# Round One: Non piu andrai. Siepi, Sly, Terfel



## Seattleoperafan (Mar 24, 2013)

I first got interested in this seeing how GORGEOUS Cesare Siepi looked in this concert. His aria begins at 15.00 I am using videos as I think it is fun to watch the men in this aria as body language plays a key part. Remember 15;00 for Siepi. Sly makes me weak in my knees. Looks like an ex. I know most of you don't watch while you listen but for a handful of arias I think the whole performance is revealing and this is one. The Habenera and the Doll Scene will definitely be other ones like this. I wish the Mad Scene from Lucia was shorter as it would be another great choice for this type of exercise.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> I first got interested in this seeing how GORGEOUS Cesare Siepi looked in this concert. Sly makes me weak in my knees.


Well, it's about time you brought us some gorgeous men... 



What I mean is, it's about time you brought us some gorgeous Mozart.


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## Woodduck (Mar 17, 2014)

Siepi's introduction to "Non piu andrai" is at 14:58. It's nice to hear him speak as well as sing.

Siepi is always a pleasure to hear. His timbre is warm, rich and chocolatey, a least 50% cacao. He's from what I'd call the mid-20th century school of Mozart singing, which tended to be strictly _come scritto_, unlike the more freewheeling pre-WW I days, and unlike what post-HIP Philippe Sly gives us.

Sly is clearly a thoughtful musician who sees a printed score as a springboard and not a straightjacket. Some vibratoless tone at the outset caused me some alarm, but it's clearly purposeful, and as he proceeds his determination to take nothing for granted pays increasing dividends, with some pleasant surprises in the form of modest but effective embellishments.

Bryn Terfel, here youngish and sounding considerably better than he has since he decided to become Wotan, is as literal as Siepi, though a bit more aggressive. I guess I prefer Siepi, but I really don't care about either.

This was unexpectedly easy. Neither Siepi nor Terfel does anything much with the music, or anything that sticks in the memory. Sly, on the other hand, is alert to every thought he's expressing - he brings the opera stage into the concert hall - and he makes the music fresh. I had to listen again, and enjoyed his creativity even more the second time.


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## Seattleoperafan (Mar 24, 2013)

Woodduck said:


> Siepi's introduction to "Non piu andrai" is at 14:58. It's nice to hear him speak as well as sing.
> 
> Siepi is always a pleasure to hear. His timbre is warm, rich and chocolatey, a least 50% cacao. He's from what I'd call the mid-20th century school of Mozart singing, which tended to be strictly _come scritto_, unlike the more freewheeling pre-WW I days, and unlike what post-HIP Philippe Sly gives us.
> 
> ...


I couldn't put it into words like you but I loved Sly's creativity and I think for a piece like this it is great to see all the body movements. I think an all live video contest for certain arias can be a fun change of pace and for some arias physicality can be an important element in getting the meaning across. If ya'll don't object I might do a contest like this occasionally, ( especialy with handsome gents  I am a big fan of his and not just because he is so physically charming. It was interesting how he started out with his hands in his pockets but it was an attention getter. I didn't know if his embellishments at the end were acceptable in Mozart but I thought them very effective. Terfel I don't usually like, but he is delightful here in his early leaner and vocally healthier days. Siepi is how I got interested in doing this round and damn he is so polished.


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## Woodduck (Mar 17, 2014)

Seattleoperafan said:


> I couldn't put it into words like you but I loved Sly's creativity and I think for a piece like this it is great to see all the body movements. I think an all live video contest for certain arias can be a fun change of pace and for some arias physicality can be an important element in getting the meaning across. If ya'll don't object I might do a contest like this occasionally, ( especialy with handsome gents  I am a big fan of his and not just because he is so physically charming. It was interesting how he started out with his hands in his pockets but it was an attention getter. I didn't know if his embellishments at the end were acceptable in Mozart but I thought them very effective. Terfel I don't usually like, but he is delightful here in his early leaner and vocally healthier days. Siepi is how I got interested in doing this round and damn he is so polished.


I didn't watch while listening. I usually don't. I'll go back and watch Sly.


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## MAS (Apr 15, 2015)

I agree with Woodduck’s choice.


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## Tsaraslondon (Nov 7, 2013)

MAS said:


> I agree with Woodduck’s choice.


Me too, and for pretty much the same reasons - again!! I just thought his was a more interesting rendition.


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## Op.123 (Mar 25, 2013)

Siepi. Very beautiful singing, I found sly a little sloppy in comparison.


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## The Conte (May 31, 2015)

Is there anything not to like about Siepi's singing? His was possibly the most beautiful bass voice. It's poised and technically wonderful. However, I'm not getting much character here. This aria cries out for more interpretation than we get here.

I'm not sure about Sly's version (apart from the pleasing visual aspect ). The voice has a superb dark, burnished sound and his diction is almost as good as Siepi's. There's more interpretation here, at least he plays around with both words and music more than Siepi, but it's too overdone for my taste.

I was fortunate enough to see Terfel in the role twice and very impressive he was too. I hadn't seen this version of him singing this aria before though. It's taken rather fast, but that isn't necessarily a problem. It's nicely done and very tasteful, but there isn't much of Figaro's character here either.

I'm not a fan of any of these excerpts. However, I'll go with the perfection of Siepi and hope that there are better candidates in the future rounds.

N.


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## Tsaraslondon (Nov 7, 2013)

I've just checked and it would appear that Terfel's version was recorded at the 1989 Cardiff Singer of the World competition. That was the year Hvorostovsky won the competition, and Terfel the Song Prize. Those were the days when the competition really did feature young inexperienced singers (Terfel was 24 and Hvorostovsky 27) and neither of them had yet made their international debuts. More stage experience of the role no doubt added a great deal to his interpretation.


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## ColdGenius (9 mo ago)

Siepi!


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