A online útmutató Bellini CASTA DIVA című áriájához
Olvasd el az érdekes tényeket és hallgasd meg a nagyszerű YouTube videókat a híres „CASTA DIVA” áriáról.
Ha többet szeretne hallani a NORMA című operáról, kattintson az operaportré linkjére
Az ária – összefoglaló és háttér
Szinopszis: A gall druidák szent erdejében. Egy szent szertartás van folyamatban. A látnok Norma ma este levágja a szent fagyöngyöket, és kihirdeti Irminsul isten akaratát. A druidák azt remélik, hogy a jóslat megjósolja a római megszálló hatalom elleni felkelést. Norma titokban két gyermeket fogant a rómaiak prokonzuljától , és ezzel megszegte papnőként tett szüzességi fogadalmát. Levágja a fagyöngyöt. Teliholdkor Norma békéért könyörög a tisztaságos holdistennőhöz.
Az ária egy holdfényes éjszakában játszódik. Bellini zenekari kísérete egyszerű, minden egyes szó érthető a hangszerelés visszafogottsága által, és drámai értelmet ad a szövegnek, így a druidák rituáléjának is.
Az áriát Giuditta Pastával, a bemutató énekesnőjével szoros együttműködésben írták. Bellini állítólag nem kevesebb, mint kilenc vázlatot írt. Pastával már kidolgozta Amina szerepét a „La sonnambula”-ban. Bellini eredetile
Das Portrait von Bellinis Arie CASTA DIVA
Lesen Sie interessante Fakten und hören Sie grossartige YouTube-Videos über die berühmte Arie “CASTA DIVA”.
Wenn Sie mehr über die Oper NORMA lesen und hören möchten, klicken Sie auf diesen Link zum Opern Portrait
Die Arie – Handlung & Analyse
Handlung: Im heiligen Wald der Druiden. Eine rituelle Zeremonie ist im Gange. Die Seherin Norma wird heute Nacht die heiligen Misteln schneiden und den Willen des Gottes Irminsul verkünden. Die Druiden hoffen, dass das Orakel einen Aufstand gegen die römische Besatzungsmacht prophezeien wird. Norma hat heimlich zwei Kinder mit dem Prokonsul der römischen Besatzungsmacht gezeugt, und so als Priesterin ihr Keuschheitsgelübde gebrochen. Sie schneidet die Mistel. Bei Vollmond fleht Norma die keusche Mondgöttin um Frieden an.
Die Arie spielt in einer mondbeschienenen Nacht. Bellinis Orchester- Begleitung ist einfach, jedes Wort ist durch die Zurückhaltung der Orchestrierung verständlich und gibt der Bedeutung des Textes und damit dem Ritual der Druiden eine dramatische Bedeutung.
Bellini hat die Arie in enger Zusammenarbeit mit Giuditta Pasta, der Sängerin der Uraufführung geschrie
Norma
More info on Norma
About the opera Norma
Norma is a tragedia lirica or opera in two acts by Vincenzo Bellini with libretto by Felice Romani after Norma, ossia L'infanticidio (Norma, or The Infanticide) by Alexandre Soumet. First produced at La Scala on December 26, , it is generally regarded as an example of the supreme height of the bel canto tradition. "Casta diva" was one of the most familiar arias of the nineteenth century.
In a letter dated September 1, , Bellini wrote to the soprano Giuditta Pasta that "Romani believes will be very effective, and absolutely ideal for your encyclopedic character, because that is the kind of character Norma has". Indeed, Pasta's vocal and dramatic range was encyclopedic: that March, she had created the very different Bellini role of Amina, the lyrically vulnerable Swiss village maiden, in La sonnambula.
Popular videos from Norma
All scenes from Norma
Arias from NormaDuets from Norma
Casta Diva
&#;Casta Diva&#; from the first act of Bellini&#;s Norma is one of the most beautiful and taxing of the great bel canto arias. Its long line requires sublime control on the part of its interpreter as well as a rich and beautiful sound. Below are 12 interpretations by sopranos known for the role and some by those who never sang Norma onstage. Some are ideally suited for the role &#; others, well judge for yourself.
Rosa Ponselle () was the most renowned Norma of her time. She made her operatic debut at the age of 21 opposite Enrico Caruso in the Met&#;s first performance of Verdi&#;s La Forza Del Destino. She didn&#;t get to Norma until when she became only the second soprano to sing the role at the Met. Everyone who heard Ponselle in the house raves about the beauty of her sound &#; but on records, though impressive, there&#;s a slight hollowness to her sound and her high notes are sometimes a bit strained. When I started attending the Met Ponselle had only been retired a little more than a decade and a half. Many of the regulars there had heard her and without exception thought she had the most beautiful Italian soprano they had ever heard. A recording can be
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