Sometimes I find myself wondering where all these forces (for as to be absolutely impervious to human wickedness and ingratitude). One answer could of course search my parents, Antonietta Gatti and Stefano Montanari. How do you know who knows them (there are two rather famous scientists), these are two pretty strong personality to keep up with what was clearly a need to develop some armor.
But I also have the amazing fortune of being able to rely on some special human beings, beyond of my every expectation, help me, encourage me, teach me, trust in me and I never leave alone. On top of this (very short) list is certainly Tiziana Tramonti.
the sunset as a nymph ( in Monteverdi's Lamento della Ninfa with Komos)
Tiziana Tramonti I met when I was studying composition, I had made up that second deliveries have been a twelve-tone lied and that instead it was a random-impressionist-twelve-tone melodies on a text by Verlaine, and had entrusted the pupil of Alice Molinari Tramonti, which later became my great friend. I then made the first 9 raid in the classroom of the "Orazio Vecchi" in Modena to supervise the tests (at the time there was a dog as a pianist performed a note written in ten of those). At first, for some reason, I had the impression that he had not taken very Sunsets in sympathy (rather later told me that he thought I was "so cute"). But I had attended his lectures and I liked them very much. This is also why in a moment of madness, I decided to start taking singing lessons. The piece that I took the entrance examination was Offrande Reynaldo Hahn (text by Verlaine)!
And so are his pupil for five years. When I port in the theaters to watch the tests everyone thinks I'm his son! Why not Ms. Sunshine is one of those singing teachers who have never climbed on a stage, but sings regularly at major theaters, La Scala opera in Monte Carlo in Monaco of Bavaria to Rome, Florence, Turin, Bologna, Naples, Palermo, etc.. .. Lately you can see the dvd as Annina in La Traviata at La Scala with Gheorghiu.
The Sunsets on my viglila The trick to pretend slave of Francisco Javier García Fajer (said the Spaniard) - Campiglia Marittima 2007
Let me tell you a brief history of Tweety Sunset:
80 in Florence, in the ranks of the orchestra of the Maggio Musicale Fiorentino is a young violinist pupil of the greatest Italian violinist, Piero Farulli Italian Quartet. Maestro Riccardo Muti has noticed. A little 'because it is a beautiful girl, a little' because the girl has a strange habit of coming to attend all the evidence of the singers (the piano) and take notes on a score. Having discovered that the violinist is also a singer, want to hear and sing after hearing her ADJUDGED amazed with that voice that would leave the purple and devote himself entirely to singing. The girl, who for the truth and had done some important things like soprano, come ad esempio alcune cantate di Bach riprese anche dalla Rai, non se lo fa ripetere due volte e comincia una carriera che, grazie alla sua musicalità si svolge sui terreni più disparati, dal barocco (tante le collaborazioni con Claudio Gallico ed è tra le fondatrici dei Solisti del Madrigale che poi avrebbe dato vita al Concerto Italiano portato al successo internazionale da Rinaldo Alessandrini) alla musica contemporanea al romanticismo e al verismo (deve anche aver fatto Giorgetta nel Tabarro in quei primi anni se non erro). Lei per la verità avrebbe voluto fare la liederista ed è anche andata a Vienna a studiare con Erik Werba. Ma questo, naturalmente, in Italia non è possibile. Ad un certo punto Karajan in persona, che l'aveva sentita recording, calls to Salzburg for an audition for the role of Donna Elvira in Don Giovanni (hearing, in which, for the record, the Sunshine was crap and was interrupted in mid-air. The teacher's comment was "sin", in Italian, I think). Muti, meanwhile, after two hearings that they had not met, finally called to work at La Scala, where he still works after fifteen or twenty years (unlike the Master, as you know).
The voice of the Sunset is a wonderful tool. It can not boast a torrential volume, but has an extraordinary consistency of voice, beautiful and serious acute sumptuous. A voice is difficult to classify, according to some. Actually it would be a soprano. But in the absence of mezzo-sopranos, all are convinced that it is a mezzo-soprano, which in effect is the fine. In the same states at the San Carlo in Naples played Mamma Lucia in Cavalleria Rusticana (a role to contraltone) and Nella in Gianni Schicchi (soprano and definitely with a texture rather than acute). Bartoletti The teacher told her on that occasion that is the best alto I've ever had the opportunity to work ... Mah!
It's never been a woman who sgom to arrive. Always work and in the best theaters in Italy, but as Marcellina (in marriage), Berta (in the Barber), and all those other roles of "caretaker" (Giovanna, Annina, Curra, Ines, EBRD, Larina ...) If I had been born twenty years before I became his agent and I would jostle for her. Because it has a rare talent: a very reliable technique that allows a more perfect intonation and a rich range of colors, a musical in which one perceives the finest in his instrumental training, an incomparable taste for the word (its Italian chamber music, from Rossini the twentieth century, is truly stunning), an instinct (and technique) great theatrical actress ... I had been there to decide, a little 'Countess, Donna Elvira, Marschallin (in Der Rosenkavalier), Blanche (Dialogues des Carmelites in), etc. ... rose did not tell anyone. On the other hand could always do it. But the art directors here are always broken all'appartenenza politica (peraltro opinabile a seconda delle previsioni metereologiche) o, meglio, massonica o simili... Come si fa?
E poi è una vera donna. Il suo Frauenliebe und -leben di Schumann dice tutto: è una bambina quando gioca, è una ragazza quando si emoziona, è una donna quando dà consigli. E, a riprova del suo buon gusto, mi vuole bene... Naturalmente non poteva mancare al battesimo di mio figlio (il Komos).
80 in Florence, in the ranks of the orchestra of the Maggio Musicale Fiorentino is a young violinist pupil of the greatest Italian violinist, Piero Farulli Italian Quartet. Maestro Riccardo Muti has noticed. A little 'because it is a beautiful girl, a little' because the girl has a strange habit of coming to attend all the evidence of the singers (the piano) and take notes on a score. Having discovered that the violinist is also a singer, want to hear and sing after hearing her ADJUDGED amazed with that voice that would leave the purple and devote himself entirely to singing. The girl, who for the truth and had done some important things like soprano, come ad esempio alcune cantate di Bach riprese anche dalla Rai, non se lo fa ripetere due volte e comincia una carriera che, grazie alla sua musicalità si svolge sui terreni più disparati, dal barocco (tante le collaborazioni con Claudio Gallico ed è tra le fondatrici dei Solisti del Madrigale che poi avrebbe dato vita al Concerto Italiano portato al successo internazionale da Rinaldo Alessandrini) alla musica contemporanea al romanticismo e al verismo (deve anche aver fatto Giorgetta nel Tabarro in quei primi anni se non erro). Lei per la verità avrebbe voluto fare la liederista ed è anche andata a Vienna a studiare con Erik Werba. Ma questo, naturalmente, in Italia non è possibile. Ad un certo punto Karajan in persona, che l'aveva sentita recording, calls to Salzburg for an audition for the role of Donna Elvira in Don Giovanni (hearing, in which, for the record, the Sunshine was crap and was interrupted in mid-air. The teacher's comment was "sin", in Italian, I think). Muti, meanwhile, after two hearings that they had not met, finally called to work at La Scala, where he still works after fifteen or twenty years (unlike the Master, as you know).
The voice of the Sunset is a wonderful tool. It can not boast a torrential volume, but has an extraordinary consistency of voice, beautiful and serious acute sumptuous. A voice is difficult to classify, according to some. Actually it would be a soprano. But in the absence of mezzo-sopranos, all are convinced that it is a mezzo-soprano, which in effect is the fine. In the same states at the San Carlo in Naples played Mamma Lucia in Cavalleria Rusticana (a role to contraltone) and Nella in Gianni Schicchi (soprano and definitely with a texture rather than acute). Bartoletti The teacher told her on that occasion that is the best alto I've ever had the opportunity to work ... Mah!
It's never been a woman who sgom to arrive. Always work and in the best theaters in Italy, but as Marcellina (in marriage), Berta (in the Barber), and all those other roles of "caretaker" (Giovanna, Annina, Curra, Ines, EBRD, Larina ...) If I had been born twenty years before I became his agent and I would jostle for her. Because it has a rare talent: a very reliable technique that allows a more perfect intonation and a rich range of colors, a musical in which one perceives the finest in his instrumental training, an incomparable taste for the word (its Italian chamber music, from Rossini the twentieth century, is truly stunning), an instinct (and technique) great theatrical actress ... I had been there to decide, a little 'Countess, Donna Elvira, Marschallin (in Der Rosenkavalier), Blanche (Dialogues des Carmelites in), etc. ... rose did not tell anyone. On the other hand could always do it. But the art directors here are always broken all'appartenenza politica (peraltro opinabile a seconda delle previsioni metereologiche) o, meglio, massonica o simili... Come si fa?
E poi è una vera donna. Il suo Frauenliebe und -leben di Schumann dice tutto: è una bambina quando gioca, è una ragazza quando si emoziona, è una donna quando dà consigli. E, a riprova del suo buon gusto, mi vuole bene... Naturalmente non poteva mancare al battesimo di mio figlio (il Komos).
La Tramonti sale sul palco a prendere gli applausi col cast al termine de La finta schiava (sì, la mia regia era ambientata negli anni '80)
Somewhere from West Side Story with Bernstein Komos. At the piano maestro Mario Sollazzo:
