Amazon.com: Bellini: La Sonnambula: Natalie Dessay, Juan.
It was the first afternoon of rehearsals for Bellini’s “La Sonnambula,” in which Dessay is to appear at the Met, in March and April. To compensate for the opera’s famously silly and thin.
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Until the recent recordings with Natalie Dessay and Cecilia Bartoli (a mezzo Amina) arrived, the La sonnambula recordings were pretty much dominated by Callas and Sutherland. Each recorded the work in the studio; Callas in mono (shame on EMI, this 1957 recording should have been in stereo) with numerous cuts, and Sutherland in stereo both in 1962 and 1980.
French coloratura soprano Natalie Dessay was born Nathalie Dessaix in Lyon in 1965. She simplified her name in homage to Natalie Wood. Dessay emerged on the international scene in the 1990s.
In the first, Natalie Dessay enters at the back of the theatre and wanders through the audience. In the second she walks along the window-ledge on the outside of the rehearsal room. Then, a section of the stage moves forward so that she is suspended over the orchestra pit to sing the sleepwalking aria which is the climax of the piece.
For a while now, Bellini’s La Sonnambula hasn’t enjoyed the same popularity as the composer’s other masterpieces.Though hardly an obscure work, it is nevertheless one that nowadays seems to require a larger-than-life soprano, such as Natalie Dessay or Diana Damrau (both of whom have sung the title role at the Met) to convince audiences that they should care about the sleepwalking Amina.