Rockwell Blake is, in my opinion, the best rossinian tenor of all time, at least from those I've heard live or in records.
In my other blog, Outras Escritas, I have several posts (in portuguese) dedicated to the tenor with my opinion about the characteristics of his voice and his performances in operas and recitals.
Today I found on YouTube a video with Blake's interpretation of the aria Pour mon âme from La Fille du Regiment by Donizetti (so, not Rossini). As you may know this famous aria for tenor includes 9 high C's, which make it very difficult to perform.
During his carrer, Blake always performed Pous mon âme not with 9 high C's but with 11, because in the end he sings the phrase "militaire et mari" instead of just the word "militaire".
In this video, Blake goes beyond himself and sings a high D flat on the phrase "militaire e mari".
When discussing the recent MET performances of Il Trovatore, with some os my blog followers, the name of several mezzo-sopranos was mentioned, namely the great Azucena from Fiorenza Cossotto. Another name mentioned was Shirley Verrett.
The career of Shirley Verrett is very interesting because she started as a mezzo-soprano and "moved" to soprano.
When a think in Verrett I always remember the fenomenal performance of L'Assedio di Corinto in MET in 1977 (with Beverly Sills) and the performances of Macbeth in La Scala 1975/76.
Here are two videos from those performances (for L'Assedio di Corinto follow the link).
Rita Moldão is a young portuguese coloratura soprano who is my friend on Facebook. Rita recently launched her site on the Internet with information about her and a set of audio files with live records of her performances.
The singer is now studying in Madrid, and in my opinion, she is a very promising voice.
I read somewhere sometime ago, that soprano Mariella Devia didn't have plans to sing the role of Elisabetta in Donizetti's opera Roberto Devereux.
When the soprano Beverly Sills sung the three Tudor Queens operas (Anna Bolena, Maria Stuarda and Roberto Devereux) she said that Roberto Devereux took 10 years off her carrer because the role of Elisabetta is so demanding for the voice.
Gruberova is today a reference in this role, and I had the pleasure to saw her in one performance in Munich.
Recently, thanks to my friend Adélia, I found out that Devia will sing the role for the first time in Marseille's opera in November (concert version). This are very good news for those who appreciate bel canto in the most beautiful and pure form.