) Grazia di Sua (lei) vita.
Giuly
www.andreabocelli.org
Andrea Bocelli
Avery Fisher Hall
Moderators: Renate, Management
49 posts • Page 2 of 2 • 1, 2
by Em on Sun 02 Jul, 2006 12:37 am
Andrea... Heartful congraduations on your concerts at Avery Fisher Hall...what an honor that is and what an honor to know you, I feel I do, for the essence of you is in your voice and song..Its like a blueprint...Trusting feelings are so important...I wish with all my heart I could be there and althrough I know I have to focus on PAYING MY RENT,I still inquired about air fare. Checking for tickets, they were all sold out, silly....I was not at all surprised...!!!!EVERYONE LOVES YOU...
YOU ARE SIMPLY MAGNIFICANT!!!
with love
EM
YOU ARE SIMPLY MAGNIFICANT!!!
with love
EM
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Em - Posts: 1320
- Joined: Sun 30 Nov, 2003 8:58 pm
by westsiderny on Sun 02 Jul, 2006 2:43 am
This information is from the New York Philharmonic site:
Andrea Bocelli with the New York Philharmonic
PROGRAM TO INCLUDE
Verdi/Berio: "Romanze"
Verdi/Mercurio: "on t'accostare all'urna"
Denza: "Occhi di fata"
Bellini: "Malinconia, ninfa gentile"
Donaudy: "Vaghissima sembianza"
Andrea Bocelli, Tenor
Asher Fisch, Conductor
ABOUT THE MUSIC
Mr. Bocelli and the Philharmonic will perform arias from the world of Italian opera.
When asked his thoughts on performing these concerts with the New York Philharmonic, Mr. Bocelli offered the following:
"How can a singer express -- with mere words -- what it will feel like to sing in a temple of music like Avery Fisher Hall and to make music with what is considered the world's greatest orchestra? It is useless to try; words aren't enough, especially when talking about an artist like me, who has had a complex and, I dare say, challenging, career.
"But I think anyone who will be there with me will easily understand the mysterious connection that unites interpreter and audience, all the emotion and certainly joy, at having reached this point and having gained the confidence of such renowned and beloved musicians.
"As always I will give it my all, and as always I will put my trust in the audience -- my first and most faithful ally. The rest is in the hands of God."
Andrea Bocelli (at Forte dei Marmi, April 12, 2006).
GUISEPPE VERDI (1813 -- 1901), arr. Luciano Berio (1925 -- 2003)
Sei Romanze (Six Romances) (1845)
Texts by Andrea Maffei and Manfredo Maggioni
"It would have been impossible for me to orchestrate these expressive and idiomatic romances alla Verdi," said Luciano Berio of Guiseppe Verdi's Six Romances. "Instead I have not approached the orchestration in a homogeneous way, because these pieces, for all their Verdian style, are quite different from each other in expressive character, musical density, and the quality of their texts." Verdi composed this cycle of six poems (his second set of six) for piano and voice, but in Berio's orchestral guise they are reminiscent of the composer's operatic style. Unlike his 1838 Romances, these songs are individually more distinct and different from one another, with text and melody more meaningfully joined. The songs are entitled: "Sunset," "The Gypsy Woman," "To a Star," "The Street Sweeper," "Mystery," and "Drinking Song."
GUISEPPE VERDI, arr. Steven Mercurio (1813 -- 1901)
"Non t'accostare all'urna" ("Do Not Approach the Urn") (1838)
Text by Jacopo Vittorelli
Before La traviata, before Aida, and way before Otello, there was Verdi's 1838 Sei Romanze (Six Romances), his first cycle of six songs and his first published work. "Do not approach the urn/That locks away my bones" is one of this group of sorrowful melodies with texts by fellow-Italian Jacopo Vittorelli. Without the affection of his beloved, the singer thinks of himself as if dead. Her sighs and cries are useless to him who is but "a sad shadow."
LUIGI DENZA (1846-1922)
"Occhi di fata" ("Fairy Eyes")
(Anonymous poet; date unknown)
%u201COcchi di fata" has a firm place in the repertoire of the world's great tenors, but its creator's name, Luigi Denza, is hardly a household word. Even his biggest hit, the spirited "Funiculì, funiculà," an homage to the funicular railroad that took passengers up the slopes of Mount Vesuvius, is usually assumed to be a folk melody. Both are examples of the ubiquitous canzoni napoletani (Neapolitan songs). Born near Naples, Luigi Denza moved to London to pursue his career, which included teaching at the Royal Academy of Music and penning over 500 songs, many in the Neapolitan dialeact. Andrea Bocelli recorded "Occhi di fata" (along with Donaudy's "Vaghissima sembianza," also on this program) on the CD Sentimento with Lorin Maazel and the London Symphony, in Mr. Maazel's arrangement). The singer rhapsodizes about his beloved's deep, bewitching eyes and ardent kisses, which have stolen the peace of his youth.
VINCENZO BELLINI (1801-1835)
"Malinconia, ninfa gentile" ("Melancholy, Gentle Nymph") (1829)
Text by Ippolito Pindemonte
Like a rocket, Bellini's life was intense and tragically short. The Sicilian-born composer died when he was just 34. His biographer and close friend, Francesco Florimo, added to the mystique by spinning facts and altering documents -- especially the letters that passed between them. Whether fact or fiction, young Bellini is said to have been a baby prodigy (claims include that he sang a particular aria at 18 months of age!) Though influenced by Sicilian and Neapolitan folksongs, he is mainly associated with the bel canto operas that catapulted him to fame -- La sonnambula, Norma, and I Puritani. He was lionized in Naples, Milan, and later in Paris, yet his contemporaries saw in him a certain melancholy and dreaminess (the German poet Heinrich Heine described him memorably as "a sigh in dancing pumps and silk stockings"). The first of Bellini's Sei Ariette di camera (Six Chamber Arias), "Malinconia, ninfa gentile" is one of the composer's best-known chamber works. Set on a poem by Ippolito Pindemonte, the soaring, dramatic song is a hymn to Melancholy, the "gentle nymph." The poet sings of the pleasures of melancholy -- the constant companion of the Romantic soul -- best pursued among springs and hills.
STÉFANO DONAUDY (1879-1925)
"Vaghissima sembianza" ("Faint Image") (1918)
Text by Alberto Donaudy
A Sicilian by birth Stéfano Donaudy's musical career was unremarkable. La Fiamminga (The Flemish Girl), the opera he composed with his brother Alberto (a frequent collaborator who contributed texts and libretti for his vocal works), premiered in 1922 in Naples to faint praise. Stéfano Donaudy's claim to fame rests with a set of songs titled Arie di stile antico (Arias in the Old Style) (1916-1918), much performed in the salons of the time. In "Vaghissima sembianza" the poet gazes upon the portrait of his departed beloved, who seems to come to life in his recollection of her. He hopes for a kiss, a cry of love, but she remains silent. Maestro Lorin Maazel arranged this song for Andrea Bocelli for their recording, Sentimento, with the London Symphony.
Andrea Bocelli with the New York Philharmonic
PROGRAM TO INCLUDE
Verdi/Berio: "Romanze"
Verdi/Mercurio: "on t'accostare all'urna"
Denza: "Occhi di fata"
Bellini: "Malinconia, ninfa gentile"
Donaudy: "Vaghissima sembianza"
Andrea Bocelli, Tenor
Asher Fisch, Conductor
ABOUT THE MUSIC
Mr. Bocelli and the Philharmonic will perform arias from the world of Italian opera.
When asked his thoughts on performing these concerts with the New York Philharmonic, Mr. Bocelli offered the following:
"How can a singer express -- with mere words -- what it will feel like to sing in a temple of music like Avery Fisher Hall and to make music with what is considered the world's greatest orchestra? It is useless to try; words aren't enough, especially when talking about an artist like me, who has had a complex and, I dare say, challenging, career.
"But I think anyone who will be there with me will easily understand the mysterious connection that unites interpreter and audience, all the emotion and certainly joy, at having reached this point and having gained the confidence of such renowned and beloved musicians.
"As always I will give it my all, and as always I will put my trust in the audience -- my first and most faithful ally. The rest is in the hands of God."
Andrea Bocelli (at Forte dei Marmi, April 12, 2006).
GUISEPPE VERDI (1813 -- 1901), arr. Luciano Berio (1925 -- 2003)
Sei Romanze (Six Romances) (1845)
Texts by Andrea Maffei and Manfredo Maggioni
"It would have been impossible for me to orchestrate these expressive and idiomatic romances alla Verdi," said Luciano Berio of Guiseppe Verdi's Six Romances. "Instead I have not approached the orchestration in a homogeneous way, because these pieces, for all their Verdian style, are quite different from each other in expressive character, musical density, and the quality of their texts." Verdi composed this cycle of six poems (his second set of six) for piano and voice, but in Berio's orchestral guise they are reminiscent of the composer's operatic style. Unlike his 1838 Romances, these songs are individually more distinct and different from one another, with text and melody more meaningfully joined. The songs are entitled: "Sunset," "The Gypsy Woman," "To a Star," "The Street Sweeper," "Mystery," and "Drinking Song."
GUISEPPE VERDI, arr. Steven Mercurio (1813 -- 1901)
"Non t'accostare all'urna" ("Do Not Approach the Urn") (1838)
Text by Jacopo Vittorelli
Before La traviata, before Aida, and way before Otello, there was Verdi's 1838 Sei Romanze (Six Romances), his first cycle of six songs and his first published work. "Do not approach the urn/That locks away my bones" is one of this group of sorrowful melodies with texts by fellow-Italian Jacopo Vittorelli. Without the affection of his beloved, the singer thinks of himself as if dead. Her sighs and cries are useless to him who is but "a sad shadow."
LUIGI DENZA (1846-1922)
"Occhi di fata" ("Fairy Eyes")
(Anonymous poet; date unknown)
%u201COcchi di fata" has a firm place in the repertoire of the world's great tenors, but its creator's name, Luigi Denza, is hardly a household word. Even his biggest hit, the spirited "Funiculì, funiculà," an homage to the funicular railroad that took passengers up the slopes of Mount Vesuvius, is usually assumed to be a folk melody. Both are examples of the ubiquitous canzoni napoletani (Neapolitan songs). Born near Naples, Luigi Denza moved to London to pursue his career, which included teaching at the Royal Academy of Music and penning over 500 songs, many in the Neapolitan dialeact. Andrea Bocelli recorded "Occhi di fata" (along with Donaudy's "Vaghissima sembianza," also on this program) on the CD Sentimento with Lorin Maazel and the London Symphony, in Mr. Maazel's arrangement). The singer rhapsodizes about his beloved's deep, bewitching eyes and ardent kisses, which have stolen the peace of his youth.
VINCENZO BELLINI (1801-1835)
"Malinconia, ninfa gentile" ("Melancholy, Gentle Nymph") (1829)
Text by Ippolito Pindemonte
Like a rocket, Bellini's life was intense and tragically short. The Sicilian-born composer died when he was just 34. His biographer and close friend, Francesco Florimo, added to the mystique by spinning facts and altering documents -- especially the letters that passed between them. Whether fact or fiction, young Bellini is said to have been a baby prodigy (claims include that he sang a particular aria at 18 months of age!) Though influenced by Sicilian and Neapolitan folksongs, he is mainly associated with the bel canto operas that catapulted him to fame -- La sonnambula, Norma, and I Puritani. He was lionized in Naples, Milan, and later in Paris, yet his contemporaries saw in him a certain melancholy and dreaminess (the German poet Heinrich Heine described him memorably as "a sigh in dancing pumps and silk stockings"). The first of Bellini's Sei Ariette di camera (Six Chamber Arias), "Malinconia, ninfa gentile" is one of the composer's best-known chamber works. Set on a poem by Ippolito Pindemonte, the soaring, dramatic song is a hymn to Melancholy, the "gentle nymph." The poet sings of the pleasures of melancholy -- the constant companion of the Romantic soul -- best pursued among springs and hills.
STÉFANO DONAUDY (1879-1925)
"Vaghissima sembianza" ("Faint Image") (1918)
Text by Alberto Donaudy
A Sicilian by birth Stéfano Donaudy's musical career was unremarkable. La Fiamminga (The Flemish Girl), the opera he composed with his brother Alberto (a frequent collaborator who contributed texts and libretti for his vocal works), premiered in 1922 in Naples to faint praise. Stéfano Donaudy's claim to fame rests with a set of songs titled Arie di stile antico (Arias in the Old Style) (1916-1918), much performed in the salons of the time. In "Vaghissima sembianza" the poet gazes upon the portrait of his departed beloved, who seems to come to life in his recollection of her. He hopes for a kiss, a cry of love, but she remains silent. Maestro Lorin Maazel arranged this song for Andrea Bocelli for their recording, Sentimento, with the London Symphony.
Last edited by westsiderny on Sun 02 Jul, 2006 3:33 am, edited 1 time in total.
"Canto alla vita alla sua bellezza ad ogni sua ferita ogni sua carezza..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
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westsiderny - Posts: 4169
- Joined: Sat 22 Nov, 2003 4:14 am
- Location: New York City
by kay on Sat 09 Sep, 2006 8:32 pm
These past 3 nights have been a memorable experience for me. I attended all the concerts [will miss this last one tonight]. I'm just another besotted fan, but I loved every minute.
Happily I do not have a degree in musicology and was unable to be very critical. Unhappily, I allowed myself to read many of the reviews which has left me with what feels like a hippopatamus sitting on my chest.
I'm wondering why some people feel it necessary to read what seemed to me to be subjective, often vengeful, verbal attacks.
However I must admit, from reading comments on this website I've become aware of how important these concerts were for Andrea Bocelli. I found myself wishing, hoping against hope, that these concerts would have a thunderously positive impact on the really brittle NY opera critics. Therefore I noticed myself searching for reviews thursday morning. Gratefully, I did not find one until I sat at the computer friday morning.
I sat very very close to him [first row center] thursday. Clearly, he was giving every ounce of his effort. His nervousness, evident in many ways, was both endearing and painful to me. Several grimaces seemed to indicate he was less than thrilled with a particular note. Despite whatever negativity with which he may have been concerned; his was a dignified, professional, mesmerizing performance.
After the show, a few of us went to the stagedoor to continue our loving support. At one point my husband commented "I wonder why he looks unhappy?" Both he and Veronica [amazingly, were alone as they got into their car] were gracious, waving, and smiling.....although, it seemed the smiles kind of disappeared once they settled into their seats.
But we were not there to witness flawless technique, or great mastery of breath control and sound production. We were there to enjoy Andrea's always unique presentation of who he is and what he loves........and not incidentally, his beautiful voice.
kay [usa]
Happily I do not have a degree in musicology and was unable to be very critical. Unhappily, I allowed myself to read many of the reviews which has left me with what feels like a hippopatamus sitting on my chest.
I'm wondering why some people feel it necessary to read what seemed to me to be subjective, often vengeful, verbal attacks.
However I must admit, from reading comments on this website I've become aware of how important these concerts were for Andrea Bocelli. I found myself wishing, hoping against hope, that these concerts would have a thunderously positive impact on the really brittle NY opera critics. Therefore I noticed myself searching for reviews thursday morning. Gratefully, I did not find one until I sat at the computer friday morning.
I sat very very close to him [first row center] thursday. Clearly, he was giving every ounce of his effort. His nervousness, evident in many ways, was both endearing and painful to me. Several grimaces seemed to indicate he was less than thrilled with a particular note. Despite whatever negativity with which he may have been concerned; his was a dignified, professional, mesmerizing performance.
After the show, a few of us went to the stagedoor to continue our loving support. At one point my husband commented "I wonder why he looks unhappy?" Both he and Veronica [amazingly, were alone as they got into their car] were gracious, waving, and smiling.....although, it seemed the smiles kind of disappeared once they settled into their seats.
But we were not there to witness flawless technique, or great mastery of breath control and sound production. We were there to enjoy Andrea's always unique presentation of who he is and what he loves........and not incidentally, his beautiful voice.
kay [usa]
- kay
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- Joined: Thu 27 Oct, 2005 1:37 pm
by Brittany Bowman on Wed 13 Sep, 2006 1:25 am
I enjoyed your account Kay. Very honest and heartfelt. Unfortunately for Andrea who's sole purpose in life is to become a great tenor, he will probably never be recognized as a Great Tenor (by critics), but in my opinion although he is not considered technichally a Great Tenor, in many aspects he is. He constantly seeks to improve and unlike many "great tenors" he actually does improve with every performance.
In Andrea, there is no room for complacency. He never settles. All this talk of technique makes me wonder who among us (humans) is perfect and flawless? The answer is no one. I have listened to some great tenors in my short span of 18 years and I do hold other tenors past and present in high regard. I love Joao Gibin, Jose Carreras and Rolando Villazon and many others. To my considerably untrained ear, Andrea is one of the best I have ever heard. To me he conveys the emotion of a piece of music and does his very best to feel the music and not just sing every note perfectly (which he usually does). Although the critics have said that blemishes can be corrected in the recording studio, there is only so much that machinery can do. As opposed to many recording artisits out there, Andrea has not gotten as far as he has because of machinery. I personally believe that he is better live on stage than on recording. They say that Andrea's performances lack this, or that they lack that. A technically perfect performance without a lick of emotion is aso lacking. Althought it mgiht be pleasing to the critics, it does nothing for the soul.
I am a fan of Andrea and I know that he is not flawless, in fact I am not so enraptured by him that I do not notice certain errors in his singing or notes that are flat or sharp, but Andrea is not a defeatist and makes sure to never make the same mistakes twice. If a degree in musicology or whatever it is keeps a person from enjoying a great performer such as bocelli, then what does that really say about the arts or opera and the direction in which it is headed. If left up to the critics opers would probably be driven into the ground because no new talent is ever "good enoguh". The masses have spoken, the critics are the ones who are missing the point, but then again there is no need for our defences, Andrea can hold his own. (sorry for all the words)
In Andrea, there is no room for complacency. He never settles. All this talk of technique makes me wonder who among us (humans) is perfect and flawless? The answer is no one. I have listened to some great tenors in my short span of 18 years and I do hold other tenors past and present in high regard. I love Joao Gibin, Jose Carreras and Rolando Villazon and many others. To my considerably untrained ear, Andrea is one of the best I have ever heard. To me he conveys the emotion of a piece of music and does his very best to feel the music and not just sing every note perfectly (which he usually does). Although the critics have said that blemishes can be corrected in the recording studio, there is only so much that machinery can do. As opposed to many recording artisits out there, Andrea has not gotten as far as he has because of machinery. I personally believe that he is better live on stage than on recording. They say that Andrea's performances lack this, or that they lack that. A technically perfect performance without a lick of emotion is aso lacking. Althought it mgiht be pleasing to the critics, it does nothing for the soul.
I am a fan of Andrea and I know that he is not flawless, in fact I am not so enraptured by him that I do not notice certain errors in his singing or notes that are flat or sharp, but Andrea is not a defeatist and makes sure to never make the same mistakes twice. If a degree in musicology or whatever it is keeps a person from enjoying a great performer such as bocelli, then what does that really say about the arts or opera and the direction in which it is headed. If left up to the critics opers would probably be driven into the ground because no new talent is ever "good enoguh". The masses have spoken, the critics are the ones who are missing the point, but then again there is no need for our defences, Andrea can hold his own. (sorry for all the words)
Beati voi poveri perché vostro è il regno di Dio.
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Brittany Bowman - Posts: 355
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by LaCavallerizza on Wed 13 Sep, 2006 7:05 am
Saturday night’s concert at Avery Fisher Hall was the first time I’ve ever seen Andrea in person and it was the most incredible experience for me. I’m so grateful to have had the opportunity to hear him in such a small and intimate venue, and to have been able to share in that event. Everything about it seemed wonderful, to be so close to him and to be able to feel his energy, the connection and appreciation he seemed to feel for the audience, a slight sense of nervousness, his incredible voice, the music, the way in which he acknowledged the conductor after a song…….I loved that he introduced the songs for the encores in Italian, the response of the audience at the end, and that exhilarating feeling that came over me every time I saw him coming back out on stage again with Asher Fisch for yet another curtain call, walking tall and confidently at a fast pace, with that sweet smile on his face. It was great!
I’m new to opera so I can’t say much about the technical side though, or the program. All I know is that no other opera singer has ever made me feel the way I did listening to Andrea. I was telling a friend of mine who loves opera/classical and who is a composer about the concert, and he was quite impressed with the selections that Andrea chose to sing. He felt that Berio had written some very unique and amazing pieces.
I’ve never liked opera, but about six months ago after I discovered Andrea, I decided to go to an opera and I ended up really enjoying it and looking forward to seeing others. I bought one of Andrea’s opera cd’s and listened to it. Still though, I didn’t feel like opera was the kind of music I could just sit back and enjoy listening to for the sake of listening to it – not until I heard Andrea in person on Saturday!! And now….. as soon as I came home on Sunday, I put on that opera cd again instead of his other ones that I usually listen to, wanting to hear more of what I had just heard the night before, and the second I heard that voice again I just burst into tears! His opera music is all I’ve been listening to for the past three days - I love it.
Saturday night is an event I will remember tenderly and cherish for the rest of my life.
Grazie Andrea, per una esperienza indimenticabile!
I’m new to opera so I can’t say much about the technical side though, or the program. All I know is that no other opera singer has ever made me feel the way I did listening to Andrea. I was telling a friend of mine who loves opera/classical and who is a composer about the concert, and he was quite impressed with the selections that Andrea chose to sing. He felt that Berio had written some very unique and amazing pieces.
I’ve never liked opera, but about six months ago after I discovered Andrea, I decided to go to an opera and I ended up really enjoying it and looking forward to seeing others. I bought one of Andrea’s opera cd’s and listened to it. Still though, I didn’t feel like opera was the kind of music I could just sit back and enjoy listening to for the sake of listening to it – not until I heard Andrea in person on Saturday!! And now….. as soon as I came home on Sunday, I put on that opera cd again instead of his other ones that I usually listen to, wanting to hear more of what I had just heard the night before, and the second I heard that voice again I just burst into tears! His opera music is all I’ve been listening to for the past three days - I love it.
Saturday night is an event I will remember tenderly and cherish for the rest of my life.
Grazie Andrea, per una esperienza indimenticabile!
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LaCavallerizza - Posts: 343
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by babs on Wed 13 Sep, 2006 3:18 pm
Thursday evening after the concert I went to the stagedoor also. Andrea has a quiet ,graceful and gentle way in which he reacts to those who deeply care about him. He was very gracious and smiled at all of us that were there. I send thank-you for a wonderful evening..He smiled and waved. That alone was worth the trip!! He knows that he has a strong support and love for him. He probably was very tired after the concert. It was an experience that I will never forget. If he came back to Avery Fischer Hall I'ld kbe there in a heartbeat and I know everyone reading this feels the same way. My five year old grandaughter wanted to come to NY with me. She adors his music and talks about him all the time. Listens to him when she goes to sleep at night. That says something . You can't fool a five year old. It's awesome!!!!!
Barb
Barb
- babs
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by Gloria M on Wed 13 Sep, 2006 6:21 pm
LaCavallerizza wrote:I’ve never liked opera, but about six months ago after I discovered Andrea, I decided to go to an opera and I ended up really enjoying it and looking forward to seeing others. I bought one of Andrea’s opera cd’s and listened to it. Still though, I didn’t feel like opera was the kind of music I could just sit back and enjoy listening to for the sake of listening to it – not until I heard Andrea in person on Saturday!! And now….. as soon as I came home on Sunday, I put on that opera cd again instead of his other ones that I usually listen to, wanting to hear more of what I had just heard the night before, and the second I heard that voice again I just burst into tears! His opera music is all I’ve been listening to for the past three days - I love it.
What a neat story! I'm sure it is this type of reaction that must be very meaningful for Andrea. So many of us have had a similar experience. Thank you for sharing it.
--Gloria M
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Gloria M - Posts: 818
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by carolyn on Wed 13 Sep, 2006 7:18 pm
I agree Gloria. This is what Andrea has always hoped his singing would do too. Bring people to enjoying opera, those who had never given it a nod before. Over and over thru the recent years we hear of this very thing happening. In this way Andrea has become a pied piper and I only wish everyone could witness him live on the opera stage. But cds are wonderful and the inventive imagination can dream up the scenes as they would unfold. Andrea's voice on opera cds is fresh and calls to us. It is such a privilege to have all the opera cd choices now and soon we will also have a new one on our shelves. I prefer that Bocelli something special, in his voice, to that of any other tenor. I want him just to sing, to sing, to sing!
"What needs to be understood is the gift of singing IS the gift. It's not having the gift of being able to sing, but SINGING that is the gift.---Andrea Bocelli
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carolyn - Posts: 548
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Avery Fisher Hall
by laboheme67 on Wed 13 Sep, 2006 9:32 pm
To have attended the concert at Avery Fisher Hall in NY on September 9 was a gift of a lifetime. I have listened to Caruso and Lanza for 60 of my 62 years and thought Andrea's was equal to them. To have been able to get tickets for the 9th of September, my father's birthday, was to come full circle, as my dad was the one who introduced us to opera. I was so proud to be an Andrea Bocelli fan that night. His selections of Verdi were so well performed that at times the entire hall fell silent as he mastered the notes. It was exquisitly done. The Encores(4, if I remember) were so well deserved as well as the standing ovations. What an evening. It was worth the 12 hour drive to get there. Bravo, Andrea!
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laboheme67 - Posts: 9
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by babs on Wed 13 Sep, 2006 10:22 pm
To Gloria ,Carolyn and Laboheme bravo!! Thank-you for sharing your hearfelt experiences with us.. It definitely is life altering. To Laboeme an extra bravo for driving so far to see Andrea. It was worth it, although I cheated and flew. Thanks again
Babs
Babs
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by Renate on Wed 13 Sep, 2006 11:04 pm
People who have been to the concerts in New York last week slowly came down from cloud nine. Besides the wonderful reports here on this forum three of them delivered incredibly excellent reports, moving and detailed and right the appropriate answer to some critics who seem to have been to another event somehow or have different ears or have been on the wrong planet...whatever...
please read Gloria's Winnie's and Cami's reports at
http://www.bocelli.de/FansSpecial/2006/ ... YC0906.htm
I was thinking about the many reports here on this forum and the ones on the Bocelli.de fanpages in comparison with what the critics have written.
If you yourself have been to one or more of these concerts why not let these newspapers know, that you hardly can understand their critics and for which reason? Just an idea.
Maybe some of you could contribute, which might be the right address to write to.
please read Gloria's Winnie's and Cami's reports at
http://www.bocelli.de/FansSpecial/2006/ ... YC0906.htm
I was thinking about the many reports here on this forum and the ones on the Bocelli.de fanpages in comparison with what the critics have written.
If you yourself have been to one or more of these concerts why not let these newspapers know, that you hardly can understand their critics and for which reason? Just an idea.
Maybe some of you could contribute, which might be the right address to write to.
Renate, http://www.bocelli.de
andreabocelli.org forum moderator
andreabocelli.org forum moderator
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by laboheme67 on Wed 13 Sep, 2006 11:18 pm
Andrea's capacity as an operatic tenor is very, very pleasant for three reasons(to me, anyway.) 1. He is a lyrical singer, meaning one who interprets the meanings and feelings behind the words, and reaches out to the listener(s) and communicates with emotion. He is "telling us" the story of the opera. 2. He does not use "Drama" and/nor props to perform. 3. The timber of his voice gives it body and volume. (As oppose to others who sing from the throat, emitting a thin, "metallic" tinny and vibrating sound.) That contributes to Andrea having such a range of notes and to hold them for so long, not to mention hard work and practice. His gift of relaying emotion is why when I first heardhim sing in 1996, he touched a place in my heart that no one else had and that continues to this day. He only gets better with age. Totally incredible!
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laboheme67 - Posts: 9
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by westsiderny on Thu 14 Sep, 2006 12:40 am
Renate wrote:If you yourself have been to one or more of these concerts why not let these newspapers know, that you hardly can understand their critics and for which reason? Just an idea.
Maybe some of you could contribute, which might be the right address to write to.
Here are some addresses:
Bernard Holland - New York Times: http://www.nytimes.com/gst/emailus.html
Martin Steinberg - Associated Press writer: info@ap.org
Ask to forward your email to him
Justin Davidson - Newsday Staff Writer: letters@newsday.com
Jay Nordlinger - The New York Sun: editor@nysun.com
Letter to the Editor or Submitting an Opinion Piece
Letters must include your name, address and phone number.
The reviews can be found on this thread:
http://lnx.andreabocelli.org/Gold/viewtopic.php?t=4505
***********
Also, in addition to the above, you can post your comments here:
Entertainment News
Scroll down to the end where it says "post your comment". This article is going out all over the world, so it's a good idea to put your answer at the bottom of it at least on this website.
(This is a contribution from Iris)
"Canto alla vita alla sua bellezza ad ogni sua ferita ogni sua carezza..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
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by Renate on Thu 14 Sep, 2006 10:24 pm
Thank you! I knew you would have that list!
Renate, http://www.bocelli.de
andreabocelli.org forum moderator
andreabocelli.org forum moderator
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Renate - Super Moderator
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by westsiderny on Fri 15 Sep, 2006 1:41 am
"Canto alla vita alla sua bellezza ad ogni sua ferita ogni sua carezza..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
"I sing to life, to its beauty, to each of its wounds and each of its caresses..."
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westsiderny - Posts: 4169
- Joined: Sat 22 Nov, 2003 4:14 am
- Location: New York City
by Motoko on Fri 15 Sep, 2006 4:47 am
Thanks Nellie, Iris and all the posters here on PR-inside Entertainment News.
I was near to tears to read those "fair and insightful" reviews. I hope Andrea will read them rather than so-called "music criticism".
I was near to tears to read those "fair and insightful" reviews. I hope Andrea will read them rather than so-called "music criticism".
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Motoko - Posts: 454
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by laboheme67 on Fri 15 Sep, 2006 4:30 pm
Yes, I would like to add my thanks to Nellie as well. Sunday morning after the concert in NY, I read a few reviews and felt sad. Then I felt that the fact that his concerts were sold out, and his appeal worldwide on so many levels, betrayed what was written. I then came to the conclusion that the reviews are more of a reflection of the writer, not Andrea. In an interview many years ago, Andrea responded to something by replying, and I'm paraphrasing only, "let them think what they will. I cannot control what others think...and can only do the best of what I can do." Those of us who admire him, believe that wholeheartedly.
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by babs on Fri 15 Sep, 2006 7:01 pm
The reviews did make me sad too. Coming to the Philharmonic to him was a huge accomplishment in his career. I agree the fact that the concerts were sold out says something.
Do we realized what we were able to be a part of? This concert was very personal for Andrea. It felt like he had personally invited you into his home and you were the only one there because he iis so tuned into how we feel about him and the gift he shares with us.
The critics seemed to come with an attitude, assumption and a clipboard. How Andrea related his music to others cannot be measured by a chart or a few facts. He has worked with many other great conductors who have nothing but the highest regard and awe of him professionally and personally. Paraphrasing one who worked on a cd has that he pronounces words perfectly. He has complete control from forte to pianissimo. He furthur goes on to say there is hardly anyone else that can do that. So many other conductors and composers have worked with him. Are we to assum they are all tone-deaf. No! To think for one moment that Andrea would settle for being mediocre as was intimated means they didn't do their homework before the concert. Nothing in his life would ever indicate this to be the case.
Final note I stayed outside the concert hall by the fountain tranfixed wishing the night wouldn't have gone so quickly. I talked to many people about the concert. So many have seen Andrea all over the country and in Europe. Most of them had a better understanding and grasp of opera than myself. What I came away with was the indisputable fact that he is rare and loved by many.Babs
Do we realized what we were able to be a part of? This concert was very personal for Andrea. It felt like he had personally invited you into his home and you were the only one there because he iis so tuned into how we feel about him and the gift he shares with us.
The critics seemed to come with an attitude, assumption and a clipboard. How Andrea related his music to others cannot be measured by a chart or a few facts. He has worked with many other great conductors who have nothing but the highest regard and awe of him professionally and personally. Paraphrasing one who worked on a cd has that he pronounces words perfectly. He has complete control from forte to pianissimo. He furthur goes on to say there is hardly anyone else that can do that. So many other conductors and composers have worked with him. Are we to assum they are all tone-deaf. No! To think for one moment that Andrea would settle for being mediocre as was intimated means they didn't do their homework before the concert. Nothing in his life would ever indicate this to be the case.
Final note I stayed outside the concert hall by the fountain tranfixed wishing the night wouldn't have gone so quickly. I talked to many people about the concert. So many have seen Andrea all over the country and in Europe. Most of them had a better understanding and grasp of opera than myself. What I came away with was the indisputable fact that he is rare and loved by many.Babs
- babs
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by snoufferk on Fri 15 Sep, 2006 7:53 pm
Andrea has his followers (fans) and no matter where he is they are going to stay informed of the current events involving him. Many of these fans did not get to attend this concert as much as they wanted to. Believe me, i had my luggage packed....it didn't happen. We were there with him and yes we know he has an extraordinary, and incredible voice. Why else would a concert get sold out?! There are many fans around the world whom are planning to travel thousands of miles just to be at one of his concerts. Count me in!babs wrote:The reviews did make me sad too. Coming to the Philharmonic to him was a huge accomplishment in his career. I agree the fact that the concerts were sold out says something.
Do we realized what we were able to be a part of? This concert was very personal for Andrea. It felt like he had personally invited you into his home and you were the only one there because he iis so tuned into how we feel about him and the gift he shares with us.
The critics seemed to come with an attitude, assumption and a clipboard. How Andrea related his music to others cannot be measured by a chart or a few facts. He has worked with many other great conductors who have nothing but the highest regard and awe of him professionally and personally. Paraphrasing one who worked on a cd has that he pronounces words perfectly. He has complete control from forte to pianissimo. He furthur goes on to say there is hardly anyone else that can do that. So many other conductors and composers have worked with him. Are we to assum they are all tone-deaf. No! To think for one moment that Andrea would settle for being mediocre as was intimated means they didn't do their homework before the concert. Nothing in his life would ever indicate this to be the case.
Final note I stayed outside the concert hall by the fountain tranfixed wishing the night wouldn't have gone so quickly. I talked to many people about the concert. So many have seen Andrea all over the country and in Europe. Most of them had a better understanding and grasp of opera than myself. What I came away with was the indisputable fact that he is rare and loved by many.Babs
- snoufferk
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