What Opera have you heard (or seen?) recently?

woodsyi · « **on:** 7 Aug 2009, 07:39 pm »

I am sorting out records in the basement. So I set up a long playlist on my computer and play them. I like the sound of vinyl but PC audio is better when you are busy and tied up working. I had the whole production of Bizet's Les Pecheurs de Perles on the list and I stopped working to listen to the famous male duet, "Au fond du temple saint." This 1977 EMI recording wasn't the best for the duet because the cast is a little weak except for the soprano. I love Cotrubas singing Leila. Nevertheless, the duet was still a "show stopper." I personally like Bjorling's version. What a voice!

Tell me what you have heard recently.

no1maestro · « **Reply #1 on:** 9 Aug 2009, 12:51 am »

I understand going through records downstairs; I have half of mine there and am running out of room. Although I have never used PC as a source, I often use a CD when I am "working" and listening. I also prefer vinyl and have been going through duplicates to get the best set to keep and comparing different media recordings, R2R, CD and vinyl to each other.
The opera I was doing A B listening to was Turandot with Jussi. He was a different kind of tenor for sure. The original vinyl won out over a re-issue, the reel version and the CD. Another recording surprised me; it was the immolation scene from Gotterdammerung with Eileen Farrell/Munch. I picked up a reissue from the late 70s that actually outdid my original. That doesn't happen often enough!

woodsyi · « **Reply #2 on:** 11 Aug 2009, 08:41 pm »

Interesting that you pick a record featuring Eileen Ferrell as Brunnhilde. I just don't think of her as a Wagnerian soprano but then she was brilliant at dabbling at everything. I don't think I have anything of her singing Wagner.

OTOH, I was listening last night to a landmark vintage recording of 1953 Tosca featuring Callas, Di Stefano and Gobbi conducted by Sabata. It's a DMM pressing from Germany. I am not in love with Callas and I normally prefer prettier voices, but this is one role she does well. In this production everything clicked for her and the cast. This recording is one of those rare moments in art that a collective effort transcends anything individuals can do to really create a masterpiece theater. From the noble (idealistic?) Cavaradossi and passionate Tosca to menacing Scarpia, the emotions they generate in this production is breathtaking. This is my ideal Tosca.

no1maestro · « **Reply #3 on:** 11 Aug 2009, 11:57 pm »

When I purchased the first Eileen lp I was a teenager who was teaching himself opera and Wagner was my reason for the buy. I think she tried some Wagner in several opera houses but I am not aware of anything else in my own collection.

As for Callas, I tried her several times due to music magazine articles in the 60s but could never warm up to her particular style and vocal tone. There were too many other nice sopranos out there that I found easier to take. One of my favorite Toscas is on laserdisc with Domingo/Malfitano/ Raimondi. Catherine is the weak link in this production but the fact that it is filmed live in the settings and times of Tosca is rather innovative.

Give me almost any decent Puccini opera, well sung and played and you can keep me pretty happy!

woodsyi · « **Reply #4 on:** 10 Sep 2009, 02:29 pm »

L'elisir d'amore

I listen to two versions last night: Pavarotti/Sutherland/Bonynge recorded in '72 and Domingo/Cotrubas/Pritchard in '77 in SQ. These are two completely different renditions that give you different feelings with PSB giving you light hearted comical relief and DCP giving you hints of dark motives hidden in the farce. I personally like the voices of Domingo and Cortrubas very much, but Pavarotti and Sutherland may have the more purist L'elisir d'amore in their recording. I still get thrills when I hear Cortrubas sing, so I am not very objective here. I enjoyed PSB: I was in thralls with DCP. Both were on vinyl and recently remastered CDs are not as good.

woodsyi · « **Reply #5 on:** 2 Nov 2009, 02:34 pm »

Washington National Opera production of Ariadne auf Naxos on Saturday October 24 at the Kennedy Center Opera House.

Singing was not very well done. The understudy for Cupid after Par Lindskog withdrew was not capable -- I felt really sorry for him to be out there so unsure of himself. Irene Theorin's Ariadne was flat and dissociated beyond the call of the roll. Otherwise, it was alright. They put Justices Scalia and Ginsberg on stage as audience in the Opera within the Opera but it did not make up for the ho hum performance. The evening was not a total disaster as we had a very good Italian dinner at a place with really good sauce.

woodsyi · « **Reply #6 on:** 17 Dec 2009, 05:47 pm »

I just ordered a Blu-ray La Bohem, a movie.

I am hoping the music is also in high definition.

jimdgoulding · « **Reply #7 on:** 29 Jan 2010, 05:15 am »

I must have listened to this 6 times since Wood posted last so I oughta post it, if I haven't already . . Britten's Turn of the Screw (Naxos).

jimdgoulding · « **Reply #8 on:** 7 Aug 2010, 05:47 pm »

Strauss'
Electra (London)

woodsyi · « **Reply #9 on:** 12 Oct 2010, 05:33 pm »

Salome featuring Deborah Voigt. It took a long time for the singers and the orchestra to establish a rapport. The dance of the seven veils works on some productions and not on others. This one fell flat. By the end they got their act together and the final necrophiliac scene where she kisses the bloody decapitated head was revolting and riveting. It was sick (good) and it worked. It's a gruesome opera and you don't want to take your first date to this one. It works as a theater of Macabre. It certainly left me agitated.

jimdgoulding · « **Reply #10 on:** 8 Nov 2010, 01:11 pm »

Britten- The Turn of the Screw (Naxos). Aldeburgh Festival Ensemble.

woodsyi · « **Reply #11 on:** 17 Nov 2010, 06:56 pm »

What struck me the most was how good the recording is. I like the balance of orchestra and vocals. Artistically, it's different but it works in it's own way. Fischer-Dieskau presents a more sensitive, lyrical Rigoletto; Bergonzi, a more "gentlemanly" Duke and Scotto is a little too steely Gilda from what I am used to. But you know what? It still works as Kubelik really does a great job of blending the musical forces. The recording engineer did a great job. Having been to La Scala, I can really appreciate the house sound (which is really good) that I hear on this (original analog) recording.

thunderbrick · « **Reply #12 on:** 17 Nov 2010, 07:13 pm »

Spamalot, last night! Maybe not true opera, but a fabulous show nonetheless.

woodsyi · « **Reply #13 on:** 17 Nov 2010, 07:31 pm »

Quote from: thunderbrick on 17 Nov 2010, 07:13 pm

Spamalot, last night! Maybe not true opera, but a fabulous show nonetheless.

I am fine with it. What is true opera anyway? I will take Les Miserable, Tommy and even Civilization Phase III. Just tell me what makes the "opera" work for you. Was it the music, libretto or the staging of Spamalot that worked for you?

jimdgoulding · « **Reply #14 on:** 25 Dec 2010, 06:35 am »

Madama Butterfly- Karajan with The Vienna Phil and Mirella Freni, et al. (London).

pjg66 · « **Reply #15 on:** 30 Dec 2010, 04:47 am »

Quote from: woodsyi on 17 Nov 2010, 07:31 pm

I am fine with it. What is true opera anyway? I will take Les Miserable, Tommy and even Civilization Phase III. Just tell me what makes the "opera" work for you. Was it the music, libretto or the staging of Spamalot that worked for you?

In the spirit of this open mindedness, just yesterday I watched/listened to the DVD of the 2005 Carnegie Hall in concert production of "South Pacific". A stunning, flawless presentation of this great American musical drama.

By conventional definitions, not strictly opera, of course. But my emotional reactions to it were as great as any I have experienced in listening to recordings of or watching live productions of "real" operas. Since it was a concert version, there was only the music to carry the day. And indeed it did.

The individual performers were so damn good, it just was inspiring. Who would have thought that little old country singer Reba McEntire had it in her to wow the audience like she did. And Brian Stokes Mitchell and Lillias White were both excellent.

Though I am a fervent lover of classical opera, I've often thought that in view of the American musical experience, the definition of this art form should be expanded to include many more examples of theatrical drama set to music. I think the acceptance of "Porgy and Bess" as "real" opera was a great step in that direction (that was, in fact, the last live opera I saw - an outstanding in concert production by the Alabama Symphony).

jimdgoulding · « **Reply #16 on:** 19 Feb 2011, 02:37 pm »

I Pagliacci- Teatro Alla Scala, Von Karajan (DG).

jimdgoulding · « **Reply #17 on:** 24 Sep 2011, 07:54 pm »

Tosca- Callas/Di Stefano/Gobbi/Teatro Alla Scala (Angel mono 1953). This was a gift to me from my mother's best friend, Ruth Fisher, a lotta years ago.

etcarroll · « **Reply #18 on:** 5 Oct 2011, 02:46 am »

Furtwangler conducts 'Wagner, Der Ring des Nibelungen'

Finally got around to steaming this, first 6 lps done.

Doesn't sound bad at all.

Side 9 does look tough however, but we'll see.

jimdgoulding · « **Reply #19 on:** 7 Oct 2011, 03:58 am »

Quote from: woodsyi on 17 Nov 2010, 06:56 pm

What struck me the most was how good the recording is. I like the balance of orchestra and vocals. Artistically, it's different but it works in it's own way. Fischer-Dieskau presents a more sensitive, lyrical Rigoletto; Bergonzi, a more "gentlemanly" Duke and Scotto is a little too steely Gilda from what I am used to. But you know what? It still works as Kubelik really does a great job of blending the musical forces. The recording engineer did a great job. Having been to La Scala, I can really appreciate the house sound (which is really good) that I hear on this (original analog) recording.

If I may, I enthusiastically agree with you about balance, Wood, whatever the opera. It's a deal breaker.