Talk:Il Sant'Alessio
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Voice types
[edit]On 24 November User:Jacob Carpenter modified the voice types without citing any reliable sources. On 25 November I added a list of references containing the links to a period printed score and the libretto, and I edited new voice types according to the clefs used in the score, stating it in a footnote. On 15 December user Carpenter restored the voice types he had previously edited without any justification, so that they are now falsely stated as according to the score clefs.
Since I do not want to open an edit war, I hope that someone else will be willing to intervene. I apologize for my English.--Jeanambr (talk) 18:15, 20 December 2016 (UTC)
The voice types are according to what I have observed through my own look at the score, madam. With all due respect, only Angelo "Angeluccio" Feretti, the castrato who portrayed Alexius's mother, and the castrato who portrayed Curtius were true sopranos. I understand the historicity surrounding period classifications, but modernly, the remainder were mezzo-sopranos. As a sopranist myself, I oft examine lines for the highest inside my own range and tessitura. Saint Alexius's and the angel's suit me best.
[Doctor] Margaret Murata and I exchanged electronic mails several years ago upon gaining the courage to investigate the details behind Il Sant'Alessio. Obviously, none can cite those as proper documentation. Nonetheless, I have her main book in my possession. Where, I cannot look offhand because I am physically disabled. The text is a reliable proof, is it not? Murata listed the messenger as 'Sofronio.' Why, I cock my head to the side in slight confusion--generic 'Nunzio' is the likely countertenor part. Mario Savioni, papist contralist, sang alto like Stefano Landi himself did.
Simone Papi was a tenor:
'Adrasto' (Adrastus) is a high tenor. The 1996 recording by Ensemble Les Arts Florissants used such a man in that slot. They did so again with Englishman Ryland Angel, albeit in an absurdly lowered key to suit voices unable to tackle the pitch Landi determined. Croatian mezzo-sopranist Max Cencic's dramatic projection could have tackled Marco Pasqualini's personage easily. However, he (id est Cencic) started his own You Tube channel this year. I sent him a question about a possible compact disc of arias composed for that castrato. Cencic expressed disinterest, yet, neither he nor Murata contested me labeling Pasqualini as not a sopranista.
Mezzo-sopranos, director William Christie chose for the female parts outside Alexius's spouse and guardian angel. This opera is so obscure, I abhor the minimal stagings since the dreadful 1970s attempt. Quickly, I wanted to point out that I mistakenly tried interlibrary loaning via my elder brother's university account to read up on the Barberini dramas. He was given a 1997 modern setting of Luigi Rossi's L'Orfeo'. Domenico del Pane's surname is shown alternatively as 'del Pame,' among others:
http://imslp.org/wiki/O_quam_suavis_est_(Dal_Pane,_Domenico)
I have access to Grove Music Online because of Murata's direction to Early Music America. I looked up the singers' articles. Pasqualini's Treccani.it entry was overhauled by her. He is called 'Pasqualino' in the early twentieth century source:
Margherita Costa's full name is 'Maria Margherita Costa' in Grove. The castrato who was summoned to France to be the goddess Gelosia (Jealousy) was an alto named Micinello Panfili, a student at the Roman Seminary.
I am not used to Wikipedia's controls, so citing sources on it is clearly arduous on my end. Regarding Rossi's Il Palazzo'Incantato, people have conjoined names (Marco Antonio Pasqualini=Marc'Antonio Pasqualini). Some have said that in the past, but following Romanism's naming custom (back then, at least) disguises Pietro Paolo Visconti (cross-dressed Marfisa) as just Paolo Visconti. I know not what occurred to the non-Sistine choristers. 'Francesco,' Murata gave as speculated names of Rossi's subjects for the anonymous dwarf, lady, and echo. She linked me this libretto page:
http://www.librettidopera.it/palinc/palinc.html
Please, if you can format the changes rightly, I beg you or anyone else to do so. I wish not to engage in a broad dispute, but I must contest the revised edits you made. They may well list conflicting information; however, I likewise am a skillful genealogist. Records can show alternative names, dates. et cetera. meaning a note to relay such is minimally in order. // Jacob Carpenter (talk) 22:21, 20 December 2016 (UTC)
- I don't think it is valid to use the clefs to determine the voice type. This clearly falls under WP:OR. The articles in Grove Music Online and Pipers Enzyklopädie des Musiktheaters name all high voices as „soprano“. Also the voice type „mezzo soprano“ was not known at this time. I did not find any mention of it for Sant’Alessio in the literature. Additionally many singers of the first performances were not castratos but boys, e.g. „Paoluccio“ Cipriani as Roma or the servants Martio and Curtio (which are also incorrectly spelled here). --Rodomonte (talk) 08:31, 15 January 2018 (UTC)