Angelo Manzotti 安杰洛‧曼佐蒂
- 风格
- #歌剧 #声乐 #西方古典
- 地区
- Italy 意大利
艺人介绍
被誉为“新生的法里内利”，是最强的男性女高音之一。
Angelo Manzotti, sopranist, has dedicated himself to the rediscovery of the historic repertoire of castrati, from Monteverdi's L'incoronazione di Poppea to Rossini's Aureliano in Palmira, with particular reference to the eighteenth century composers: Vivaldi, Pergolesi, Handel, Scarlatti, Hasse, Mozart, etc.
Thanks to a long period of physical training, which had already begun autonomously at the age of twelve, Manzotti has perfected a singing technique which is fundamentally different from that of traditional countertenors; rather than adopting the mechanism of falsetto for reproducing the treble voice of the castratos, he has developed through experimentation upon himself a method of allowing to vibrate when necessary only the front part of the vocal cords, thereby reducing their length to that within a woman's larynx, which is naturally shorter than a man's. In this way he can take advantage of the entire range, flexibility and volume typical of a female soprano (which exceed the traditional limits of the male falsetto voice), and thus exhibit a continuous and homogeneous vocal range which extends from the highest notes (e'''flat) all the way down to the lowest notes of a baritone (it's also interesting to know that his very particular voice was considered so interesting to be scientifically studied by Prof. Franco Fussi who wrote several papers about him).
After perfecting this technique with Rodolfo Celletti, he won the 1992 &Luciano Pavarotti& International Competition in Philadelphia, and was also awarded the &Timbre de Platine& by Opera International with his first recording: Arie di Farinelli (Bongiovanni, 1995), a program with which he has toured without interruption since 1994.
He took part in first world revivals of Vivaldi's Teuzzone (1996), Pergolesi's Il prigionier superbo (1997), Cesti's La Dori (1999), and Traetta's Ippolito e Alcria (1999), but performed also modern scores (Humperdink's Hsel und Gretel, 1998; Orff's Carmina Burana, 1996), such as contemporary ones (Van Der Werf's Errora e Trialo, 1995; Corghi's Rinaldo & C., 1997).
热门评论
- @Alessandra：曼叔唱比较高的歌好听。但他技术有缺陷，最明显的就是：不会混声！要么全是假声，要么全是真声，而且真声特别白。高音和低音之间有明显断层，就好像从美少女突然变成了胡茬大叔。 早期的Countertenor都有技术问题。然而，他们在对人类声音极限的探索方面，是具有开拓性的和值得赞赏的。 P.S.“曼叔是CT，不是什么见鬼的male soprano. soprano在起源的时候就是由男人和少年唱的。在巴洛克时期，声部是没有性别之分的。能者上，无论男女，谁能唱什么声部就唱。把一个好好的soprano硬带上性别词，还要特别指出是male来唱，是很没意思的。
最新简评（共33条）
- @天真无邪吴小哲( )：技术缺陷很大啊，气息不行，而且发声这么薄弱。。。。还不如paul essward
- @独风冷雨(阳光淌过手心天空笑了笑！)：喜欢~_~
- @氺(我还没想好要写什么...)：△
- @野馬塵埃(Goodbye Xiam...)：他的低音我听到了想笑 原谅我
- @Applee(地中有山，永远)：
- @Smoky(½)：彻底被迷晕了
- @暗之主宰：阅
- @ss____c：2008年那张《Farinelli咏叹调之女王笔记本》真是很赞。Manzotti前不久在曼图亚唱蒙特威尔第的奥菲欧，被俺错过了。不过自我安慰下，既然抽风姬在不唱Farinelli咏叹调的情况下抽风的概率很高，万一这次也抽了怎么办orz Alessandra (喜欢巴洛克歌剧，喜欢co...) 2013-09-29 00:41 蒙特威尔第的《奥菲欧》主角是tenor。Manzotti唱哪个角色？ 顺便求碟~~求solo~~ ss____c 2013-09-29 15:04 Alessandra说： 他唱La Musica和Orfeo，估计是同时担任两个声部（我没听这场演出，但觉得他也可以同时唱男高音，而且此人很擅长恶搞。。。）。正好我昨天上传了碟 pan。baidu。com/s/1qrdXL （我的友邻听了说很雷人= =） Alessandra (喜欢巴洛克歌剧，喜欢co...) 2013-11-27 18:17 ss____c说： 求地址~~ ss____c 2013-11-28 01:33 Alessandra说： 他唱的被别人恶评的很惨，所以我还是删掉了。估计是意大利的一些学者不喜欢假声男高音所以故意捧Manzotti来恶搞。苦笑。我还是听Cencic吧。
- @塘( )：虾米就这样····该有的都没有