"D'amore al dolce impero" Renata Scotto. ROSSINI - ARMIDA. MUSICAL INSIGHTS. NEW YORK 09.12.1975

RENATA SCOTTO - CARNEGIE HALL, NEW YORK 09.12.1975 Gioachino Rossini. Armida "D'amore al dolce impero" Soprano: Renata Scotto The Schola Cantorum Chorus Opera Orchestra of New York Chef de Chœur: Hugh Ross Direction Musicale: Eve Queler NEW YORK 09.12.1975 RENATA SCOTTO - MUSICAL INSIGHTS Some singers impress with sheer vocal power. Renata Scotto followed another path: she made every word, phrase and gesture part of a complete dramatic performance. Born in Savona in 1934, she began studying singing at a very young age. Her voice was initially classified as a lyric coloratura soprano, but gradually developed towards more lyrical and dramatic repertoire while retaining its flexibility and close attention to the text. THE EARLY YEARS Scotto made her operatic debut in Savona as Violetta in Verdi’s La traviata. Shortly afterwards, she performed the same role at the Teatro Nuovo in Milan. She first appeared at La Scala during the opening night of the 1953–1954 season, singing Walter in Catalani’s La Wally under the direction of Carlo Maria Giulini. THE EDINBURGH BREAKTHROUGH The decisive moment in her career came during La Scala’s visit to the Edinburgh Festival in 1957. Maria Callas had sung four performances of Bellini’s La sonnambula, as required by her contract. The organisers added a fifth performance, which Callas was not contractually obliged to sing. Renata Scotto was asked to replace her as Amina. The audience, initially disappointed by Callas’s absence, greeted the young singer with suspicion. Scotto nevertheless won them over and achieved a sensational success. That performance established her as an international opera star. HER STYLE Scotto did not possess an enormous voice, but she knew how to project it clearly in the largest theatres. Her precise diction, dynamic control and ability to vary the colour of her voice made each performance immediately recognisable. For Scotto, singing and acting were inseparable. She did not pursue beautiful sound as an end in itself, but used the voice to communicate the psychology, contradictions and suffering of each character. FROM SINGER TO DIRECTOR After retiring from singing, Scotto developed a second career as a stage director and teacher. She directed productions of Madama Butterfly, La traviata, Norma, La sonnambula, Lucia di Lammermoor and Adriana Lecouvreur. She also founded an academy for young singers, passing on her theatrical experience and distinctive approach to vocal interpretation. CURIOSITIES Cio-Cio-San both opened and closed Scotto’s career at the Metropolitan Opera. She made her company debut in Madama Butterfly in 1965 and gave her final Met performance in the same role. In 1977, she sang Mimì opposite Luciano Pavarotti in the first television broadcast of the Live from the Met series. The event helped bring opera into the homes of a much wider audience. The supposed rivalry between Renata Scotto and Maria Callas was frequently exaggerated by the press and by sections of the operatic public. Scotto deeply admired Callas and recognised the importance of her interpretative revolution. The famous Edinburgh substitution did not result from a conflict between the singers, but from the addition of a performance that Callas was not required to sing. Scotto received an Emmy Award for her televised performance in La Gioconda and another for directing a production of La traviata. She was therefore honoured for her achievements as both a singer and a stage director. Don’t miss the opportunity to SUBSCRIBE now to stay updated on the latest releases and to explore the vast universe of classical music and opera. If you are interested in exchanging rare and authentic recordings of live and unreleased opera performances, please feel free to contact me and kindly include a catalog or list of your collection in your message. (operalyrique@hotmail.com) Copyright Disclaimer This video may contain copyrighted material owned by its respective copyright holders. The content is used for purposes such as review, commentary, criticism, news reporting, and/or education, in accordance with applicable copyright laws and fair use/fair dealing principles. I do not claim ownership of any third-party copyrighted material featured in this video unless otherwise stated. All rights remain with their respective owners. If you are a copyright owner and believe that any content in this video infringes upon your rights, please contact me directly at operalyrique@hotmail.com Upon review of your claim, I will take appropriate action, including removal of the material if necessary. Thank you for your understanding.