# Second Round: Giusto Ciel.Gheorghiu and Horne



## Seattleoperafan (Mar 24, 2013)

L'assedio di Corinto, Act 3 Scene 5: "Giusto ciel! In tal periglio" (Pamira, Chorus) · Angela Gheorghiu · London Symphony Orchestra · Evelino Pidò · Chorus of the Royal Opera House, Covent Garden 




Start at 3:04 min. 
Rossini: Le siège de Corinthe / Act 3 - L'ora fatal s'appressa... Giusto ciel · Marilyn Horne · Ambrosian Opera Chorus · Royal Philharmonic Orchestra · Henry Lewis


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## Tsaraslondon (Nov 7, 2013)

I didn't have strong feelings about either this time round, which made it difficult to make a choice. Horne seemed a bit more emotionally detached, which you might think apt enough for a prayer, but I think I prefer Gheorghiu's greater emotional involvement. I prefer the sound of her voice too, so I'm giving it to her.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> I didn't have strong feelings about either this time round, which made it difficult to make a choice. Horne seemed a bit more emotionally detached, which you might think apt enough for a prayer, but I think I prefer Gheorghiu's greater emotional involvement. I prefer the sound of her voice too, so I'm giving it to her.


I like the sound of Horne, but I agree she sounds detatched. She is not an artist you go to for emotional subtlety but she was a marvelous technician which worked often for her Bel Canto repertoire.


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## The Conte (May 31, 2015)

I've heard both these versions before, but never compared them.

Gheorghiu is predictably tragic (and I mean that as a compliment). She may well have been desperately trying to channel Callas, but however she does it, it works. This is full of anguish and becomes more than a prayer, it's a heartfelt plea. This has to be one of my favourite versions of this aria.

Horne is suave and this is more the gentle prayer, than Angela's cry for help. I like Horne and whilst I understand those who can't tolerate her nasal quality, it doesn't really bother me. Whilst I find much to enjoy in this wonderful piece of music and I like the intensity from her at the end, I'm a stickler for a good old tear jerking tragedienne.

Gheorghiu wins.

N.


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## Op.123 (Mar 25, 2013)

Neither are artists I have much fondness for and neither compare to Caballe from the previous round. Gheorghiu’s voice is attractive and records nicely but feels slightly plasticky to me, with no real core, no hint of earth or metal. But she sings with involvement even if it slightly intrudes on the line in some places. Horne‘s voice doesn’t do much for me either and although I do prefer her timbre to Gheorghiu’s I found myself really quite bored listening to her sing. Gheorghiu it is.


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## BBSVK (10 mo ago)

I will vote for Horne, because the breathing feels easier. At one lecture about how to give good speeches, the teacher pointed out, that the listeners subconsciously adjust the breathing to the speaker. So I breathed easier with Horne. I also liked very much a sustained note towards the end.


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## MAS (Apr 15, 2015)

Gheorghiu’s sound is more attractive, but Horne is much smoother - Angela sounds bumpy.


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## ColdGenius (9 mo ago)

I didn't know whom to choose. I haven't heard a full opera and have a fuzzy idea of its libretto, though understand which historical event it is about. I suppose praying Pamira has something in common with Eva Perón giving speech. Horne sings it with dignity, smoothly, Gheorghiou does it more passionately, with sighs and wringing hands. Both voices have attractiveness. I chose Gheorghiou, according to Shaughnessy's instructions. 🤭


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## BBSVK (10 mo ago)

ColdGenius said:


> I haven't heard a full opera and have a fuzzy idea of its libretto,


I looked up the situation and the plot as a whole. But should I spoil it for you ???


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## ColdGenius (9 mo ago)

BBSVK said:


> I looked up the situation and the plot as a whole. But should I spoil it for you ???


Certainly. Is it about Lucius Mummius's invasion and burning the city? And a more poignant question, whom do they pray? Corinth was famous by a temple of Aphrodyte and it's priestesses.


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## BBSVK (10 mo ago)

ColdGenius said:


> Certainly. Is it about Lucius Mummius's invasion and burning the city? And a more poignant question, whom do they pray? Corinth was famous by a temple of Aphrodyte and it's priestesses.


I think Pamira is in a no win situation. She had been instructed by her father at the beginning of the opera that if their side loses, she must commit suicide rather than surrender. He gave her a sword for this purpose.

If they win - well, she has a prospect of marry the man chosen by her father and whom she does not love. Instead, she managed to fall in love with Maometto in disguise, but at this point she already knows his identity. They almost got married but she decided to leave and join her folks. Yet, her father is angry at her (quite unjustly) and rejects her. 

Now there is a decisive battle and she asks other women to join her and pray together. Something something about winning or at least make all this suffering shorter.

(We know Maometto will win at the end and she will dutifully stab herself, the brainwashed idiot daughter of the abusive father)


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## BBSVK (10 mo ago)

BBSVK said:


> I think Pamira is in a no win situation. She had been instructed by her father at the beginning of the opera that if their side loses, she must commit suicide rather than surrender. He gave her a sword for this purpose.
> 
> If they win - well, she has a prospect of marry the man chosen by her father and whom she does not love. Instead, she managed to fall in love with Maometto in disguise, but at this point she already knows his identity. They almost got married but she decided to leave and join her folks. Yet, her father is angry at her (quite unjustly) and rejects her.
> 
> ...


Now I see, this was composed as a French reworking of a previous opera and Alexandre Soumet participated on the libretto. He really had a talent to create horrible fathers. Just as the one Norma had in his original play.


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## ColdGenius (9 mo ago)

BBSVK said:


> I think Pamira is in a no win situation. She had been instructed by her father at the beginning of the opera that if their side loses, she must commit suicide rather than surrender. He gave her a sword for this purpose.
> 
> If they win - well, she has a prospect of marry the man chosen by her father and whom she does not love. Instead, she managed to fall in love with Maometto in disguise, but at this point she already knows his identity. They almost got married but she decided to leave and join her folks. Yet, her father is angry at her (quite unjustly) and rejects her.
> 
> ...


Childhood trauma, authoritative and probably abusive father, symbolic sword are too much for a poor deprived woman. Small wonder she makes a choice which helps to avoid sex.


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## Seattleoperafan (Mar 24, 2013)

ColdGenius said:


> Childhood trauma, authoritative and probably abusive father, symbolic sword are too much for a poor deprived woman. Small wonder she makes a choice which helps to avoid sex.


I don't avoid it so much as it avoids me


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## nina foresti (Mar 11, 2014)

To me they were both great, making it such a trial to choose. But the voice of Angela Gheorghiu has this throat sound that is almost like a quiver and so vulnerable sounding that I find it amazingly appealing. I simply cannot resist her voice.
One for La Draculette!


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## Seattleoperafan (Mar 24, 2013)

nina foresti said:


> To me they were both great, making it such a trial to choose. But the voice of Angela Gheorghiu has this throat sound that is almost like a quiver and so vulnerable sounding that I find it amazingly appealing. I simply cannot resist her voice.
> One for La Draculette!


Someone suggested her and I thought of you!!! She was wonderful. I like difficult contests.


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