Waltraud Meier & Cheryl Studer sing Amneris~Aïda ~Confrontation scene~

"Fu la sorte dell'armi a' tuoi funesta...Pietà ti prenda del mio dolor"

Oh, the guilty pleasure of Waltraud Meier's Amneris, arguably the most perverse casting of the role since the pyramids. Pay attention to Meier's stylistic and linguistic skills here, straddling a no-man's-swamp somewhere between German and Italian, let alone between Mezzo and Soprano.

Update 5 April 2010: You see, dears, in retrospect and in light of what we heard from the stage of the Metropolitan Opera in this same work this past Saturday, Meier and Studer positively scorch the ground beneath their feet. In contrast, Dolora "one-role" Zajick and Hui "who-she" He rewrote this scene, now known as the "(Polite) Conversation Scene". But, as things go these days, a triumph!, some shouted from the rooftops.

Live performance, 19 January 1996, Munich, Bayerische Staatsoper, Orchestra & Chorus of the Bavarian State Opera, Roberto Abbado (conductor)

From Act II of Giuseppe Verdi's opera "Aïda"

Aïda ~ Cheryl Studer
Amneris ~ Waltraud Meier

Category:

Music

Tags:

• giuseppe
• verdi
• aida
• confrontation
• scene
• bayerische
• staatsoper
• bavarian
• state
• opera
• cheryl
• studer
• amneris
• waltraud
• meier
• roberto
• abbado

[realbasso]

Below are a few of Dolora (one role) Zajick's other roles besides all the big Verdi

[realbasso]

Ulrica in "Ballo in Maschera" and Lady Macbeth in "Macbeth", the Princess in Cilea's "Adriana Lecouvreur", Marfa in Moussorgsky's "Khovanshchina", Jezibaba in Dvorak's "Rusalka", Santuzza in Mascagni's "Cavalleria Rusticana", Adalgisa in Bellini's "Norma" and the title-roles of Tchaikovsky's "Joan of Arc", Donizetti's "Favorita", Saint Saens "Samson and Dalila", Bizet's "Djamileh" and Massenet's "Herodiade" title role in Gluck's "Iphigenie en Tauride" and Ortrud in "Lohengrin" Plus the Verdi

[luvopra]

It IS a pleasure, though by no means a guilty one.

Thanks for posting this - now how about the final scene? Pace, pace...