Gloria Banditelli was heard at a lot of old music festivals and albums, so the choice was made for her for singing the title role. For me he is the ideal conductor who can make the music seen, and he can express exactly what he wants to hear. Until then we were informed only of foreign recordings, contemporary descriptions, and a foreign artists. It introduced a new, unconventional, fresh approach to Hungarian old music performance, as we should not forget that we were not allowed to leave the country. During the 10 years of working together, I learned everything about the performance of Baroque music. "At the Bartók Hall in Szombathely the recordings took place, with an astonishingly easy-going English conductor now living in America, Nicholas McGegan.
"Nearly 27 years have passed since the Vivaldi recording, during which you made 62 albums with various publishers in varied locations. In this way I get acquanted with ancient musical pieces, Renaissance madrigals, the music of Manierism, then came the great Baroque composers with various orchestras, the Viennese classics, the Romantic song literature and the old Hungarian song from the 17th, 18th and 19th centuries." In 1971 under the leadership of Laszlo Virágh the Ars Renata vocal ensemble was formed, of which I am a founding member. I was lucky to find the music area that suited my voice. It follows that I was constantly learning because there were pieces that I performed only once. During my career I took on very many roles, always according to concept of the author and my own ideas. I could not imagine to sing something for forty times, even if the direction was always different. I never thought of stepping onto the stage in mask and costume, the theatrical environment was not for me.
"Both Italian authors are extremely singer-friendly, we can swim in the beautiful melodic and virtuoso details, in the depiction of different characters and moods. "Beyond the story what was it like to shape the role vocally?" Although it is in Latin, which was obsolete in the 18th century, but the Venetian opera has a strong influence on it." This is the only surviving oratorium of his. For this reason it has the characteristic feature that there are five female parts in in. Vivaldi's piece was later introduced in Venice in 1716, where the master worked in a musical institution that was both an orphanage and a school for young ladies. "In 1986 I met this excitingly beautiful biblical female figure, because Hungaroton recorded the oratorio of Alessandro Scarlatti's La Giuditta, which I sang in the title role. She remembers the recording of the album in this way: Maria Zádori regards the French success as a great recognition. Nicholas McGegan conducts the Capella Savaria ensemble with the cooperation of soloists such as Gloria Banditelli, Mária Zádori, Judit Németh, Annette Markert and Katalin Gémes.
0 kommentar(er)
