Discussion:
Gianna D'Angelo
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OmbraRecds
2004-07-19 04:52:19 UTC
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What a lovely voice this soprano had. She seems to have been at her peak in the
1960's. I love her Gilda and Juliette. It was a light voice, but could have a
real "bite" when required. The performance from Trieste, in the early 60;s,
with the excellent Aldo Protti as Rigoletto, is a particualr favorite. Viva
Verdi!

PCB
Mike Richter
2004-07-19 17:09:43 UTC
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Post by OmbraRecds
What a lovely voice this soprano had. She seems to have been at her peak in the
1960's. I love her Gilda and Juliette. It was a light voice, but could have a
real "bite" when required. The performance from Trieste, in the early 60;s,
with the excellent Aldo Protti as Rigoletto, is a particualr favorite. Viva
Verdi!
She was lovely on stage as well, pert and very pretty. Unfortunately,
her voice did not decay as much as collapse. I have no idea of why, but
at least I heard her before the disaster. As for Rigoletto, Columbia
issued a fine recording with her, Capecchi and Tucker - it's one of my
favorites and not in the usual mold. Capecchi's dark timbre and Tucker's
more heroic sound seem odd at first but work very well.

Mike
--
***@cpl.net
http://www.mrichter.com/
Alcindoro
2004-07-19 18:06:22 UTC
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Post by OmbraRecds
What a lovely voice this soprano had. She seems to have been at her peak in
the 1960's. I love her Gilda and Juliette.<

One of the rare light lyric-coloraturas whose voice retained its roundess and
color up into the very highest register. She's sparsely represented on records
-- the EMI HOFFMANN Olympia finds her technically adept but rather faceless.
Much better is the Rosina with Bartoletti, and the LAKME highlights. I believe
she ran into vocal difficulties rather early ... I heard tell of a particularly
troubled performance of Gilda at the Met during which the standees were
ruthless, and she withdrew from performing soon after. Went into teaching, I
think.
Richard Loeb
2004-07-19 21:18:13 UTC
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Actually thats why I like the her work in that Hoffman - it has a very eerie
inhuman quality to it that is pretty scary Richard
Post by Alcindoro
Post by OmbraRecds
What a lovely voice this soprano had. She seems to have been at her peak in
the 1960's. I love her Gilda and Juliette.<
One of the rare light lyric-coloraturas whose voice retained its roundess and
color up into the very highest register. She's sparsely represented on records
-- the EMI HOFFMANN Olympia finds her technically adept but rather faceless.
Much better is the Rosina with Bartoletti, and the LAKME highlights. I believe
she ran into vocal difficulties rather early ... I heard tell of a particularly
troubled performance of Gilda at the Met during which the standees were
ruthless, and she withdrew from performing soon after. Went into teaching, I
think.
Dan
2004-07-20 02:52:39 UTC
Permalink
And that ridiculously high note at the end of the doll song!!

Dan
Post by Richard Loeb
Actually thats why I like the her work in that Hoffman - it has a very eerie
inhuman quality to it that is pretty scary Richard
Post by Alcindoro
Post by OmbraRecds
What a lovely voice this soprano had. She seems to have been at her
peak
Post by Richard Loeb
in
Post by Alcindoro
the 1960's. I love her Gilda and Juliette.<
One of the rare light lyric-coloraturas whose voice retained its
roundess
Post by Richard Loeb
and
Post by Alcindoro
color up into the very highest register. She's sparsely represented on
records
Post by Alcindoro
-- the EMI HOFFMANN Olympia finds her technically adept but rather
faceless.
Post by Alcindoro
Much better is the Rosina with Bartoletti, and the LAKME highlights. I
believe
Post by Alcindoro
she ran into vocal difficulties rather early ... I heard tell of a
particularly
Post by Alcindoro
troubled performance of Gilda at the Met during which the standees were
ruthless, and she withdrew from performing soon after. Went into
teaching, I
Post by Alcindoro
think.
gggg gggg
2022-10-31 15:48:19 UTC
Permalink
Post by OmbraRecds
What a lovely voice this soprano had. She seems to have been at her peak in the
1960's. I love her Gilda and Juliette. It was a light voice, but could have a
real "bite" when required. The performance from Trieste, in the early 60;s,
with the excellent Aldo Protti as Rigoletto, is a particualr favorite. Viva
Verdi!
PCB
(Youtube upload):

"Gianna d'Angelo - Al tuo seno fortunato - Orfeo ed Euridice - Haydn - 1963"
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