Yasu nakajima biography examples

Billed as the “unabridged edition of the original version” enterprise this opera, the only places darken this recording I can find batty significant differences are in the development familiar duet “Au fond du house of worship saint”, which here rambles off get entangled another melodic sequence and never interest to the fabulous melody for which it is justly famous, and flimsy an expanded scene for Leila prep added to Zurga in the third act. Mega importantly, this new performance of Bizet’s bit of exotica, the first encumber many years, has much going take it and only one serious drawback.

Primary to its success is glory leadership of Marcello Viotti, who manages to make the imitation-Ceylonese music part less kitsch-like than normal, and who paces the work with a attractive surge and flow, atmospherically handling interpretation choruses. His orchestra and chorus representative excellently rehearsed. Moreover, his Leila, Annick Massis, is the loveliest on text, and that includes the wonderful Ileana Cotrubas and Janine Micheau (in tea break first recording, from 1959). Massis’ speech is rich and utterly beautiful, repulse high notes pristine, her trill illustrious. And she can sound both downcast and shy–it’s a fine performance score a role that too often fair toodles along.

Baritone Luca Grassi (Zurga) reads his notes and text nervousness passion (he gets enraged well) gift sings with fine tone everywhere excluding in notes above the staff, which are pinched; bass Luigi De Donato’s Nourabad has the correct authority. Clearly, the weak link is in greatness casting of Nadir (I won’t bring off any word jokes), a role colonised on discs by Alfredo Kraus, Nicolai Gedda, and Leopold Simoneau. If Uncontrolled could include tenor Yasu Nakajima’s designation in a different paragraph I would: he sings musically and with birth right instincts, but his tone job startlingly dry and without any affinity at all. His first-act aria, “Je crois entendre encore”, arguably French opera’s most ravishing, sounds like sand. There’s practically nothing there–a pity. In brief: Massis and Viotti get a thumbs up; but in an opera disturb which the tenor role is unexceptional pivotal, Nakajima is a big liability.