Mirella Freni 米雷拉·弗雷妮

概况Overview

米雷拉·弗雷妮 (Mirella Freni，1935年2月27日－），意大利著名女高音歌唱家，以其历久常青的嗓音和生动的表演技巧而著名于世。

简介Biography

米雷拉·弗雷妮(Mirella Freni，1935年2月27日－2020年2月9日），意大利著名女高音歌唱家，以其历久常青的嗓音和生动的表演技巧而著名于世，弗雷妮受到传统式的训练，其嗓音是美声唱法的真髓，伟大的苔巴尔迪赞美她是带有戏剧性抒情女高音的最后一人。她曾出演40多个不同角色，早期唱带有花腔的俏女佣，如莫札特和普契尼的咪咪。遇到卡拉扬后自威尔第到普契尼笔下的戏剧性角色都有。弗雷妮的丈夫也是著名歌剧唱家，来自保加利亚的男低音尼可莱·吉奥罗夫，夫妻二人经常同场演出。在吉奥罗夫的训练下，弗雷妮练成柴可夫斯基的歌剧角色。

生平

米雷拉·弗雷妮，意大利著名女高音歌唱大师，1935年2月27日出生于意大利摩德纳。1955年，她在摩德纳歌剧院首次亮相，出演了《卡门》中的米卡埃拉，1961年，她登上伦敦科文特花园皇家歌剧院，出演了《费加罗的婚礼》里的苏珊娜和《唐璜》里的采妮娜。

1962年，首次在米兰斯卡拉歌剧院登台，1963年，同样在斯卡拉歌剧院出演了由卡拉扬指挥的《波西米亚人》而大获成功，成为当时最炙手可热的女高音，同年在维也纳国家歌剧院出演相同的剧目获得成功。

1965年与1970她在纽约大都会歌剧院与威尼斯凤凰歌剧院登台，同样出演《艺术家的生涯》，咪咪几乎成为她最喜爱的歌剧角色，70年代起，她开始出演更多的威尔第与普契尼的剧目，包括《奥泰罗》、《唐。卡洛》、《西蒙。波卡涅拉》、《埃尔纳尼》、《阿依达》、《蝴蝶夫人》、《玛侬》、《托斯卡》等，到90年代，她出演的剧目更加的广泛，包括《费朵拉》、《奥涅金》、《黑桃皇后》等。

2005年，她在华盛顿结束了自己的演艺生涯，同年在纽约大都会歌剧院，举办了隆重的庆祝她演艺生涯40周年的音乐会，从此她告别了歌剧舞台。

弗雷妮的一生都献给了歌剧，她的丈夫也是二战以后最著名的保加利亚男低音歌唱家尼古拉。吉奥洛夫，两夫妻是歌剧行业里的模范夫妻，弗雷妮2005年退出歌剧舞台以后也致力于培养青年歌者，从来没有中断过自己在歌剧圈内的活动，2020年2月9日逝世，其丈夫也在2004年就已逝世。

摘自：https://www.sin80.com/artist/freni

Mirella Freni is an Italian opera soprano whose repertoire includes Verdi, Puccini, Mozart and Tchaikovsky. Freni was married for many years to the Bulgarian bassNicolai Ghiaurov, with whom she performed and recorded.Freni was born into a working-class family in Modena; her mother and tenor Luciano Pavarotti's mother worked together and an aunt was the soprano Valentina Bartolomasi. She was a musically gifted child, and when 10 years old sang "Un bel dì vedremo" in a radio competition; the tenor Beniamino Gigli warned her, however, that she risked ruining her voice and advised her to give up singing until she was older. She resumed singing at the age of 17. Freni made her operatic debut at the Teatro Municipale in her hometown on 3 March 1955, when 20 years old, as Micaëla inBizet's Carmen. She later married her teacher, the piano player and director Leone Magiera, resuming her career in 1958 when she performed Mimì in Puccini's La bohème at the Teatro Regio in Turin, and sang in The Netherlands Opera 1959–60 season. Her international breakthrough came at Glyndebourne, where she sang as Adina in Franco Zeffirelli's staging of Donizetti'sL'elisir d'amore; in the Glyndebourne 1960–62 season she sang the Mozart comic roles of Susanna in Le nozze di Figaro and Zerlina in Don Giovanni. In 1961, Freni made her Royal Opera House debut as Nannetta in Verdi's Falstaff, and in 1963, her La Scala debut also as Nanetta; Freni went on to become one of Herbert Von Karajan's favourite singers, working with him in operas and concerts. In 1965 she made her Metropolitan Opera debut as Mimì, and later appeared there as Liù in Puccini's Turandot, Marguerite in Faust and Juliette in Roméo et Juliette. The following year she sang Mimì again for her Philadelphia Lyric Opera Company debut, with Flaviano Labò as Rodolfo. From the early 1970s into the 1980s Freni sang heavier Verdi roles, particularly Elisabetta in John Dexter's production of Don Carlo, Desdemona in Otello (oppositeJon Vickers), Amelia in Simon Boccanegra, Elvira in the Luca Ronconi staging of Ernani, Leonora in La forza del destino, and the title role of Aida performed in Houston in 1987. She also added the Puccini heroine Manon Lescaut and Tosca to her repertoire. Although Tosca appears to be only on record, she performed 'Manon Lescaut' in the Metropolitan Opera's 1990 Season, and recorded Madama Butterfly and the three roles of Il trittico. An article in the April 2013 Opera News discusses Freni's approach to roles considered to be more dramatic: "Freni was a judicious singer; she never tried to give more than she had vocally, and she consistently limited her exposure to roles that she knew would be too testing. She refused Karajan's offers of Leonora in Trovatore and Turandot. Elvira in Ernani was set aside after a single run at La Scala (and despite offers to sing the role elsewhere). She recorded Cio-Cio-San twice but never sang the full role in the theater. As Freni told OPERA NEWS in 1987, 'I am generous in many ways, but not when I think it will destroy my voice. Some singers think they are gods who can do everything. But I have always been honest with myself and my possibilities.'" Freni starred in the 1975 film Madama Butterfly opposite Plácido Domingo, with von Karajan conducting and Jean-Pierre Ponnelle directing, and in 1976, played Susanna in the Ponnelle film Le nozze di Figaro, which also featured Dietrich Fischer-Dieskau, Dame Kiri Te Kanawa and Hermann Prey. In 1978 she married Nicolai Ghiaurov, one of the leading operatic basses of the post-war period. Together they helped to establish the Centro Universale del Bel Canto in Vignola, where they began giving master classes in 2002. Following Ghiaurov's death in 2004, Freni continued their work of preserving the bel cantotradition, and currently teaches young singers from around the world. Freni extended her repertoire and style during the 1990s with Italian Verismo, taking on the title roles of Cilea's Adriana Lecouvreur in Milan, Paris, Barcelona and New York, and Giordano's Fedora in London, Milan, New York, Torino, Barcelona and Zürich. In 1998, she performed Giordano's Madame Sans-Gêne in Catania. During this time she sang in the Russian operas of Tchaikovsky, appearing as Tatiana in Eugene Onegin, Lisa in The Queen of Spades, and Ioanna in The Maid of Orleans. In 2000 Mirella Freni scintillated at the 1st Herbert von Karajan Memorial concert under the baton of conductor James Allen Gähres in Ulm, where she sang together with Nicolai Ghiaurov opera arias and duets by Cilea, Tchaikovsky and Verdi. Mirella Freni ended her professional career on stage with The Maid of Orleans at the Washington National Opera on 11 April 2005, performing the teenager Ioanna at age 70.