Pretty Yende Dreams

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Pretty Yende Dreams PRETTY YENDE DREAMS Digital Booklet Standard Master Page Size: 11 x 8.264 inches (28 cm x 21 cm) Four-page minimum Horizontal presentation All FONTS are embedded RGB Color All images are full-bleed Final PDF must be no more the 10mb Your background artwork must fill until the red guide line - Bleed 0.125” (3.175mm). Do not place logos, text, or essential images outside of the white space Digital Booklet Standard Master Page Size: 11 x 8.264 inches (28 cm x 21 cm) Four-page minimum Horizontal presentation All FONTS are embedded RGB Color All images are full-bleed Final PDF must be no more the 10mb Your background artwork must fill until the red guide line - Bleed 0.125” (3.175mm). Do not place logos, text, or essential images outside of the white space Charles Gounod 1818–1893 Vincenzo Bellini 1801–1835 Roméo et Juliette · Act I La straniera · Act II (Finale) Libretto: Jules Barbier & Michel Carré Libretto: Felice Romani 1 Ah! Je veux vivre (Juliette) 3:34 7 Sono all’ara (Alaide) 5:14 8 Pari all’amor degli angioli (chorus, Alaide) 3:37 Gaetano Donizetti 1797–1848 9 Vaneggia! Il passo sgombrisi … 3:03 Lucia di Lammermoor · Act III (Mad Scene) Or sei pago, o ciel tremendo! Libretto: Salvadore Cammarano (chorus, Arturo, Alaide, priore, Valdeburgo) 2 Eccola! … Il dolce suono (Raimondo, chorus, Lucia) 3:11 3 Ohimè! Sorge il tremendo fantasma Digital… 8:43 BookletGiacomo Standard Meyerbeer 1791–1864 Master Ardon gli incensi (Lucia, Raimondo, chorus) Dinorah (Le Pardon de Ploërmel) · Act II (Shadow Song) 4 S’avanza Enrico! (Raimondo, Enrico, chorus, Lucia) 2:46 Libretto: Jules Barbier & Michel Carré 5 Spargi d’amaro pianto 4:14 10 Dieu, comme cette nuit est lente … 8:50 (Lucia, Enrico, Raimondo, chorus) Page Size: 11 x 8.264 Ombre inches légère (28 cm (Dinorah) x 21 cm) Four-page minimum Linda di Chamounix · Act I Horizontal presentationVincenzo Bellini Libretto: Gaetano Rossi All FONTS are embeddedLa sonnambula · Act II (Finale) 6 Ah! Tardai troppo … O luce di quest’anima (Linda) RGB5:03 Color Libretto: Felice Romani All images are full-bleed11 Oh, se una volta sola 5:44 Final PDF must be (Amina,no more Rodolfo, the 10mb Teresa, Elvino, Alessio, chorus) 12 Ah! Non credea mirarti 7:00 (Amina, Elvino, Rodolfo, chorus, Teresa, Alessio) Your background 13artwork Ah! Non must giunge fill uman until pensiero the red 3:15 guide line - Bleed 0.125”(Amina, (3.175mm). Teresa, Elvino, Do Rodolfo, not place Alessio, chorus) logos, text, or essential images outside of the white space Pretty Yende soprano Recorded at Auditorium di Milano Fondazione Cariplo, Italy, April 9–15, 2017 Ilaria Sicignano mezzo-soprano (11–13) Executive Producers: Valérie Groß & Jack Ryan Smith Piero Pretti tenor (9, 11–13) Recording Producer & Mastering: Jakob Händel Mattia Olivieri baritone (4–5, 9, 11–13) Vocal Coach, Role Preparation & Creative Advisor: Kamal Khan Carlo Lepore bass (2–5, 9, 11–13) French Language Coach: Francine Garino Booklet Editors: texthouse Coro Sinfonico e Orchestra Sinfonica di Milano “Giuseppe Verdi” Photos: Gregor Hohenberg C Sony Music Entertainment Giacomo Sagripanti conductor P & C 2017 Sony Music Entertainment hen Pretty Yende sang the title role her high school teacher to ask what it could But even more than the scarcity of black be very special. But it’s not about showing Win Lucia di Lammermoor in Berlin, possibly be. When he told her that it was role-models in this repertoire, there were off my speed or high notes: that’s not who Cape Town and Paris, critics and audiences opera, she decided almost instantaneously vocal hurdles too. “The kinds of Lucias who I am. I want to give respect and honour to struggled each time to find superlatives to to become an opera singer. are booked to sing this role at the moment all the role.” describe the beauty of her singing and the have lighter voices than mine, so I really didn’t intensity of her acting. Le Figaro wrote that Thanks to her natural talent and a passion have much hope anyone would want to hear Also on the album is “Ah! Je veux vivre”, she was now “the new queen of bel canto for hard work, successes soon followed. She me do it. My voice is warmer than people are Juliette’s first aria from Gounod’sRoméo et … this is a milestone in the history of the gained a scholarship to study at the South accustomed to.” Encouragement came from Juliette, in which the heroine announces Paris Opéra,” and Le Monde declared that African College of Music in Cape Town, her great mentor Ilias Tzempetonidis, who that she wishes to live forever in a dream of she had portrayed “a cosmic Lucia … she where her teacher was Professor Virginia was then the casting director at La Scala innocent youthfulness. This was one of the has a radiant voice of irresistible charm”.Digital Davids, the first Bookletblack woman to appear onStandard in Milan. “He said that withMaster intelligence and arias which catapulted Yende to success at As Yende’s assumption of the role in New opera stages during the apartheid years willpower, I could achieve anything. So I the Belvedere Competition in 2009. York is already scheduled, it seems that in South Africa. With Davids’s help, Yende took on the challenge.” the fragile heroine is becoming more and became the first ever artist to win the top “Gounod wrote this aria in two different keys – more of a signature role for the singer. Thus prize in everyPage category Size: 11 at xthe 8.264 prestigious inches (28At firstcm xshe 21 hadcm) no intention of actually ever G and F – and I decided to record it in the higher after the release of her first Sony album Belvedere CompetitionFour-page minimumin 2009. This led singing the role, but merely studying it as a one, G. It works so much better for me than in A Journey (which included an aria from the to her beingHorizontal offered a place presentation on the young form of exercise, but she found it grew easier F – it brings out different colours, and it helps opera) it felt to her a good idea to explore artists’ programme at La Scala in Milan. and easier. “And one of the scenes which the voice express lightness and sunshine. All FONTS are embedded the world of “mad scenes” for her second I found easiest was the mad scene. It’s It’s a waltz, full of youth and happiness and release. “But then I widened my horizons,” In 2011 YendeRGB gained Color first prize in Plácido written mostly in the middle voice, which, as movement, so I felt it was important to make it she says. “I thought about characters Domingo’s AllOperalia images Competition are full-bleed – a a lyric soprano, is the part of my voice I first as light and elastic as possible.” like Lucia who long for escape, or who competitionFinal which PDF has must launched be no manymore thedeveloped. 10mb Then I worked on my coloratura find escape in their dream lives. All the hugely successful international careers – and my high notes with the soprano Mariella In the aria “Ombre légère” from Meyerbeer’s characters I sing here have a dream: for and then her life took yet another upward Devia – and then I eventually felt like I had Dinorah, the unstable heroine believes she is some it is positive, for others it is a kind of turn in 2013Your when background she gained artwork dazzling must achieved fill until the impossible.”the red talking to her own shadow. The core of the nightmare. They dream of a better life, or a internationalguide recognition line - byBleed stepping 0.125” in at(3.175mm). Do not place aria lays very high, and it is often performed prince charming, or being able to live free the last minutelogos, to star text, opposite or essential Juan Diego images The outside aria occursof the whiteafter the heroine, who by coloratura sopranos to show off their from fear. I wanted to explore what dreams Flórez in Rossini’sspace bel canto showpiece has been forced into a loveless dynastic stratospheric top notes: so why does a and madness mean for each character.” Le Comte Ory at the Metropolitan Opera union, fatally stabs her bridegroom on their lyric-coloratura like Yende wish to attempt in New York. Immediately afterwards she wedding night. She returns to the nuptial it? “Because I really, really love it. I love the On a personal note, Yende even describes performed the same role in Vienna. festivities covered in blood, believing in her melody, I love the whole psychology of it. her own life as “a dream come true”. She disordered mind that she is to marry her true Imagine if you had the chance to talk to your was born of Zulu heritage in the small South Life could hardly have seemed sweeter love, Edgardo. shadow – and it answered back!” Yende African town of Piet Retief, about 200 miles for the young singer, and yet there were thinks of her own voice in a similar way: as from Johannesburg, and it was not until she still surprising hurdles to overcome. One For this recording, Yende asked the something she must question, and listen to. was sixteen that she knew that such a thing of them was the role of Lucia. “It’s a part I conductor and pianist Kamal Khan to help “When I try an aria for the first time, it is like a as opera existed.
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