyudmila” ( LD);
• Yaroslavna – Borodin “Prince Igor” ( LD);
• Natasha – Dargomyzhsky “Mermaid” ( LD);
• Lisa – Tchaikovsky “Queen of Spades” ( OK, LD);
• Kuma – Tchaikovsky “The Enchantress” ( LD);
• Katerina – Shostakovich – “Katerina Izmailova” ( LD).

These strong voices are not so common in life. One of the reasons for the decrease in the number of dramatic voices may be the ever-increasing pitch of the orchestra (from 424 vibrations in 1858 to 440 vibrations now).

Owners of these types of voices: Maria Callas ( D), Raina Kabaivańska ( LD), Feliya Litvin ( D), Galina Vishnevskaya ( LD), Natalya Troitskaya ( D), Lyubov Kazarnovskaya ( D), Elena Ivanova ( LD), Galina Gorchakova ( LD), Jesse Norman ( D), Eva Marton ( D), Teresa Stratas ( LD), Lidiya Abramova ( LD).

Lyrical ( LMC) and dramatic ( DMC) mezzo-soprano

The first of these voices gravitates more towards soprano, the second - towards contralto. The richness of the chest register is higher in the dramatic mezzo; this voice also has a denser middle. Both voices range from la small octave C la second, although there are also lower and more high voices. Among the images are flirtatious, insidious seductresses with a bright temperament, and young girls ready to accomplish a feat, and travesty heroes.

Opera repertoire:

• Polina – Tchaikovsky “Queen of Spades” ( LMC);
• Carmen – Bizet "Carmen" ( LMC);
• Milovzor – Tchaikovsky “Queen of Spades” ( LMC);
• Spring – Rimsky-Korsakov “The Snow Maiden” ( LMC);
• Ganna – Rimsky-Korsakov “May Night”;
• Joan of Arc – Tchaikovsky “The Maid of Orleans” ( LMC);
• Cinderella – Rossini “Cinderella” ( LMC);
• Siebel - Gounod "Faust" ( LMC);
• Cherubino – Mozart “The Marriage of Figaro” ( LMC);
• Azucena – Verdi “Il Trovatore” ( DMC);
• Rogneda - Serov "Rogneda" ( DMC);
• Marfa – Mussorgsky “Khovanshchina” ( LMC);
• Lyubasha – Rimsky-Korsakov “The Tsar’s Bride”;
• Lyubava – Rimsky-Korsakov “Sadko”.

Performers: Nadezhda Obukhova, Vera Davydova, Zara Dolukhanova, Irina Arkhipova, Elena Obraztsova, Tamara Sinyavskaya, Olga Borodina, Lyudmila Simonova, Teresa Berganza, Cecilia Bartoli (coloratura mezzo-soprano).

Contralto

A very rare, deepest female voice. Its range is from salt small octave C beans second. But in the history of vocal art there were other voices with a greater range. The most juicy chest timbre of this voice appears in the area salt small - salt first octave. Now the parts written for this type of voice are being replaced by mezzo-soprano performances.

Opera repertoire:

• Ulrika – Verdi “Un ballo in maschera”;
• Vanya - Glinka “Ivan Susanin”;
• Ratmir - Glinka “Ruslan and Lyudmila”;
• Nezhata – Rimsky-Korsakov “Sadko”;
• Konchakovna – Borodin “Prince Igor”.

In musical terminology Italian word mezzo is very common, and in our language it is translated as “half, middle or middle,” that is, something between something and something.

To the central voice - central registers

In this particular case it will be between contralto and soprano. These are all female singing voices. The voice in the middle is called mezzo-soprano. A high female voice is simply called a soprano, and a low female voice is called an alto. Each of the voices is divided into lyrical (upper) and dramatic (lower). It is often difficult to distinguish a soprano from a lyrical mezzo-soprano, and a dramatic soprano from an alto; there are also nuances that specialists are familiar with, which most often depend on singing schools. Russian vocal teachers consider the mezzo-soprano to be the most difficult voice to produce, but also the richest in nuances of sound. Foreign schools consider the tenor to be the most difficult voice. Since the female mezzo-soprano singing voice is in the middle, it acquires fullness of sound in the middle register, its main range is the small-second octave, from “A” to “A”. Division by gender and range is considered basic, although there are many systems for qualifying voices and manner of performance. They take into account its strength, virtuosity, mobility and clarity. Men's voices are divided into tenors, baritones and basses.

Domestic stars

Mezzo-soprano is characterized by softness, volume and richness. The Russian singing school, one of the best in the world, is rich national traditions, brilliant performers, a huge number of unsurpassed operatic roles for each voice. Russian singers with mezzo-soprano voices late XIX and the beginning of the 20th century brought Russia worldwide fame. A. Nezhdanova, N. Zabela-Vrubel, U. Tsvetkova, V. Petrova-Zvantseva are the pride of domestic vocals. The 20th century is rich in the names of singers with a mezzo-soprano voice. These include Irina Arkhipova and Zara Dolukhanova, Tamara Sinyavskaya and Nadezhda Obukhova, Elena Obraztsova and Lyubov Kazarnovskaya. The voice of Lyudmila Zykina was also mezzo-soprano.

Singer ranges

Unfortunately, in different sources the voices of some singers are classified in different ranges. Maybe it's because they can sing different parts. For example, Lyubov Kazarnovskaya, who has a magnificent soprano, performs the part of Carmen (this part was originally agreed upon for soprano, mezzo-soprano and contralto) and is considered the best performer of this role. This happens because the voice range that the actress possesses allows her to sing parts uncharacteristic for her voice. Anyone's voice ordinary person covers one and a half octaves, the singer should take at least a little more than two, and female singing voices often cover about three octaves. The world knows phenomenal voices. Ima Sumac is one of these singers. The capabilities of her voice are still being debated - fans claim that she was capable of five octaves, including mezzo-soprano parts. Ima Sumac's range was incredibly wide.

World-famous opera soloists

Modern Russian soloists with a specific mezzo-soprano voice include Elena Obraztsova and Larisa Dyadkova, who sings at the Mariinsky Theater. In addition to domestic opera divas, the world knows next stars mezzo-soprano: Agnes Baltsa, kammersänger (chamber singer, special honorary title) of the Vienna State Opera; Grammy Award winner, soloist of the Zurich Opera and La Scala, Italian singer Cicilia Bartoli. The mezzo-soprano singers from Sweden are Anna Sophie von Otter and Malena Ernman. American opera divas are very popular - Frederica von Stade, Joyce di Donato and Susan Graham. Also worth mentioning from Latvia are Veselina Kazarova from Bulgaria, Angelika Kirschlager from Austria and Waltruda Mayer from Germany.

The best of the best

All of the above singers are stars of the first magnitude in the opera firmament.

There are many lists listing world stars, all of them are compiled according to a certain criterion - either theater soloists, or our contemporaries. But here is a list of mezzo-soprano singers of all times and peoples:

• Elena Obraztsova - People's Artist THE USSR.
• Nadezhda Obukhova - Honored Artist of the RSFSR, People's Artist of the RSFSR.
• - vocalist of the band Epica.
• - Finnish opera and heavy metal singer.
• - People's Artist of the USSR.

Famous games

All composers have always written parts for this amazing voice- mezzo-soprano. These are such classic arias as the Countess from Pyotr Ilyich Tchaikovsky’s opera “The Queen of Spades”, his Laura in “Iolanta” and Olga in “Eugene Onegin”. Giuseppe Verdi in several of his immortal works wrote such roles as Eboli in the opera Don Carlos, Amneris in Aida, Finena in Nabuco and Azucena in Il Trovatore - Verdi loved this voice. In Gaetano Donizetti's famous opera Lucia de Lammermoor, the role of Alice was written for mezzo-soprano. Delilah sings with the same voice in “Samson and Dalila” by Saint-Saëns, Cinderella in the opera of the same name and Rosina in “ Barber of Seville» Gioachino Rossini, Carmen in the opera of the same name by Georges Bizet, Clytemnestra in “Electra” by Richard Strauss. In Mozart's The Marriage of Figaro, the roles of Marcelina and Cherubino are mezzo-soprano. In Wagner and Massenet's Ring of the Nibelungs and Werther, respectively, the main female parts were written for this voice. Russian famous composites - A. S. Dargomyzhsky in “The Stone Guest” Laura, N. A. Rimsky-Korsakov in “ To the Tsar's Bride“Lyubasha, in M.P. Mussorgsky’s “Boris Godunov” Marina Mnishek - they all sing mezzo-soprano. Singers modern parties in musicals they perform with great pleasure because they bring world fame. There are roles for mezzo-soprano in “Cats”, “Chicago”, “The Sound of Music” and many, many others. Parts for this voice are present in the operettas of Johann Strauss and Jacques Offenbach.

Talented youth

It should be noted the young talented singers. The beautiful Nino Surguladze has an amazing mezzo-soprano voice and also an extraordinary acting talent. Soloist " New Opera", laureate of several competitions, Yulia Minibaeva brilliantly performs all the roles on the stage of this amazingly popular Moscow theater. Anna Sinitsina, also a soloist of the New Opera, has an amazing, enveloping mezzo-soprano voice and superbly performs the role of Cherubino from The Marriage of Figaro and Siebel's couplets from Faust.

There are a lot of young talented singers in this theater, and it regularly hosts concerts called “Mezzo-soprano on the stage of the New Opera.” Talented domestic singers include Elena Semyakova and Olga De. More recently, a young girl performed in Russia American singer, Grammy Award-nominated and beautiful mezzo-soprano Kirsten Gunlogston. She performed accompanied by Omsk symphony orchestra at the close of his season.

The part of Carmen as a test of the singer's skill

In the end, it is necessary to note one of the most iconic opera roles for this voice - the incomparable Carmen. The opera itself is the culmination of the work of Georges Bizet. Every opera singer dreams of performing the role of Carmen. This role becomes an assessment of creativity. Starting with the first performer, Celestine Galli-Marier, all subsequent operas after the opera “Carmen” gained worldwide fame. Many works were dedicated to the opera itself and its heroine - it shocked poets and artists. Alexander Blok wrote the following lines: “... and blood rushes to the cheeks, and tears of happiness choke the chest before the appearance of Carmensita...” The poet was inspired for this cycle called “Carmen” by one of the most beautiful performers of the role of Carmen, the star of St. Petersburg during the time of Blok, the idol of youth , singer Lyubov Aleksandrovna Andreeva-Delmas, owner of a pure, beautiful mezzo-soprano.

SOPRANO- (Italian soprao, from sopra - above, above), the highest singing (mainly female or children's) voice. There are dramatic, lyric, coloratura, lyric-dramatic and other varieties of soprano. The range of the soprano is from the first octave to the third octave.

In the Russian musical tradition, the following classification of soprano voice varieties is accepted:

This method of classification is applicable in all types of vocal art - in opera, in chamber music, in choral singing. However, in opera art a different, more detailed classification is often used. (from lower case to top)

Beverly Seals (real name Bella Silverman) is one of the greatest singers of the 20th century, “the first lady of American opera.” A columnist for The New Yorker magazine wrote with extraordinary enthusiasm: “If I were to recommend the sights of New York to tourists, I would rank Beverly Seals as Manon in the very first place, well above the Statue of Liberty and the Empire State Building.” Seals' voice was distinguished by its extraordinary lightness, and at the same time, charm that captivated listeners, stage talent and charming appearance.

Enchanting Seals in Mozart's Merry Widow

Aria Casta Diva from Bellini's opera Norma is one of the most difficult sopranos in the repertoire. And let's compare different performers who decided to sing this aria.

Sings Beverly Seals

But the great one sings this aria Maria Kalas

And finally Montserat Caballe

And this is how he sings this aria Anna Netrebko

And this Galina Vishnevskaya

The voices of Italian soprano singers are distinguished by their bright timbre, great richness, and depth of sound. The famous Italian soprano singer was Amelita Galli-Curci. After her departure from the stage, the title of “first soprano of the world” was challenged by Renata Tebaldi and Maria Callas.

This is how he sings Renata Tebaldi

Renata Tebaldi was born on November 2, 1922 in Pesaro, the same city as Gioachino Rossini.
Once in an interview, Tebaldi was asked to name the largest singer of our time. She replied: “Of course, it’s me!”, and for a few moments enjoyed the surprise of the tactless journalist, who did not expect such a jab at Callas from her, and then added with a smile: “You see, I’m one meter seventy-four tall, can you?” name one more soprano taller than me? By these standards, Tebaldi was ahead of most of her partners, some even by a head.

Joan Sutherland--the greatest Australian opera singer. A lyric-dramatic soprano with a phenomenal vocal technique that amazed for many decades with her virtuoso control of both her voice and her interpretation of operatic parts... She died on October 10, 2010 in Geneva at the age of 84.

Leontyne Price(Price) (b. 1927) - American opera singer.

When asked whether skin color could interfere with the career of an opera performer, Leontyne Price answered: “As for admirers, it doesn’t bother them. But for me as a singer, of course.

RENEE FLEMING is an American opera singer who has been called "the gold standard of the soprano", "the face of America today in the field of classical vocal" and "one of the few true superstars of our time."

In the opera "Eugene Onegin" Final scene- a vocal, acting and production masterpiece. Renee Fleming is Tatiana's best performer.

http://video.yandex.ru/users/zemlja-zarnetskaja/view/191

Maria Guleghina- one of the most famous sopranos in the world. After her debut at La Scala in 1987, the singer rarely visits Russia; her schedule is booked for years in advance. She is a welcome guest in everyone opera houses world: during her career, Maria sang in the most striking productions of the Metropolitan Opera, Covent Garden, Tokyo, Egypt, Vienna, and Paris.

Maria Agasovna Guleghina(real surname - Meitardjian) born in 1959. She began her professional career in the opera State Theater in Minsk, then moving to Europe in 1987, a year later she made her debut at La Scala in the role of Amelia in Un ballo in Masquerade with Luciano Pavarotti, directed by Maestro Gavazeni. The strength, warmth and sincerity of her voice, and wonderful acting skills, made her a welcome guest in different theaters peace. During her career, Maria sang at the Metropolitan Opera, Covent Garden, Tokyo, Egypt, Vienna, Paris and many world capitals...

Italian Barbara Frittoli - opera diva, famous throughout the world. She is called the silk soprano of Italy. Barbara Frittoli was born in Milan, studied at the Giuseppe Verdi Conservatory. Her international career began in 1989 after her debut at the Teatro Comunale in Florence in Bucchi’s opera “Il giuoco del barone”. Her track record is unusually long. The most significant were the performances with Riccardo Muti

Annick Massis deservedly considered the first soprano in France. She masters an extensive repertoire - from works by Handel and Rameau to virtuoso roles from the bel canto era, French lyric opera and works of the twentieth century.

Her voice - a light, sonorous soprano with radiant highs and extraordinary nimbleness, allowing it to span three octaves - is a little cold, just like she herself is cold. But again, this gives her a charming resemblance to the Snow Queen.

Amazingly beautiful soprano - Anita Cercuetti(Anita Cerquetti) Her name is little known in Russia.

At the anniversary evening of Elena Obraztsova, Casta Diva was sung by an Azerbaijani star Dinara Alieva.

Dinara Aliyeva's voice captivates with its beauty, her singing delights with its deep velvety timbre, and her vocals amaze with her skill. Music lovers, critics and the press admire the artist’s artistic talent and brilliant stage skills and evaluate her talent as rising star world opera scene, with charisma and style in performing a diverse range of music and repertoire.

Cecilia Bartoli- one of the most sought after and highly paid opera singers peace.

For more than two decades, Cecilia Bartoli has undoubtedly been one of the most famous opera singers in the entire world. Each of her work - be it concert program, new role on opera stage, the release of the album by the DECCA record company, with which the singer has an exclusive contract, is arousing great interest.

It is Cecilia Bartoli who holds incredible “records” - more than 8 million albums sold, more than 100 weeks on the international pop charts. Her many prestigious awards Golden Disc, four awards Grammy(USA), ten awards Echos and one - Bambi(Germany), two awards Classical Brit Awards(Great Britain), Victoire de la music(France) and many others reflect the enormous success of such works as, for example, the disc Opera proibita("Forbidden Opera"), as well as solo albums, dedicated to A. Vivaldi, K. Gluck, A. Salieri.

Cecilia Bartoli - Knight of the Order of Merit of the Italian Republic, current academician of the Rome Academy of Santa Cecilia, Knight of the Order of Arts and Letters (France), Knight of the Order of Merit (France), honorary member of the Royal Academy of Music and the Royal Academy of Music Sweden. Cecilia Bartoli was recently awarded the prestigious Italian Bellini d'Oro, an Honorary Gold Medal for her services to the arts, one of the highest awards given by the Spanish Ministry of Culture. In addition, she was awarded the Gold Medal of the City of Paris.

In 2012, Cecilia Bartoli took over the post artistic director Salzburg Festival. She noticed it.

2012 is gone. AND music critics unanimously recognized Yulia Lezhneva as the discovery of the year, one of the most promising Russian sopranos. Its timbre is called mother-of-pearl, and interpretations of baroque music are already compared with reference ones. She was born in 1989 into a family of geophysicists in Yuzhno-Sakhalinsk. At the age of 5 she began learning to play the piano and sing. In 2004 she graduated with honors from the A. Grechaninov Music School in piano and vocals. From 14 to 18 years old she studied at the Academic music college at the Moscow State Conservatory named after P.I. Tchaikovsky in vocal and piano class.

Listen to Yu. Lezhneva’s concert, and if I find Casta Diva performed by her, I’ll post it.

Julia looks like porcelain, without emotions. In this sense, she is far from Netrebko.

In conclusion, she sang Casta diva: all the delight, the thoughts rushing like lightning in her head, the trembling like needles running through her body - all this destroyed Oblomov: he was exhausted.

I.A. Goncharov "Oblomov"

What is this aria of the Chaste Virgin about?

Chaste Virgin! You shine silver with a wondrous gaze
This centuries-old sacred forest.
Turn your imperishable face to us,
Illuminate with clear light.

Chaste Virgin, subdue the burning of passions,
And die off your daring ardor
There is blissful peace on earth,
Just like in heaven, see.

In original

Casta Diva, che inargenti
queste sacre antiche piante,
a noi volgi il bel sembiante
senza nube e senza vel...

Tempra, o Diva,
tempra tu de’ cori ardenti
tempra ancora lo zelo audace,
spargi in terra quella pace
che regnar tu fai nel ciel...

Fine al rito: e il sacro bosco
Sia disgombro dai profani.
Quando il Numeirato e fosco,
Chiegga il Sangue dei Romani,
Dal Druidico delubro,
La mia voce tuonerà.

Cadrà; punirlo io posso.
(Ma, punirlo, il cor non sa.
Ah! bello a me ritorna
Del fido amor primiero;
E contro il mondo interior...
Difesa a te sarò.
Ah! bello a me ritorna
Del raggio tuo sereno;
E vita nel tuo seno,
E patria e cielo avrò.
Ah, riedi ancora qual eri allora,
Quando il cor ti diedi allora,
Ah, riedi a me.)

Literal translation

Oh, chaste Goddess who makes silver
these sacred ancient plants
Turn your beautiful face towards us,
Without clouds and without cover

Die, Goddess,
Kill ardent souls
Quench also your brave zeal
Scatter peace on earth
And make him king in heaven

Finish the ritual: and sacred grove
Will be cleansed from filth
When the Divine, angry and gloomy,
Will demand the blood of the Romans
From the Druid Temple
My voice will boom.

It will fall! I could punish him
But whether to punish, the heart does not know

From the first true love
And against the whole world...
I'll protect you.
Oh! The beautiful comes back to me
I calm down from this ray
And, living in your womb,
I will find both my homeland and paradise.
Oh, come back to what was then
When I gave you my heart
Come back to me.)

This opera is rarely performed not only here. So listen to Bellini’s “Norma” recorded from the La Fenici Theater in Venice.

Like the rest of the world, Bellini himself considered Norma a masterpiece. If there were a shipwreck, the only one of his operas that would need to be saved, he said, was Norma.

Characters:

NORMA, priestess of the Druid temple (soprano)
OROVEZ, Norma's father, high priest (bass)
CLOTHILDE, Norma's friend (soprano)
POLLION, Roman proconsul in Gaul (tenor)
ADALGIZA, maiden in the Druid temple (soprano or mezzo-soprano)
FLAVIUS, centurion (tenor)

Time of action: around 50 BC Scene: Gaul.

Brief summary of the opera:

The Druids are preparing an uprising against their enslavers and are waiting for a signal from the High Priestess Norma. In her heart, a sense of duty fights with love for the Roman military commander Pollio, the father of her children. But Pollio has fallen out of love with Norma and is infatuated with the young priestess Adalgiza. Norma gives a sign for rebellion. Pollio is captured and faces death. IN last minute Norma saves him by revealing her guilt (violating her vow of virginity), and ascends to the stake. Shocked by her action, Pollio follows her to her death.

A few words about Vincenzo Bellini.

During his lifetime (1801-1835) he was called the creator of musical melodies. He lived only 33 years, writing 11 operas, the most significant of which was Norma.

On November 3, 1801, in Catania (Sicily), a son, Vincenzo, was born into the family of musician Rosario Bellini. He was six years old when he composed his “opus number one.” The boy studied music under the guidance of his grandfather, Vincenzo Tobia, since the Bellini family did not have the means for serious study. However, Vincenzo was lucky - he found a patron - Duchess Eleonora Sammartino.

The Duchess made an urgent request to her husband, and he recommended Vincenzo to submit to him, the governor of the province of Catania, a request for a scholarship in order to help the Bellini family with the expenses necessary for the education of their son at the Naples Conservatory. What could not be achieved for many years was resolved in a few days. In June 1819, Bellini was enrolled in the conservatory.

A year later, an exam took place, which everyone was waiting for with fear: it was supposed to decide the fate of each of the students - which of them would remain in college and which would be expelled. Vincenzo passed the test brilliantly and, as a reward for his success, received the right to continue his studies for free. This was Bellini's first victory.

Solemn opening theater Carlo Felice took place in Genoa on April 7, 1828. Vincenzo Bellini’s opera “Bianca and Fernando” was then staged on its stage...

At the opening of the Carlo Felice Theater in Genoa, at a reception, Bellini met a young, beautiful, friendly lady with charming manners. The signora treated the musician “with such kindness” that he felt conquered. Giudita Cantu from Turin entered Bellini's life.

Social life in salons and growing fame more than once pushed Bellini into love affairs, which he considered “superficial and short-lived.” But this one whirlwind romance, which began in April 1828, lasted right up to April 1833. A whole five years of experiences, mistakes, subterfuges, scenes of jealousy, mental suffering (not to mention the final scandal in her husband’s house) “decorated” this relationship, which deprived the musician of peace - later he would, without hesitation, call it all “hell.”

Productions of Bellini's operas were often accompanied by patriotic demonstrations: amid the growth of the national liberation movement in Italy, audiences found relevant political content in his operas.

Bellini - greatest master Italian Bel Canto style. The basis of his music is a bright vocal melody, flexible, plastic, characterized by continuity of development. Outstanding Italian singers perfected their art using Bellini's works.

Always yours V.Zvonov