Vieni, la mia vendetta - Michele Pertusi (Lucrezia Borgia-Donizetti)

dal Teatro degli Arcimboldi di Milano
Libretto: Felice Romani
Musica: Gaetano Donizetti
Maestro del Coro: Bruno Casoni
Direttore d'orchestra: Renato Palumbo
Alfonso I d'Este Duca di Ferrara: Michele Pertusi
Lucrezia Borgia: Mariella Devia
Gennaro: Marcelo Alvarez
Maffio Orsini: Daniela Barcellona
Jeppo Liverotto: Carlo Bosi
Don Apostolo Gazella: Piero Terranova
Gubetta: Alessandro Svab
Rustighello: Iorio Zennaro
Astolfo: Eldar Aliev
Una voce: Ernesto Panariello

[@christianzotter4224]

Michele! Eine der schönsten Stimmen für immer!

[@giuseppinascapparone5912]

Uno dei migliori interpreti attualmente sulle scene in questo ruolo. Mi permetto di dire a chi lo definisce "inascoltabile" che in giro c'è di peggio!!!

[@numetutelare]

Ci sono anche ascoltatori con orecchie diversamente abili... 😐 e quelli non farebbero testo. In giro canta gente che non la vorrei sentire neppure nel coro della bocciofila eppure sono incensati...

[@numetutelare]

Timbro ibrido ma tecnica valida, ottima interpretazione drammatica, Disegna un duca sottile, deciso ed elegante senza le morchiosità che spesso ammorbano questo ruolo. Ci sono stati grandissimi duchi in passato ma oggi questo é uno dei più completi, flessibile e convincente e con una perfetta dizione!!!. Spiace dirlo ma è molto più articolato, insinuante e morbido di un Ramey, ed ha una teatralità davvero trascinante, nonostante la direzione un po' fracassona del maestro Palumbo

[@elizabethryder5422]

Bravo Michele

[@KazuhiroKOTETSU]

Bravo! Nobile e drammatica interpretazione.

[@MrRambaldo86]

Straordinario!

[@mauriziopatucelli3976]

Eccezionale fantastico 6 un grande del canto lirico e del belcanto

[@taehankim154]

Bravo

[@martaulikova2051]

❤

[@giovannitartaglia3747]

ottimo

[@Agorante]

This is a very fine version by an artist with an appropriate vocal type. Pertusi is a sort of bass-baritone. Yet I'm a little disappointed. Ezio Flagello recorded this with a high A Flat at the end. Flagello had a lower voice and often had trouble with his high notes but on that occasion managed to cap the cabaletta with an unwritten top note. Pertusi I'm sure could also do it.

[@carlottadonofrio8210]

Scenografia di?

[@Agorante]

When I heard Flagello live he never had any vocal problems of any kind and he certainly had excellent high notes in that Puritani recording as well as in Lucretia Borgia. But the opera scuttlebutt was that he was having problems with his top. He had a deeper darker voice than Tozzi so he probably should have sung in his own Forza as Guardiano and they should have given Melitone to someone like Geraint Evans.

[@petergraham8681]

I never heard Flagello LIVE but at least on record the high notes were not a problem at all. For example at the end of the SUONI LA TROMBA duet from I PURITANI, he & Capecchi both take the high A flat at the end & the Wurm/Walter duet from LUISA MILLER shows his top voice off to great advantage (he is to me the best MELITONE on records anyway) & in BOCCENEGRA he outshines both Guarrera & Tozzi as Paulo. Too bad he wasn't singing FIESCO there instead.

[@joannilson2900]

This is a recording of PERTUSI! not the fabulous Ezio Flagello who was 1000 percent better than Pertusi!!

[@petergraham8681]

When I first heard the LUCREZIA BORGIA studio recording with Caballe I was not familiar with Flagello‘s voice being still in high school & when I heard him, especially at the end of the Cabaletta to his aria I practically fell out of the bed I was lying in. I I had, and still, have not heard a high g sharp from a bass voice to equal it. Ramey had a fine high g but never went beyond that (Solo) as far as I know. Plus Flagello sang some baritone roles as well still with the beautiful bass timbre in his voice. Paul Jackson in his MET books felt that during the 1960‘s Flagello‘s voice was the perhaps the best trained & schooled bass voice on the MET roster among all the other house basses. Why Flagello never attained the star status of Siepi & others was that he lacked the stage charisma to equal them, some said. I cannot say since the only time I saw him LIVE was in a Verdi Reqiuem from Seattle in around 1979 & by then his instrument, although still impressive, was not quite what I had remembered. Still in his prime period Flagello had little or any competition, IMO.

[@petergraham8681]

Correction: I never saw Flagello LIVE in an opera role. As mentioned above I saw him in a Verdi Reqiuem in Seattle later in his career.

[@massimoturrini9146]

inascoltabile.....

[@numetutelare]

Mi piacerebbe sentire elencati i problemi di inascoltabilità... capita che sia una semplice questione di orecchie