# Single Round: Adieu Forets. Resnik. Kasarova. Farrell



## Seattleoperafan (Mar 24, 2013)

Not a popular piece but to me very beautiful. It is my favorite Tchaikovsky aria. Click on the link to watch the Farrell video on Youtube.The nice thing about this contest is we have two new singers to the contests. Resnik started as a soprano and ended up singing mezzo parts, including her great Klytemnestra with Nilsson on the CD. Kasarova was as beautiful as her voice was.


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## Op.123 (Mar 25, 2013)

Kasarova's tone is uncomfortably thin and breathy. Resnik is better but my preference is 100% for Farrell here.


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## Seattleoperafan (Mar 24, 2013)

Op.123 said:


> Kasarova's tone is uncomfortably thin and breathy. Resnik is better but my preference is 100% for Farrell here.





Op.123 said:


> Kasarova's tone is uncomfortably thin and breathy. Resnik is better but my preference is 100% for Farrell here.


This is my favorite aria by Farrell. Glad you liked it. Not many people sing this.


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## MAS (Apr 15, 2015)

Interesting that there’s no Russian contestant. I was obsessed for months with Irina Archipova’s version when EMI published Melodya’s recording of highlights from the opera.

In the old days, Russian opera was traditionally rendered in French and Farrell follows that tradition. But I’m not fond of her version; the best I can say is that her traversal sounds beautiful - it’s a great voice and she uses it well.

The other versions are in Russian and that makes a big difference to me, not that I speak Russian; it’s what I’m used to hearing from that old LP.

Resnik and Kasarova sound, to me, more involved with the scene than Farrell does. I wonder if Resnik was in her soprano period when she recorded this, she certainly sounds it. As I prefer a mezzo for this scene, I will go with Kasarova, though I can’t say there’s anything wrong with Resnik’s singing.


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## Woodduck (Mar 17, 2014)

Farrell easily outshines the others here. Resnik's tone is hooty and lacks core, her chest voice is detached from and unlike her head voice, her vibrato is prominent, and I've never heard her sound like anything but an elderly woman (yes, she's a great Klytemnestra). Kasarova has impressed me more at other times; here, her frequent register shifts are annoying, though I suppose one could read them as dramatic. She is certainly determined to seem dramatic! All three give plausible interpretations (unless Kasarova's physical gyrations strain the bounds of plausibility for you as they did for me), but Farrell is most able and willing to use her voice in expressively subtle ways, with a wide range of dynamic shadings and lovely portamenti. Her performance bears repeated listening.


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## Seattleoperafan (Mar 24, 2013)

MAS said:


> Interesting that there’s no Russian contestant. I was obsessed for months with Irina Archipova’s version when EMI published Melodya’s recording of highlights from the opera.
> 
> In the old days, Russian opera was traditionally rendered in French and Farrell follows that tradition. But I’m not fond of her version; the best I can say is that her traversal sounds beautiful - it’s a great voice and she uses it well.
> 
> ...


Irena had a version but she is unknown to me so I didn't include it. I am trying to include some Russian music which I know little. Norman has a good version but she is in a lot lately.


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> Irena had a version but she is unknown to me so I didn't include it. I am trying to include some Russian music which I know little. Norman has a good version but she is in a lot lately.


I haven’t heard Norman’s version, but I’ll seek it out. Though I was obsessed with it for a time, I haven’t heard it since the 1970s or 1980s. San Francisco Opera mounted it for Dolora Zajic but I can’t remember much of the music. This was a welcome remembrance, thanks!


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## Tsaraslondon (Nov 7, 2013)

For me it was between Kasarova and Farrell, but Kasarova, though obviously involved and damatically aware is a little uneven and Farrell has the superior voice. I wish she'd been singing in Russian, but this is still a lovely performance and she gets my vote.


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## ColdGenius (9 mo ago)

Here we compare different voice types and different languages. As I know, Tchaikovsky conceived the part of Joan for a dramatic soprano, but lately it turned to mezzo-soprano.
The first performer was mezzo Maria Kamenskaya. 








This grand opera hadn't much success, despite of Tchaikovsky's expectations, and lately was staged from time to time. Both sopranos and mezzos sang it. Now there is a production in Mariinsky theater. From the height of my ignorance I can say that mezzos usually sing it high, without showing all their lower notes (which they of course have, for example both Mariinsky leading ladies). 
Here the choice was not easy. Reznik, though she sang in Russian, lost herself put together with other singers. I like Kazarova (pronounced Katsarova, z as in German) and would like to hear her live one day (I hope it's not to late now), but the video presented here is a failed performance on an unlucky day by a good artist. Farrell sings perfectly, despite of wrong, not binding language.


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## ColdGenius (9 mo ago)

There are unexpectedly many videos of the aria on YouTube, performed by mezzos and sopranos, russian and others, of different decades, from historic to contemporary:
Sofia Preobrazhenskaya, Irina Arkhipova, Tamara Milashkina, Elena Obraztsova, Nina Rautio, Olga Borodina. The latter has recorded at least the aria. Ekaterina Semenchuk and Julia Matochkina sing it currently. Among foreign artists there are Elina Garanca, Ghena Dimitrova and a wonderful French version of Jessie Norman.
Another round?


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## Seattleoperafan (Mar 24, 2013)

ColdGenius said:


> There are unexpectedly many videos of the aria on YouTube, performed by mezzos and sopranos, russian and others, of different decades, from historic to contemporary:
> Sofia Preobrazhenskaya, Irina Arkhipova, Tamara Milashkina, Elena Obraztsova, Nina Rautio, Olga Borodina. The latter has recorded at least the aria. Ekaterina Semenchuk and Julia Matochkina sing it currently. Among foreign artists there are Elina Garanca, Ghena Dimitrova and a wonderful French version of Jessie Norman.
> Another round?


If somebody else wants one. People liked Farrell a lot but no one else really was loved in the first round. That is almost my favorite Farrell aria so I am happy. I am just not familiar with any of the Russians except Borodina. Well, I love Obratszova but I am totally alone in my love of her. Norman is in a lot of other contests. Also there is the matter of the purists who want Russian even though French was the main upper class Russian language at the time.That is my bind here.


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## Tsaraslondon (Nov 7, 2013)

Seattleoperafan said:


> If somebody else wants one. People liked Farrell a lot but no one else really was loved in the first round. That is almost my favorite Farrell aria so I am happy. I am just not familiar with any of the Russians except Borodina. Well, I love Obratszova but I am totally alone in my love of her. Norman is in a lot of other contests. Also there is the matter of the purists who want Russian even though French was the main upper class Russian language at the time.That is my bind here.


John, you worry too much. As you are creating the competitions, it's really up to you how many or which singers you choose. People will comment or they won't. They will like certain singers or they won't. Also bear in mind that sometimes a great singer will lose out to someone who is just that bit greater _in that particular aria_. It doesn't mean people don't like them. For instance, Vickers lost out in the recent Otello competition, though he was my favourite. But he was up against particularly strong competition and most people said they liked all three in his round anyway, even if they ended up voting for someone else. 

I didn't know this aria at all, so I enjoyed listening to these versions, but I did wonder if Borodina had recorded it as it occurred to me that it might suit her quite well. Apparently she has so maybe another round would be good.


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## Seattleoperafan (Mar 24, 2013)

Tsaraslondon said:


> John, you worry too much. As you are creating the competitions, it's really up to you how many or which singers you choose. People will comment or they won't. They will like certain singers or they won't. Also bear in mind that sometimes a great singer will lose out to someone who is just that bit greater _in that particular aria_. It doesn't mean people don't like them. For instance, Vickers lost out in the recent Otello competition, though he was my favourite. But he was up against particularly strong competition and most people said they liked all three in his round anyway, even if they ended up voting for someone else.
> 
> I didn't know this aria at all, so I enjoyed listening to these versions, but I did wonder if Borodina had recorded it as it occurred to me that it might suit her quite well. Apparently she has so maybe another round would be good.


Another round then! It is in my family's blood to worry LOL. Thanks for keeping me balanced LOL


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## Seattleoperafan (Mar 24, 2013)

ColdGenius said:


> There are unexpectedly many videos of the aria on YouTube, performed by mezzos and sopranos, russian and others, of different decades, from historic to contemporary:
> Sofia Preobrazhenskaya, Irina Arkhipova, Tamara Milashkina, Elena Obraztsova, Nina Rautio, Olga Borodina. The latter has recorded at least the aria. Ekaterina Semenchuk and Julia Matochkina sing it currently. Among foreign artists there are Elina Garanca, Ghena Dimitrova and a wonderful French version of Jessie Norman.
> Another round?


Another round


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## ColdGenius (9 mo ago)

Recitative:
Yes, this is the hour!
Joan must obey the celestial dictate.
But where is this fear from, creeping in her soul?
Aria:
Farewell, my home hills and fields;
The sheltering clear valley, farewell! 
You will never see Joan again, 
She says you "Farewell" evermore. 
My friends meadows, trees, my nurslings, 
You will blossom and fade without me! 
Cool grotto, quickly running stream, 
I'm leaving you and I shall not come back eternally! 
I'm leaving you and I shall not come back eternally... 
The places, where everything was my delight, 
Henceforth you are parted from me;
My flock, I shall not be your hedge, 
You are predestined to roam without shepherd. 
My fate is to graze another herd 
On pastures of the murdering war. 

Higher election has assigned so, 
It's not a vain desire that entails me! 
My God! My heart is opened to Thee! 
It languishes, it suffers! 
It's languishing and suffering.

Farewell, my home hills and fields;
The sheltering clear valley, farewell! 
You will never see Joan again, 
She says you "Farewell" evermore. 
My friends meadows, trees, my nurslings, 
You will blossom and fade without me! 
Cool grotto, quickly running stream, 
I'm leaving you, I'm leaving you, I'm leaving you
And I shall not come back eternally, eternally!

P. S. I beg your pardon for such a crooked translation of romantic poetry.


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## ColdGenius (9 mo ago)

The more common translation of "prosti", "prostite" is "forgive", at least in modern meaning. But there is another meaning, mostly obsolete, used in high literature, and it's "farewell". The same translation was in French.


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## ColdGenius (9 mo ago)

Seattleoperafan said:


> If somebody else wants one. People liked Farrell a lot but no one else really was loved in the first round. That is almost my favorite Farrell aria so I am happy. I am just not familiar with any of the Russians except Borodina. Well, I love Obratszova but I am totally alone in my love of her. Norman is in a lot of other contests. Also there is the matter of the purists who want Russian even though French was the main upper class Russian language at the time.That is my bind here.


I like Obraztsova. 🙂
As for French, of course all the Russian composers spoke it fluently and often spoke some other languages. But they wrote their operas, intended for staging in Russia, on russian librettos since XVIII century. Of course, when they were staged in Europe, they were translated. And a french translation of the story of Jeanne D'Arc seems to be natural. On the other hand, italian and german operas were translated for russian productions, there is a long tradition of it. 
Tchaikovsky also wrote a vocal cycle in French for Desiree Artot.


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## Seattleoperafan (Mar 24, 2013)

ColdGenius said:


> I like Obraztsova. 🙂
> As for French, of course all the Russian composers spoke it fluently and often spoke some other languages. But they wrote their operas, intended for staging in Russia, on russian librettos since XVIII century. Of course, when they were staged in Europe, they were translated. And a french translation of the story of Jeanne D'Arc seems to be natural. On the other hand, italian and german operas were translated for russian productions, there is a long tradition of it.
> Tchaikovsky also wrote a vocal cycle in French for Desiree Artot.


I wasn't aware of that. My understanding of Russian history was flawed. I read up on the opera and found this:Joan’s aria near the end of act one, in which she bids farewell to her familiar world in order to follow God’s commands, is the only part of the opera heard with any degree of regularity today, and oddly it’s usually sung in French rather than the original Russian. [listen] I was not wrong in believing the Russian upper classes favored French but this was waning by Tchaikovsky's time: Click on the link for a full discussion if interested.

__
https://www.reddit.com/r/AskHistorians/comments/5f6p6i


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## MAS (Apr 15, 2015)

Seattleoperafan said:


> I wasn't aware of that. My understanding of Russian history was flawed. I read up on the opera and found this:Joan’s aria near the end of act one, in which she bids farewell to her familiar world in order to follow God’s commands, is the only part of the opera heard with any degree of regularity today, and oddly it’s usually sung in French rather than the original Russian. [listen] I was not wrong in believing the Russian upper classes favored French but this was waning by Tchaikovsky's time: Click on the link for a full discussion if interested.
> 
> __
> https://www.reddit.com/r/AskHistorians/comments/5f6p6i


From the 17th to the middle of the 20th Century, French was the diplomatic language, as well as the language of culture. English overtook it when the United States became the world’s dominant power, though it can be said that the Treaty of Versailles (1919) was written in two languages, English and French. The Olympic Committee still uses French as its _Lingua Franca. _


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## ColdGenius (9 mo ago)

Well, coexistence and interaction of Russia and Europe has long and complicated history and begins almost in prehistory. Trade, wars and diplomacy are eternal. Look at dinastic marriages. Russian princess Anna Yaroslavna was a queen of France in XI century, her mother was a swedish princess. One of loan the Terrible's political adventures was an attempt of matchmaking with Elizabeth I. The strongest and the most well-known european influence on russian culture is associated with Peter the Great, but educational and diplomatic tours of aristocracy began much earlier. In XVIII century Catherine the Great, an exemplary and one of the most skilled russian monarch, was not russian by her ancestry. And the language itself changed a lot, perhaps in XVII, XVIII and the beginning of XIX century more than lately. Exactly in 1810-30, soon after events, described in "War and peace", it approached to relatively modern one. Pushkin was an unarguably main writer of the time, but his searches were prepared by previous generations of men of letters. In "Eugeny Onegin" Tatiana turns her thoughts in words in French. Pushkin writes that her letter is a translation. So, French was important, it's a fact. It was also the time when russian opera was born as we know it today, not just unspecified opera seria with russian libretto. It was rise of romanticism with its interest in national culture, language and history, as in other countries. 
"I finish. And I'm scared to read it again".© I must stop immediately, until I write a treatise. 
P.S. " War and peace" is an acceptable translation, but "War and the people" is more exact. There are homonyms in Russian, now with similar spelling, but before the reform after the 1917 revolution it differed.


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