Tancredi Top Tuesday: For Reasons

[What did I say yesterday about more Tancredi? Here, have some Tancredi on your Tuesday, and keep me away from adjectives because I don’t want to upgrade my Cougar Badge to platinum in the first month already. – Teresa Iervolino with “Di tanti palpiti” from Rossini’s “Tancredi”, Brescia 2013. Clip with thanks to jovi1715]

Then again, I said more Tancredi, did I not?

Here’s what YT has on offer on the subject of Iervolino’s interpretation at the moment – I made a listing, so you won’t have to.

“Di tanti palpiti” all over again, onstage in Cremona (also 2013):

[More palpitations. – Teresa Iervolino with “Di tanti palpiti”, Rossini’s “Tancredi”, Cremona 2013 (seems the Brescia show toured). – Clip with thanks to yukio84]

Also available via jovi1715, from the Brescia production, are:

There’s also an interview feature on the Brescia production. (all you have to do is ignore that age tag because Jesus what do you mean she is not even 30 yet?!) Oh, and another one.

Some additional takes: a concert “L’aure che intorno spiri” (with piano accom.), Montisi 2014, and another take of the 2013 cast, here in Cremona (same for “Lasciami, non t’ascolto”).

You can hear that the voice is young in all of these (and Tancredi requires quite a heft in the first place) – but Iervolino has got color and depth and a natural grasp on placement. Of course she still has room for improvement, but already if you listen to these 2013 clips, and then to her 2015 Vivaldi, which shows the same unhindered warmth (it’s got an effortlessness of somnambulist proportions. It’s kind of hypnotic), you can distinguish a clearer focus there, and a growing sense of structure intersecting with sound production that only comes with experience. Just give her a few more years and some more Early Music (and don’t throw later 19th century at her). And broadcast that. Broadcast the hell out of that. (I’ll just be drooling into my cheesecake over here and blame it on old age).

PS. thadieu, weren’t you back with “Semiramide” these days? We may have an additional Arsace to consider someday soon.

PPS. Since the issue arose in the comments, I am editing the post to add the link here, too: you can keep up with Iervolino’s professional itinerary via her Facebook page.

28 thoughts on “Tancredi Top Tuesday: For Reasons”

  1. a quick note before i pass out: we know which Semiramide Iervolino could pair with! and a slight twist in the plot could be welcome too… let me be the stage direction assistant!

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    1. …you really want to spend 7 weeks cooking coffee and penciling things into a prompt score and snake whispering atistic departments and building props from scratch on the go…?😉

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  2. Nice to hear young Iervolino’s voice in these clips (“unhindered warmth”, very nice description), although I’m still not a big fan of Rossini. I did enjoy that Semiramide with the circling scene and there’s this interchange between Peretyatko and the servant in Scala di Sieta which was really fun, but I guess I need an exciting staging for this music to really work for me.
    Regarding life-blogging schedules, thadieu, if you happen to have another weekday free I would in general prefer it, but if not, I can arrange Saturday (but probably can’t do every Saturday in the next weeks).

    Building props from the scratch on the go sounds like fun actually!

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    1. quick on schedule: this week is not possible for me during the week… if Sat is not good we might be able to do it next monday which is a holiday here? starting today tue, wed, thur will be out as well.. and in general 2pm is quite bad for me because it pushes my start work time until 5 or 6pm and make it not feasible to have meeting that day (i’m not a big meeting person but now am the one setting them to keep our progress going for the upcoming october deadlines..)

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      1. Sure, work comes first of course. You know what, I checked the following weeks more closely and we could stay with this Saturday (or Monday, what you prefer) but I likely won’t be able to do the next two Saturdays afterwards (activities involving birthdays and in-laws visits). But I could do Sundays on those weekends.

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        1. So it looks like we can stick with our usual Saturday appointment this week?
          And then we’ll simply have to get a little more creative in the upcoming weeks. (September is still pretty flexible on my part – but I probably will be blocked for most of October due to work)

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        2. thanks Agathe. yes, this Saturday is best because i have a bit of breathing room without meetings.. coz by Monday i already start panicking.. and then we play by ear?

          regarding Lulu.. i’m already afraid sampling due to worries of headaches.. but i still have a few more days to build up the courage.

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          1. If you’re worried, we could simply go with the Aix Figaro and check out Lulu at a later point with not so much deadline pressure breathing down your neck?

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    2. You’re right, that *is* fun. But I’m not sure thadieu would want to focus on paper clips and duct tape in that situation😉

      Comedy Rossini was easier for me (and that Scala di seta with Peretyatko and the fitness routine is GOLD!). It took me a lot longer to get into serious Rossini, which at first sounds more or less the same. (I still think in large parts it *is* the same).
      I got into it better at the point where I consciously unlearned my very Mozartean instinct of trying to find the emotion 1:1 mirrored in the music. If you hear Rossini as a code telling you something instead, it works better (or that did the trick for me, at least).

      Regarding our schedules, it seems that the summer is coming to an end and responsibilities and meetings rear their ugly heads again!
      Sat & Sun & Mon would all be fine for me, but not before 9 p.m. (in-laws visiting).

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      1. What you say about Rossini sounds counter-intuitive to me (and all the same?!). But to be honest, I have only very little listening/singing experience with Rossini because I have tended to avoid him after one very traditionally staged Barbiere, so maybe I’ll still have an Eureka moment and finally get what you mean one day.

        Saturday that office Figaro, then? Aci and Galatea we can maybe safe for the times when we are short on time, because it is not so long.

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        1. Saturday Figaro it, if thadieu is okay with it! (and Aci is a good call for busier work weeks)

          I may not be making much sense about Rossini, I am still trying to figure that one out.
          I find it easy to connect his music to comedies: the repetitions, the mechanical touch to it, the virtuosity, the playfulness. But how does that style work with serious music?
          Most of us are schooled on a Mozart/romanticism-oriented aesthetic that expects music to be emotionally accessible and/or related to the plot/text, and distinctive in that regard. And Rossini works completely differently. My favorite example is that of the Barbiere ouverture, which he used two more times, once for a romantic drama and once for a semiseria. Where is the individual tailoring of a music to a story as an emotional setting?
          And that made me realize that it’s different, that it’s not “one piece of music that tries to paint one certain mood”, but that it’s much more about text, or how things are delivered, and less about romantic uniqueness of expression. I may still not make much sense, sorry.

          Not quite Eureka, but yesterday during training, I had the Bar Cenerentola with Genaux running, and it is adorable, even if not terribly unconventional. (also, my numbers really improved. Might be to do with Genaux’s singing!)

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          1. That must be the one thadieu has on her channel?, yes, that’s fun! I’ll keep it in mind for the next time I start workout, usually one week before skiing holiday.

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          2. Yes, that’s the one – but in between small kids and skiing (!), you probably have no use for additional workouts anyway.😉

            >

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          3. oh Anik, you read my mind! coz this early morning before bedtime i read yours and Agathe’s comment, and wanted to post exactly the clip that got me into Rossini (and it was *the* first opera for me.. i got into it via Genaux but absolutely love the staging.. and of course at the time she was giving interviews saying Rossi, Hasse, Handel was right for her voice whereas Mozart was too high.. so it didn’t get into Mozart until that Salzburg Tito😉 ).
            Here Agathe, my intro into operas and stagings. I think it was just the right one for a newbie fresh-off-the-boat like me. (I can still dig up my fb post some 7 years ago about “discovering” Rossini with this clip!) . Oh, speaking of which, i recognized Spagnoli immediately in that “many-beds” DonG because he made a good impression to me right from the start. On my channel Agathe, if you navigate to the “playlist” section, you’d see a playlist called “cenerentola genaux”. THere’s also a whole performance which i’ve watched many many times during my start-out period… The orchestra!!! and the exceptional chorus.. and the singers.. and Genaux with the haircut..

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          4. It’s absolutely. Feel-good staging, very charming. Of course Cenerentola deals in a lot of dangerous tropes, but this one (and Ernman’s, where she gives Angelina this honest awkardness) always makes me smile.
            (also yes on the hair.)

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          5. oh, now that i see the clip i did post back in 2009 (my very first!), that was truly in the infancy time where i didn’t have any clue about sound and video codecs.. so even though the original was very high in quality, my version hacked up the audio + video quality terribly.. infancy of ffmpeg🙂.

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          6. It’s still good, though! And a WS document by now🙂

            (I often get the same feeling when I watch photos from the early posts here (and it was just photos, never mind audio codes!)

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          7. ps20- oh, this is what i meant by Spagnoli leaving good first impression.. imagine.. back then i didn’t have a clue even what a bass or baritone was..
            (through the years i’ve attempted to watch many cenerentola and to me this is still ranking waaay up there, both in music and staging — i don’t think you can get *very* deep with this story.. you can develop Angelina’s character perhaps.. but as far as the comedy surrounding the other characters, i love this staging. I also recall soo many comments calling this “eurotrash”, first time i heard this term too..

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          8. Calling THIS Eurotrash? All it does is is some mild updating – dear Go, what do these people say when they see an actually challenging reading like Neuenfels or Konwitschny or Herheim or Tcherniakov or…?

            >

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      1. ok, i done cycling through the entire playlist.. and now onto her Cenerentola and Isabella. How can we protect her from the Verdi vulture?! These type of special voice doesn’t come too often! Essentially we need more of her in Vivaldi, Handel, Rossini (Ewa Podles was able to maintain her flexible voice now into her 50s singing Rossini ?) It’s too bad she’s not yet on the scene for the touring of Juditha (which i got a tix yesterday, thanks to Stray for reminding!).. but hopefully with la Fenice’s Holofernes more will come from that side . Her Cornelia is quite moving too, i think that’s really the first time i paid much attention to that character🙂 (it helps to see the acting too.. but with this voice, i remember the first time Agathe pointed me to Toulon i was already remembering her from Juditha..)

        (ps- her voice luckily got captured with these phone recorders quite “ok”, no saturation = no headaches, i’m on a roll now through anything i see as suggestions on tube…)

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          1. Iervolino? Yes, she does! Here.

            I should put that into the post, perhaps.

            (Also, in light of our recent discussion on how to handle trouser repertory in a way that does not come across as homophobic or transphobic: check out her photo album of her trouser roles. Love that attitude – she simply has fun with her repertory and it looks good on her (and she should be proud of it). Also, it does not seem to keep people from booking her. Look at her operabase entries for next season!)

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          1. Yes, there are a lot of competition videos – given how young she is, she is likely still doing the competition circuits or did so until recently.
            And Italy has tons of singing competitions (the ample and self-contained infrastructure may be another point why the Italian scene works so differently and independently)

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        1. The Verdi Vulture!😀😀😀

          I was thinking about the recording quality, too – the timbre comes across well, not that far off in comparison to the superior Fenice recording. But I’d still like to hear her live at some point.

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