Lighting Designer — T. It held its own at the Met as long as Sutherland performed it, that is, until Three years later Renata Scotto brought a more dramatic approach to Amina, but her performances of the role never went beyond the season. Romani changed the setting from Provence to a Swiss village, a locality familiar to wealthy tourists and admirers of Rossini, who had recently closed his career with a Swiss historical subject.
Singing career[ edit ] Renata Scotto was born in Savona, Italy. She made her operatic debut in her home town on Christmas Eve of at the age of 18 in front of a sold-out house as Violetta in Verdi's La traviata.
The next day, she made her 'official' opera debut at the Teatro Nuovo in Milan as Violetta. Shortly after, she performed in her first Puccini opera, Madama Butterflyin Savona and was paid twenty-five thousand lire.
Both roles would later become closely associated with her name. After her audition, one of the judges, the conductor Victor de Sabatawas heard to say, "Forget about the rest. Tebaldi and Del Monaco each received seven. Scotto's major breakthrough came in The production was so successful that the company added an unscheduled fifth performance.
Callas, who was under contract for four performances, declined to perform in the added performance due to illness, saying that she had already appeared in the other performances against her doctor's orders.
Scotto, covering the role of Amina, sang the role on 3 September The performance was a great success, and the year-old Scotto became an international opera star. In she performed Amina again at Venice's La Fenice with tenor Alfredo Kraus with whom she shared the same teacher, Mercedes Llopartand a long professional association.
During the s she became one of the leading singers in the belcanto revival initiated by Callas during the s. The couple has a daughter and a son.
She went on to sing more than performances in 26 roles at the Met through and settled to live with her family in nearby Westchester County. InScotto performed for a hostile audience for the first time in her career. While singing Elena in Verdi's I vespri sicilianithere was a demonstration from a small but very loud group shouting, "Brava, Callas".
They continued to shout "Maria, Maria" and more "Brava, Callas" with Maria Callas sitting in the stage box watching Scotto's performance.
Callas, though, would not acknowledge the shouts of the hecklers and instead gave Scotto a standing ovation at the end of her performance.
Scotto's opening night Norma in was less than a great success but her subsequent performances at the Met during the —82 season were very successful as they were on tour.
|"The Metropolitan Opera HD Live" Donizetti: Lucia di Lammermoor (TV Episode ) - IMDb||Performed by Francis J.|
|Examples of Dramatic Coloratura Arias||But whether you are reading this in February or July, the topic of love can be equally charged and confusing. So, what is love?|
For more than 40 years, Scotto performed in operas written by 18 composers and her repertoire included some forty-five roles. As stage director[ edit ] Renata Scotto, Scotto's director credits include: In FebruaryScotto hosted an artists' roundtable during the intermission of the Met broadcast of Cilea 's Adriana Lecouvreur and in she was back for another round-table with Natalie Dessay and Juan Diego Florez.
Scotto recorded either in studio or in live performance the complete Puccini soprano repertoire with the exceptions of Turandot, Magda in La rondine and Minnie in La fanciulla del West.
Many of these were recorded with Lorin Maazel for Columbia Records.Renata Scotto (born 24 February ) is an Italian soprano and opera director.. Recognized for her sense of style, her musicality, and as a remarkable singer-actress, Scotto is considered one of the preeminent singers of her generation, specializing in the bel canto repertoire with excursions into the verismo and Verdi repertoires..
Since retiring from the stage as a singer in , she has. A dramatic coloratura soprano has great power and intensity in the upper register, as well as the ability to sing complex cadenzas with agility and speed. Her timber is full and dark, and she can sustain notes in the 6th octave with ease.
This Fach requires tremendous acting and an imposing stage presence. Natalie Dessay, Piotr Beczala, Vladislav Sulimsky, Ilya Bannilk, Mariinsky Orchestra, Valery Gergiev, Gaetano Donizetti - Donizetti: Lucia di Lammermoor - /5(8).
Lucia di Lammermoor Natalie Dessay gives a memorable performance in director Mary Zimmerman's new production of Donizetti's classic opera. Dessay has taken Netrebko's place in this recording. Dessay belongs to her excellent installment of Lucia from a decade ago (Alagna/ Pido @ Virgin, ), when her voice was fresh and crispy.
The tragic tale of "the bride of Lammermoor" has always been a favorite of opera-goers and sopranos alike. Yet with the riveting singing actress Natalie Dessay in the title role, Lucia's plight and descent into madness take on another dimension.