Word: pederzini
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Dates: during 1950-1959
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...19th century operatic tradition-full of flowing melody, dramatic action, swift scenic shifts from the quiet cloistered walls to the reverberating streets of revolutionary Paris. The opera's most touching scene occurs in Act I, when the Carmelite Mother Superior (movingly sung by Gianna Pederzini) reveals on her deathbed to the sorrowing nuns her fear that God has abandoned her. Aided by La Scala's magnificent sets, the opera builds from that point to a dramatic third-act climax in which Blanche's calm recitation of Deo Patri Sit Gloria is counterpoised against the offstage thuds...
Then comes Il Trovatore. Admittedly the plot is ridiculous and the music not always first-rate. Still, there can be no excuse for this wretched production. Stereotyped sets, exaggerated dramatic sequences, and stilted love scenes class this among the worst opera movies ever made. Enzo Mascherini and Gianno Pederzini are unhappily cast as the lovers. They can't act, and their singing is strained and ugly. Even the "Miserare" becomes laughably unconvincing. By the time the picture ended, Trovatore was not the only...
...part of the gypsy minstrel, Manrico, Gino Sinimberghi has a warm and clear tenor. Azucena, Manrico's mother, is sung with intensity and dramatic power by Gianna Pederzini. Supporting singers Enzo Mascherni and Vittorina Colonnello also have fine, well-controlled voices. The orchestra and chorus of the Rome Opera House completes the first-rate group of artists which makes "II Trovatore" at least a musical success...
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