Back to the intro

Capucine performs MEDEE of Cherubini

Koninklijke Schouwburg Den Haag, Rotterdamse Schouwburg Rotterdam.Medee_Generale_2_HR-6medee with kids

Hundreds of visitors on the edge of their seats

Capucine_Chiaudani_Mezzo_Soprano_15“The Italian Capucine Chiaudani was very convincing on stage and able to jump in flawlessly. And what a jump in! Her aria at the end of the second act of the opera made that many of the hundreds of visitors sat on the edge of their seats.”

Capucine Chiaudani saves production with an immaculate performance

Opera Zuid - Tosca“It is the biggest nightmare of every opera producer: just before opening night the star of the evening comes down with a cold. It happened here. Capucine Chiaudani therefore replaces the collegue and saves the day with an immaculate perforamance. Marvellous singing, music and strong acting…”

Workshops of Capucine Chiaudani at the Opera Studio Nederland, Amsterdam

Capucine_TRy_image_save as JPEGOpera Studio Nederland, Artistic Director Tim Nelson: “I invited Capucine first to work with our students on the bel canto style in preparation for a production of La Boheme. I was extremely impressed with her work, as were all the students who bloomed under her expert guidance. She possesses a clarity and talent for communicating her great knowledge of the style and repertoire, as well as technical vocal instruction. I have further encouraged our students to pursue private study with Capucine, recognizing her gift for vocal pedagogy.

Workshop of Capucine Chiaudani at the Lyric Opera Studio Weimar

Capucine_Chiaudani_Mezzo_Soprano_7Damon Nestor Ploumis General Director Lyric Opera Studio Weimar:” It is with great pleasure that I have recommend as a voice teacher Mrs. Capucine Chiaudani. She proved to be an excellent teacher both with technique and with musical style. The additional aspect of her having Italian as her native language proved to be an invaluable adjunct to her abilities to teach. Capucine was both an inspirating and popular teacher to my students and I would unreservedly reccomend that she be considered for a teaching position in voice.”

FALCON

Capucine_Chiaudani_Mezzo_Soprano_7Falcon is a very rare intermediate voice type between the dramatic soprano and the mezzo-soprano: a darker-colored dramatic soprano.

Falcon Soprano takes the name from the singer Marie – Cornélie Falcon.

Cornélie Falcon (28 January 1814 – 25 February 1897) was a French soprano who sang at the Opéra in Paris. Her greatest success was creating the role of Valentine in Meyerbeer’s Les Huguenots. She possessed “a full, resonant voice” with a distinctive dark timbre and was an exceptional actress. Based on the roles written for her voice her vocal range spanned from low A-flat to high D, 2.5 octaves. She and the tenor Adolphe Nourrit are credited with being primarily responsible for raising artistic standards at the Opéra, and the roles in which she excelled came to be known as “falcon soprano” parts.

[ At the invitation of Nourrit she made her debut at the age of 18 at the Opéra as Alice in the 41st performance of Meyerbeer’s Robert le diable (20 July 1832). The cast included Nourrit and Julie Dorus (who had premiered the role in 1830). The director of the Opéra, Louis Véron, had made certain there was plenty of advance publicity, and the auditorium was packed. The audience included the composers Rossini, Berlioz, Cherubini, Halévy, and Auber, the singers Maria Malibran, Caroline Branchu, and Giulia Grisi.

Her first creation at the Opéra came on 27 February 1833 when she sang Amélie in Auber’s Gustave III. Luigi Cherubini asked Falcon to create Morgiana in his new 4-act tragédie lyrique Ali Baba, ou Les quarante voleurs (Ali Baba and the Forty Thieves). The premiere was on 22 July 1833. Falcon’s next real opportunity to shine came with a new revival of Don Juan. This was a 5-act adaptation in French by Castil-Blaze, his son Henri Blaze, and Émile Deschamps of Mozart’s Don Giovanni. On 3 May 1834 Falcon sang Julia in a revival of Spontini’s La vestale which was a benefit performance for Adolphe Nourrit.

Falcon’s other creations at the Opéra included the roles of Rachel in Halévy’s La Juive (23 February 1835), Valentine in Meyerbeer’s Les Huguenots (29 February 1836), the title role in Louise Bertin’s La Esmeralda (14 November 1836), and Léonor in Louis Niedermeyer’s Stradella (3 March 1837). She also appeared as the Countess in Rossini’s Le comte Ory and Pamira in Rossini’s Le siège de Corinthe (1836).

Having sung many of the important roles of early Grand Opera, Falcon was closely associated with the genre by contemporary audiences. The designation of the voice timbre “falcon”, a dramatic soprano with a strong lower register (and lighter upper register) reflects this. Castil-Blaze described her voice in 1832:

…A range of two octaves extending from b to d”’, and resonating at all points with an equal vigour. A silvery voice, with a brilliant timbre, incisive enough that even the weight of the chorus cannot overwhelm it; yet the sound emitted with such force never loses its charm or purity.

Berlioz’s admiration for the singer was considerable and he engaged her for one of his concerts which he organized that winter in the hall of the Paris Conservatory. It was the second in the series and was presented on 23 November 1834 with Narcisse Girard conducting. Falcon sang Berlioz’s new orchestrations of the songs La captive and Le Jeune Pâtrie breton, and earned an encore in which she sang an aria by Bellini. Falcon also appeared the following year in a concert on 22 November 1835 which was organized jointly by Girard and Berlioz, in which she again sang Berlioz’s Le Jeune Pâtre breton and an aria from Meyerbeer’s opera Il crociato in Egitto.

By 1835 Falcon was earning 50,000 francs/year at the Opéra, making her the highest paid artist there, earning nearly twice as much as Nourrit and three times as much as Dorus.

Roles for Falcon Soprano:

•Valentine (Les Huguenots)

•Rachel (La Juive)

•Eboli (Don Carlos)

•Venere (Tannhäuser)

•Kundry (Parsifal)

•Tigrana (Edgar, first version in 4 acts)

•Santuzza (Cavalleria rusticana)

Famous Falcon Sopranos:

-Jessye Norman

-Grace Bumbry

-Shirley Verrett

-Christa Ludwig

-Giovanna Casolla

-Anna Caterina Antonacci

-Capucine Chiaudani

Braunschweig Classix Festival Liederabend

singing_lessons“…she managed a captivating expression of every sentence – whether they were lyrically soft or dense dramatic: a brilliant singer with complete maturity and warm expression, powerful and then again gentle and soft. Her interpretations moved and stirred the audience. Her charming voice filled the room and served with devotion and easy all registers. Her facial expression gave the hidden melancholic, dramatic or erotic content of the texts a passionate representation.”

Fedra

RosenkavalierYou should know that Capucine Chiaudani performing Fedra, is at the same time a rich and splendid Tosca.(…) To the silky quality of her timbre, both strong and brilliant, rich and velvety, is added a clear, valiant and consistent high register. On the other hand, an adequate and beautiful technique gives her an agility capable of well supported and articulated vocalize.(…) Thanks of such vocal and lyric qualities, we wish to Mrs Chiaudani to interpret other roles as well of the Maestro Simone Mayr and of his pupil Gaetano (Donizetti).

FORUMOPERA.COM , YONEL BULDRINI, Paris

Fedra now available on CD!

The discovery of the Fedra score and Ricordi’s subsequent publication caused the Braunschweig State Opera to stage this work in its first ever performance in Germany. In the name part Capucine Chiaudani sings the role with vocal warmth and a wide range of expression. Very much in the bel canto mode is the flexible light soprano of Rebecca Nelson in the trouser role of Ippolito. She gives an all-round satisfactory feel to the solo singing (CD 1 tr.7. CD 2 tr.10). Tomasz Zagorski is a strongly sung Teseo with the hallmarks of a bel-cantoist in his vocal strength and range as well as in recitative (CD 2 trs.12-13). As Teramene, Dae-Bum Lee’s bass is strong and smooth (CD 1 tr.3). On the rostrum Gerd Schaller handles the ensembles and recitative with a felicitous touch. He keeps the plot moving along yet allows for the enjoyment of Mayr’s melodies and dramatic touch. The chorus sing with commitment and vibrancy.

REVIEWS

“High respect to the singers, because their roles are difficult to sing. On top of that it does there are no example or recorded reference points. Freda demands a lyrical-dramatic (Mezzo)Sopran with sounding High and Low register. The Italian Soprano Capucine Chiaudani, who was repeateadly guest at the Staatstheater Braunschweig, possesses exactly such a flexibility”

“The Fedra by Capucine Chiaudani sounds in all the Primadonna registers without effort; she shines with a strong timbre, which easily reaches all registers. He farewell in her death scene became the real highlight of the evening…”

“The theatre proved to have a lucky hand in the choice of singers. Especially the devilishly difficult, coloratura blessed, very low and than again very high Fedra role, was brilliantly performed by Capucine Chiaudani with great, dark-light voice.”

Fedra, Simone Mayr

Fedra“Fedra, Capucine Chiaudani appeared exhausted, moved and hayppy at the end of the second Act and of two and a half hour opera. The length of the Arias demands the highest conditional performance requirements from the singers. Capucine Chiaudani mastered her part with warm, full voice.”

Next Page »
BETA