Giacomo Meyerbeer - Dinorah - "Ombre legere" (Joan Sutherland)

Dinorah, or The pardon of Ploërmel, is one of Giacomo Meyerbeer's few forays into the world of the opéra-comique (the other two familiar ones are L'etoile du Nord and ). The resultant work is stunningly imaginative. It contains magical elements, a pastoral setting, dazzling vocalizing, and a plot worthy of a grand opera. The opera belongs to that nineteenth century genre which places the prima donna as the central force behind the story and music. Nevertheless, the story gave Meyerbeer ample opportunity for ensemble pieces as well. The two male protagonists, Hoël and Corentin, are often found in trio with Dinorah's virtuosic soprano coloratura. However, the plot also gives rise to duos containing a buffo element. The orchestrations contain storm music, delicate accompaniments, virtuosic duos with the voices, and dramatic effects. The pastoral setting is given a religious backdrop, as the people celebrate the feast of the Virgin and even close the opera in prayer. Meyerbeer used the chorus to open each act and set the stage for the story, but leaves the main body of the story telling to the three protagonists. He also composed a pastoral tableau for small choruses at the beginning of Act Three that acts as a point of repose before the dramatic conclusion to the opera.

Meyerbeer's Dinorah was so popular with the public that it remained in the repertoire of the Opéra-Comique of Paris until the end of the nineteenth century and beyond. By 1900 it was gaining popularity internationally. The incredible coloratura vocalizing of Dinorah is used to depict the imbalance of her mind, her light personality, and to cement her importance as the central character in the opera. The most famous number in the opera is known as the "Shadow Song" and occurs in the second act. Dinorah dances a mazurka with her shadow in the light of the moon. The elegant melody of Dinorah's vocal solo is elaborated with virtuosic fioritura. As a cloud passes over the moon, Dinorah's shadow disappears, and she sings a reflective middle section, full of sad, elegiac-like reverie. When her shadow returns, she goes back to her lively singing and dancing, closing the number with a brilliant cadenza to equally brilliant wind accompaniment.

Article taken from: All Music Guide

Category:

Music

Tags:

• Joan
• Sutherland
• Meyerbeer
• Dinorah
• coloratura
• belcanto
• bel
• canto
• classical

[LindoroRossini]

The only part of this version that I personally don't like is the final cadence which isn't one of my favorites, but this is only my opinion :-). Hope you enjoy :-)!

[LindoroRossini]

For me, this is probably one of the best versions of this delightful aria, except for the only two which were recorded as a part of the whole opera (Deborah Cook and Lucianna Serra). Sutherland is at her best dramatically and vocally (I don't think that anyone sang the roulandes faster), and the voice itself is well suited to the character.

[SENAFOREVER]

It's most definitely from COMMAND PERFORMANCES. I do admire her french diction. And I am french.

[TraVoiBelle]

WOAH :D

ADORE IT!

[27846545]

Meyerbeer was one of the few composers capable to make "a cut" between two different manners of music. After the masterwork of Il Crociato in italian style, he could develope The romanticism with anothers masterworks as Robert le Diable and Dinorah.

[65attila]

@meltzerboy

A beautiful performance and Nate you are correct. Joan found her SHADOWn 1962 and lost her GOAT in1969.

I too prefer Amelita's version and the role of Dinorah caused audiences to go wild for Galli-Curci in Chicago, From what I have read Amelita had a stunning stage persona. One comment states that as "Violetta" she radiated a unique beauty.

No wonder my grandfather bowed his head in reverence when he recalled her.

Regards-John

[MastersoftheOpera]

This was absolutely beautiful. Sutherland evokes 19th century Paris and the French soprano of the period. She has a lot of expression and sweetness, even a touch of the theater. I was very surprised by this. I love it.

[killerbunny123123]

amazing! i love her!!

[wonknevetnodi]

this, as it's Ms Sutherland, is an amazing performance that makes any comparisons absurd. only comment i have is that no one i have ever heard perform the aria besides 1954 maria callas (when she had THE voice) and Galli-Curci have been able to correctly portray the dynamic differences between Dinorah and her Shadow.

[operadonna]

i love how she turns everything into child's play

[europeobsession]

oh my god this is incredible

[meltzerboy]

As far as I recall, Sutherland recorded this aria only once--on her earlier "Command Performance" album. On the later "French Romantic Arias" album, I think she recorded Dinorah's lullaby to her goat. But I could be wrong. Both albums contain marvelous singing.