![]() “I see her as a very vulnerable person who puts up a tough front, like the famous diva, Maria Callas, who was quite talented but could be very headstrong and angry if provoked. I loved her answer, it very much corresponds with what I think: I asked Rachel Anne Moore (Hamburg Carlotta) about her interpretation of Carlotta. Oh, where was your soul, Carlotta, when you danced in the brothels of Barcelona? Where was it later, in Paris, when you performed coarse, roistering songs in seedy music-halls? And again, where was your soul when you let that supple and extraordinary instrument of yours - which could sing, with equal perfection, of sublime love and orgiastic pleasure - demean itself by performing in the salon of one of your lovers? O Carlotta, if you had ever possessed a soul and come to lose it, you would have found it again when you became Juliette, when you sang Elvira, Ophelia or Marguerite! For others have risen from lower depths than you did and were purified by art, attended by love.” ( in Ribière’s translation)” But no-one could have said to Carlotta what Rossini told Krauss after she had sung "Selva opaca” in German for him: “You sing with your soul, my child, and your soul is beautiful”. In short, the said instrument was wide-ranging, powerful and perfectly tuned. Until then she had never sung out of tune nor lacked the vocal strength demanded by any part in her vast repertoire. She was merely an instrument - a wonderful instrument, but an instrument nevertheless! Her repertoire included everything that might benefit an ambitious diva, be it the work of German, Italian or French masters. ![]() “Carlotta possessed neither heart nor soul. She sings everything the same, all roles, all styles. He writes that Carlotta possess a perfect instrument, she’s a technically brilliant singer - but she puts no heart and soul in what she sings. Pet peeve: featuring Carlotta as a poor singer to make Christine stand out is sloppy and lazy.
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