Rossini - Bianca e Falliero

[@mingu1403]

Bravo Rossini opera festival 🎉🎉🎉 Pesaro is very beautiful place, people are friendly food are delicious and not expensive, the beach the sea spectacular music everywhere…🎉🎉🎉

[@mingu1403]

The production is great! Quality is top! I watched performance 18 Aug. The stage design ,the cast, the choir and orchestra etc all incredible highest lever❤

[@elizabethryder5422]

This is really wonderful, I can't stop watching it!

[@indemidova]

Thank you for giving us a chance to watch this wonderful performance. Dmitriy, you are the BEST. You have so charming voice!❤❤❤❤❤

[@川辺比奈]

What a wonderful performance! Very precious. The main cast were all fantastic, especially Dmitry Korchak. Thank you very much.

[@elizabethryder5422]

This opera is truly wonderful, Dmitry Korchak I love anyway, and everyone is great, I love it, thank you Lady Izolde

[@jamesalison3783]

What a wonderful performance! Thank you so much for giving it to us so soon.

[@jurgenkohler2714]

Gioachino Rossini „Bianca e Falliero“, Melodram in zwei Akten Libretto: Felice Romani Priuli, Doge von Venedig - Nicolè Donini, Bass Senator Contareno - Dmitry Korchak, Tenor Senator Capellio - Giorgi Manoshvili, Bass Falliero, venezianischer General - Aya Wakizono, Alt Bianca - Jessica Pratt, Sopran Costanza - Carmen Buendia, Sopran Offizier - Claudio Zazzaro, Tenor Pisani, Kanzler des Dreierrats - D’angelo Diaz, Tenor Chor des Teatro Ventidio Basso Orchestra Sinfonica Nazionale della RAI Leitung: Roberto Abbado

[@alfvillanueva]

Oh LADY !! Great to find you here !!! d

[@alca4697]

Grazie Mille

[@juliogonzalezcampayo3201]

Muchas gracias/Thank you, milady.

[@SAVELOG]

Grazie

[@woshihanxuejia]

Леди, большое мерси!

[@mirjamdevries9376]

Stupefacenti tutti i cantanti! Mi ha conquistato soprattutto Aya Wakizono per la sua bella voce leggera, ma agilissima ed elastica .😊🎉🎈 Non mi è piaciuto invece l'allestimento scenico: preferisco quello di Pesaro 1986.😮

[@biancacastafiore8760]

she’s quite a revelation as I had not heard of her. she’s listed in the cast as an “Alt”, but she has a great upper extension. Brava!

[@AD-cl2dt]

Why didn’t the ROF choose a revival of the beautiful production by Pier Luigi Pizzi ?

[@biancacastafiore8760]

Does anyone know, is the reason so many heroic male roles written by Rossini for mezzo or contralto because of the decline of the tradition of castrati?

[@LadyIzolde]

That's right - Napoleon had castrati banned by law and composers needed an adequate substitute, as similar in sound as possible and a female voice became the best option. Later under the pressure of church censorship contraltos in travesty were displaced from the leading position by tenors, who became primo uomo of Opera by the end of 1820s.

[@biancacastafiore8760]

@@LadyIzolde Grazie, darling. I did some research but couldn’t find a definitive answer to my question. Wikipedia does not mention Napoleon in the prohibition of this practice, but mentions the Church. I know that Rossini wrote only one role for a castrato, in his early days. These days they seem to like to cast countertenors for some of these roles but I honestly prefer mezzos and contraltos. Also I think it’s musically incorrect for some roles to be taken by CTs.

[@LadyIzolde]

@@biancacastafiore8760 my pleasure. Castrati were banned in France and Napoleon extended this ban to Italy he conquered. Although Napoleon loved opera and actively patronized it and, by the way, he adored Crescentini's singing. Such an oxymoron. Rossini wrote only one opera, Aureliano in Palmira for a castrato, that's right, but that was the period of decline of castrati as a class of singers. After 1810s no one wrote secular music for them. And I completely agree that countertenors will never replace castrati, much less female singers. They are falsetto singers, their singing has nothing to do with a normal, well supported operatic sound. Countertenors sang sacred music, especially in choirs, but in the mid-20th century, with the advent of authenticity, a fashion arose on them, which half a century later ruining opera, unnecessarily giving them not only the roles created for castrati, but already soprano's and mezzo's. This is a terrible trend that is simply inexcusable and unfair to the composer and his will. Imo it's horrible.