AudioCircle
Music and Media => The Audio Circle Opera House => Topic started by: woodsyi on 7 Aug 2009, 07:39 pm
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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. (http://www.youtube.com/watch?v=Zdb94HbyRko) What a voice!
Tell me what you have heard recently.
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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!
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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.
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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!
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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.
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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.
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I just ordered a Blu-ray La Bohem (http://www.amazon.com/gp/product/B002Q9MZHE/ref=ox_ya_oh_product), a movie.
I am hoping the music is also in high definition.
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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).
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Strauss'
Electra (London)
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Salome (http://www.dc-opera.org/seasontickets/1011/salome.asp) 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.
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Britten- The Turn of the Screw (Naxos). Aldeburgh Festival Ensemble.
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(http://s.dsimg.com/image/R-2204815-1270109736.jpeg)
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.
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Spamalot, last night! Maybe not true opera, but a fabulous show nonetheless.
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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?
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Madama Butterfly- Karajan with The Vienna Phil and Mirella Freni, et al. (London).
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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).
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I Pagliacci- Teatro Alla Scala, Von Karajan (DG).
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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.
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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.
(http://www.audiocircle.com/image.php?id=52128)
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(http://s.dsimg.com/image/R-2204815-1270109736.jpeg)
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.
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Hey!
When to see Met Opera's production of Rossini's "The Barber of Seville" at the Lincoln Center here in NYC on Wednesday.
http://www.metoperafamily.org/opera/il-barbiere-di-siviglia-rossini-tickets.aspx (http://www.metoperafamily.org/opera/il-barbiere-di-siviglia-rossini-tickets.aspx)
It was my first opera and first time at the Lincoln Center. Why I chose this for my first opera? Well, there is a reason to that.... two actually. I know the "Figaro" song since I was a kid from Bugs Bunny cartoon :lol: And somehow lately my coworker have been singing that song :lol:
Luckily there are performing that this season. It was great. I really enjoyed it, well have to thanks the fact that there is display with translation. It is a funny opera. The stage set was nice too and so with the costumes. And all the performers are great, very fluid, natural and not robotic.
The only bad part was the fact that I can't afford more expensive seats. So, I got box seat on the balcony level for $25 per seat... I was in box 8. These seats are listed as "partial view" and yes it is hard to see the edge of the stage on your side... and unfortunately that most of the first half happen on the side I was sitting! :duh: So me and my friend were leaning over to see what's going on. At the end I think we both got a bit of a backache :lol: But she does agreed with me that it was worth it. :D
Anyway, it was a nice experience. So, much so that we might go back again... well she wants to see "Madama Butterfly" that she I've seen before when she was young. Well, let's see. :D
Take care,
Buddy :thumb:
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Does a cantata count? Bach's Actus Tragicus (German Harmonia Mundi). Listened to, not seen, night before last. Hope you and your Mrs. get to attend Madama Butterfly, Buddy. Last one I saw was Turandot put on by the Houston Opera. In addition to the music, the lighting and settings were fantastic
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Buddy,
An evening out at the Met is a good night where ever you sit. I have sat way up in the family circle before and still enjoyed it. I hope you do get to Madama Butterfly. I just saw Patricia Racette in Tosca and I think she can do Cio Cio San. I don't know anything about Liping Zhang though she must be good if she is singing lead at the Met.
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Does a cantata count? Bach's Actus Tragicus (German Harmonia Mundi). Listened to, not seen, night before last. Hope you and your Mrs. get to attend Madama Butterfly, Buddy. Last one I saw was Turandot put on by the Houston Opera. In addition to the music, the lighting and settings were fantastic
Buddy,
An evening out at the Met is a good night where ever you sit. I have sat way up in the family circle before and still enjoyed it. I hope you do get to Madama Butterfly. I just saw Patricia Racette in Tosca and I think she can do Cio Cio San. I don't know anything about Liping Zhang though she must be good if she is singing lead at the Met.
Hey!
Yup, look like I'm going to see "Madama Butterfly" alright. She kept insisted on this one :icon_lol: So, I got the tickets for two for later December show :D And yes box seat again, one behind the one I was at last week.
woodsyi, you are right it was a good night even with some leaning :lol: I have to say it was very interesting to sit higher and get to see what's going on the back... a difference perspective view of stage. :D Also, the experience also extended to the feel of the Lincoln Center itself and the crowd.... seems to be more of older people there, with some younger mixed in. :D
As far as the performers, I have no idea who they are. I'm pretty new to this thing. Well, "Madama Butterfly" will be my second opera. I know a bit about "The Barber of Seville"... I know it was a comedy opera but I don't know anything about "Madama Butterfly" I'm pretty sure is it not going to be funny one. Anyway, good thing there is a translation display. :D
Well, that will be almost 2 months from now. I'm surprised of how the seats are filled up fast way ahead of the show date. Anyway, I will report back on "Madama Butterfly" :D
Take care,
Buddy :thumb:
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Butterfly is not a comic opera, you can believe that, and good for your wife for insisting. That can't be bad. Me mom liked Gilbert & Sullivan when I was a kid while I was listening to R&B on the radio. The first song my mom played for me that I remember, however, was September Song sung by Walter Huston. Not a gay sentiment that one.
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Butterfly is not a comic opera, you can believe that, and good for your wife for insisting. That can't be bad. Me mom liked Gilbert & Sullivan when I was a kid while I was listening to R&B on the radio. The first song my mom played for me that I remember, however, was September Song sung by Walter Huston. Not a gay sentiment that one.
Hey!
My wife? No, she is not my wife :lol: But good enough for me to say yes when she bugged me :icon_lol:
Yeah, I know Madama Butterfly is not a comedy one. But I'm pretty sure that the Met Opera company will put on a good one. I just have to wait almost 2 months form now to see it :icon_lol:
Take care,
Buddy :thumb:
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Sounds exciting, Budman. Not the having to wait part.
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Hey!
.......... The only bad part was the fact that I can't afford more expensive seats. So, I got box seat on the balcony level for $25 per seat... I was in box 8. These seats are listed as "partial view" and yes it is hard to see the edge of the stage on your side... and unfortunately that most of the first half happen on the side I was sitting! :duh: So me and my friend were leaning over to see what's going on. At the end I think we both got a bit of a backache :lol: But she does agreed with me that it was worth it. :D
Anyway, it was a nice experience. So, much so that we might go back again... well she wants to see "Madama Butterfly" that she I've seen before when she was young. Well, let's see. :D
Take care,
Buddy :thumb:
The only (perhaps) disadvantage sitting all the way up there is that you'd need binoculars to see what the characters are doing with the finer movements. Otherwise, ALL the sound mix well up there. Should you be sitting in the 9th orchestra row somewhere, the sounds will flow above your head into the stratosphere. What you would hear would not be balanced.
It sounds better UP THERE, Bud! Well, warmer too 'cos hot airs rise. :thumb: Besides, the person next to you in the orchestra could be a high-brower too!!!! :lol: You don't want to associate with "those" :rotflmao: :bawl:.
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The only (perhaps) disadvantage sitting all the way up there is that you'd need binoculars to see what the characters are doing with the finer movements. Otherwise, ALL the sound mix well up there. Should you be sitting in the 9th orchestra row somewhere, the sounds will flow above your head into the stratosphere. What you would hear would not be balanced.
It sounds better UP THERE, Bud! Well, warmer too 'cos hot airs rise. :thumb: Besides, the person next to you in the orchestra could be a high-brower too!!!! :lol: You don't want to associate with "those" :rotflmao: :bawl:.
Hey!
The sound was fine up there, I can hear all the note and even small detail so no complaint there. :D Actually I was surprised of how the sound was like up there.
But I can see why the sound will be above your head when with those seats down there because the orchestra pit project the sound up from the pit. Hmmm... better view but worst sounding :lol:
Orchestra seats? Well, I don't think you will see me sitting there anytime soon.... can't afford it. :icon_lol: I think I will have to stick with cheaper seat up there , but at least now I know I get a better sound up there. :D
Take care,
Buddy :thumb:
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Hey!
My wife? No, she is not my wife :lol: But good enough for me to say yes when she bugged me :icon_lol:
Sounds like a wife to me! :lol:
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Went to Welsh National Opera in Oxford last week, to see Katya Kabovna, Janacek. I have never been a great Janacek fan, a bit hard core for me, but the production was excellent.
The Welsh National is a small UK company, origonal home of Bryn Terfel;. I have been going to see them for over 30 years, only one bad prooduction in that time
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1 dud in 30 years is quite remarkable. I have seen more from Washington National Opera in 20 years. If you mean dark and serious when you say hard core, I agree with you on Janacek. I have only seen Jenufe and the Cunning Little Vixen and don't know much about Katya Kabovna. The seriousness I think comes from the Slavic culture. I was once flabbergasted with a children's book written by Tolstoy that was given to my daughter. Talk about dark and grim. :o Although the themes are serious I find a lot of Janacek's music beautiful.
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Two weekends in a row at the SF opera. Carmen then Xerxes.
Xerxes was as good as the classic Carmen, imho.
The set design for Xerxes was really fun, as well as its comedic delivery.
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Bill, you are lucky to have SFO really step up with variety of productions. Xerxes sound like it was a fun one. Handel injected unusual comic relief in this opera "seria" and got flak for it but it sounds like it translates to modern sensibility quite well. There is a revival of Baroque operas and I think this one is a good one because of the comic side. Now you have to rent or download Farinelli and see the Opera Seria at its sublime height. Keep up with the subscription and keep moving to better seating. 8)
Last few years with Doming to as the director, WNO resorted to producing the tried and true variety to offset reduction in fund raising. The Kennedy Center took over WNO's operation and I hope the resulting financial stability means more operas from off the beaten path.
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I used to go to the Met years ago but I am now on disability and getting to NY and tickets are not in my budget. However I have been going to the Live at the Met series at my local AMC movie theater. Operas are done live and an encore is done at a later date.
This Saturday the Met is doing Faust, go see it, the cast is excellent.
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Heard a very special opera....here Rim have a listen....LINK.. (http://www.youtube.com/watch?v=3gr0blCUWJs) :wine:
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If you really want to hear funny opera, you can do no better than this!
http://www.amazon.com/Bach-Stoned-Madrigals-Triumph-Thusnelda/dp/B000000EEQ
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Boris Godunov by Musorgsky at Chicago Lyric Opera.
the only fun part of the event was the fact that there were about 40% Russians in the audience!
Seriously, though it was a very nice performance.
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Heard a very special opera....here Rim have a listen....LINK.. (http://www.youtube.com/watch?v=3gr0blCUWJs) :wine:
Thanks Chris for the operatic B-day wish. Just celebrated at a sushi restaurant with the family. Tomorrow just the wife and I will have a date night out to the Kennedy Center for Cosi fan Tutte.
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Saw the Met Gotterdamerung on 02/11/2012 at my local AMC theater. Started at 12 and finished around 6PM. I heard some whiners complaining about little things price of ticket ($22), sound, etc. I tore into them between acts. They should be thanking their lucky stars that AMC was generous enough to share a theater, where they could have shown (3) 2 hour movies during the time for one Gotter. BTW, the theater was filled and not just with old farts.
Now the important stuff; the voices were great. The women in the audience were very much loving the Siegfried with bare arms, partial chest and long blond hair. The men were also happy with the Brunnehilde and Gutrune, both with ample bosoms and equally low cut outfits. I thought Hagen was a bit stiff, but Alberich was slimy and evil.
The orchestra played very well. Most of the story that Wagner incorporated into the Ring was well integrated but the business about Siegfried switching to Gutrune and Gunther getting Brunnehilde is pretty weak and when Brunehilde swears a death oath for Siegfried on Hagen's spear, it's a pretty quick flip-flop from the undying love duet at the beginning of Act 1.
A funny Wagner moment was done with good timing, when Siegfried captures/conquests Brunnehilde disguised as Gunther. Later on he is accused of taking advantage while in disguise and pleads his case by singing he placed his sword between him and Brunnehilde while in her bedchamber for honesty. Brunnehilde sings back that she knows what Nothung (his sword) looks like, she also saw it on the wall and that was no sword she felt between them! :lol:
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Oh BTW, aside from the great cast and singing, do not miss the Met Manon. Anna Netrebko in a glorious red dress, what else to say! :wink:
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Tonite, and again, I Pagliacci- Teatro Alla Scala (DG, 1966).
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Tonite, and again, I Pagliacci- Teatro Alla Scala (DG, 1966).
Jim,
Bergonzi is a great professional singer and this recording is good but I would highly recommend the 1953 RCA Victor recording with Jussi Björling, Victoria de los Ángeles and Leonard Warren. All three are in top form on this one. Jussi's Vesti La Giubba (http://www.youtube.com/watch?v=xFuy1MTrlcc&feature=related) is arguably the best ever. I like Caruso and Gigli too but I don't believe there are complete operas preserved in recording featuring these greats.
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Woodsyi,
I totally agree, the Bjoerling Pagliacci is one of the glories of the 20th century. Add in de los Angeles, Warren and Serafin (I think) conducting and you have a sure fire hit. Actually I would rank Jussi right next to Caruso. The main problem is that there are so few really good recordings of Caruso's voice, but even with that caveat, he still sounds good enough to jump past Jussi. To me Caruso has more power and a bit darker that suits those Verdi roles very well. Now Jussi has a more bell like tone for the lighter Italian roles, the French and of course those great Puccini tenor roles.
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Hey, thanks, gents. I really like the recording of the orchestra on my copy. I have heard "Vesti la Guibba" sung more powerfully and it deserves to be sung powerfully, imo. I take it the RCA is mono?
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Jim and Wood,
Thanks for this discussion. It made me look up a few things, like how an RCA opera wound up on EMI. Here's the explanation.
In 1953, he recorded the role of Turiddu in a complete version of Cavalleria Rusticana opposite Milanov for RCA Victor, but because Victoria de los Ángeles was under contract to EMI, the recording of the complete Pagliacci, made concurrently with Cavalleria, was not released by RCA, but by EMI. Robert Merrill appeared on both albums, but Leonard Warren was featured only on the Pagliacci one, as Tonio.
Pretty cool. BTW yes it is in mono (very good mono) but if you want the best CD of it, get the 1998 remastering. It was also made in 1989, but that mastering job wasn't so hot. The difference is the 1989 has the original EMI colors (mainly white with some blue stars), while the 1998 copy has a picture of Bjoerling as Canio. Hope this helps.
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On vinyl? Thanks.
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Jim,
Actually I have the Seraphim LP's in mono as well as the 1998 re-master job on CD. When I looked on Amazon the LP's are still available. I think for about $12.00. So you can pick your poison.
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Saw the Met Gotterdamerung on 02/11/2012 at my local AMC theater. Started at 12 and finished around 6PM. I heard some whiners complaining about little things price of ticket ($22), sound, etc. I tore into them between acts. They should be thanking their lucky stars that AMC was generous enough to share a theater, where they could have shown (3) 2 hour movies during the time for one Gotter. BTW, the theater was filled and not just with old farts.
Now the important stuff; the voices were great. The women in the audience were very much loving the Siegfried with bare arms, partial chest and long blond hair. The men were also happy with the Brunnehilde and Gutrune, both with ample bosoms and equally low cut outfits. I thought Hagen was a bit stiff, but Alberich was slimy and evil.
The orchestra played very well. Most of the story that Wagner incorporated into the Ring was well integrated but the business about Siegfried switching to Gutrune and Gunther getting Brunnehilde is pretty weak and when Brunehilde swears a death oath for Siegfried on Hagen's spear, it's a pretty quick flip-flop from the undying love duet at the beginning of Act 1.
A funny Wagner moment was done with good timing, when Siegfried captures/conquests Brunnehilde disguised as Gunther. Later on he is accused of taking advantage while in disguise and pleads his case by singing he placed his sword between him and Brunnehilde while in her bedchamber for honesty. Brunnehilde sings back that she knows what Nothung (his sword) looks like, she also saw it on the wall and that was no sword she felt between them! :lol:
Man - I came THIS close to seeing that the other week, hate that I missed it. I did get tix to Das Rheingold for this April, however.
I went with my wife to see Philip Glass' "Satyagraha" recently, and it was one of the most enjoyable opera experiences we've ever had. Was also kind of cool to be sitting a couple of rows behind Lou Reed and Laurie Anderson. 8)
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Saw Tristan & Isolde at the Dallas Opera last week, production was incredible, they use projectors to create ocean and waves on to the stage for the 3rd act, most amazing. The singing was only ok.
Right now about half way through 1953 The Krauss Ring, a total of 14 CDs.
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Coverto,
Even though encores for Siegfried and Gotter are not officially announced, I have written correspondence from the Met that they will be added, maybe the late spring early summer. If you haven't seen Manon or Traviata get tickets because it's a great cast.
Shooter,
Krauss is OK for me, but I am a Keilberth man. Mainly 1955 for the glorious singing, everyone in the Solti cast basically but 10 years younger! Hotter was unfreakin' believable, in Die Walkure.
Lastly, sad to inform that the Met Faust had the worst set design in history! It looked like a concentration camp diary (the Diary of Anne Frank had more love and joy than this turkey!). The flowers in the background of the second act looked like some Baz Luhrman nightmare from the flick with Nicole Kidman. The 2nd act is supposed to be a love scene (even though the devil was behind it) and it had about the same level of romance as a steel frame of a skyscraper. Truly sorry I went, but glad I saw it at the movies and did not pay for a Met ticket.
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Thanks, mate. I'll look for the Seraphim. Let you know.
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Jim,
Another reason to get the old LP's is that sides 1-3 contain the opera and side 4 has other arias by Jussi. The CD's are convenient but the LP's have more music.
John
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Got me to listen to 3 Pagliaccis I have on vinyl featuring Bergonzi, Björling and Correlli. I also listened to renditions of Recita...Vesti La Giubba by Caruso, Gigli, Del Monaco, and Di Stefano on vinyl; Domingo and Pavarotti on CDs.
Caruso, Björling, Del Monaco, Correlli, Gigli, Di Stefano, Domingo, Bergonzi and Pavarotti are in order of my preference. It's really a dramatic spinto role and you need at least a spinto voice to express the right emotion. Jussi Björling is exceptional in that he can carry this off from a lyrical tessitura.
Having said all this, they are all good. I enjoyed listening to all of them.
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Just ordered the Bjorling. Thank you very much, fellas. One of only 3 on LP at Amazon. $12.00. You can bet I will clean and treat it and, then, play it! :angel: :angel:
Wood, how the heck did you get those double dots over the O in Bjorling?
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Coverto,
Even though encores for Siegfried and Gotter are not officially announced, I have written correspondence from the Met that they will be added, maybe the late spring early summer. If you haven't seen Manon or Traviata get tickets because it's a great cast.
Yeah, I did catch Traviata last fall with Marina Poplavskaya - probably the most amazing opera performance I've ever witnessed first-hand. No, definitely the most amazing, actually... If she's doing a reprise, I'd be tempted.
Meanwhile, managed to grab tickets for Das Rheingold next month, I'm very happy to say.
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The Seraphim mono I Pagliacci arrived today from a chap named Phillip Curtis aka "philsroadkill" by way of Amazon. It was advertised as used, good condition, $12.00. Out of the box it looked very good and like it had been cleaned already. Playback is very quiet, almost new like. Thanks, Phil who lives north of Dallas. Happy camper here.
I hadn't realized that one conductor could be so different from another. I couldn't tell where "Vesti la Guibba" began, for example, and even some notes sounded different in the orchestra pretty often, I thought. But, the singers, oh, you guys are right. De los Angeles seems so comfortable and her voice is pure grace and power. Merrill sounds like he eats nails for breakfast, no problem. BIG, warm voice. And Bjorling is the most stirring Canio I've ever heard. I might prefer a little warmer tone but he can BRING the emotion and take the loudest notes to the rafters, I have no doubt.
Thanks for turning me on to this one. I'll listen to it side by side with my '69 DG stereo release tomorrow night. But, I DO prefer the singing on this one, you bet. That I can say right now.
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So, in fairness to the singers on my DG copy is that the DG is in stereo and I think they were miked at greater distance to create the experience of listening in the hall itself. For that reason, and because the engineering is so successful to include the orchestra, it will remain my go to record. But, the vocals are powerful and the singing superb to me on the Seraphim. Like I've said already, I've never heard a more stirring Canio and that goes for the rest of the cast, too. Thank you guys, again. I will be playing this many more times. I have yet to here the second act, but will remedy that soon.
Doc, Bjoerling had my heart in my throat on "Donna non vidi mai!" from Puccini's Manon Lescalt from the operatic excerpts on Side Four. I'll be coming back to these, too.
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Jim,
I hear you about the orchestra. I love this Aida (1959 DECCA SXL 2167/9 WB) because Karajan really gets gorgeous music out of the orchestra. I mean the singers are great, especially Tebaldi and Simonato but the orchestra is what makes this one special. The Marcia trionfale really is triumphant. Karajan with orchestra is like the tubes -- lush, beautiful and romantic at best and slow and bloated at worst. In this one he is lush and beautiful. :thumb:
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That's another I don't have, Rim, but will remedy that, PDQ. Thanks.
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Just as soon as I finish Howard Hanson's Lament for Beowolf- orchestra and chorus (Mercury Living Presence)- I'll be spinning Callas, DiStefano, Gobbi and TOSCA with De Sabata conducting the La Scala Orchestra and Chorus (Angel). :)
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Enjoy the Tosca of all time. I don't usually care for Callas' voice but she was born to sing Floria and her voice is in good form here in 1953. Gobi's Te Deum is pulsating with obsessive lust, Di Stefano sings beautifully as Mario and De Sabata can bring it with the best of them. Critics, including Puccini himself, may deride his style as "lull and attack" but it suits perfectly in Tosca. :thumb:
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Thanks, Rim, for your encouragement. The TOSCA is magnificent, for mono. Agree on Di Stefano.
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Just lettin you know, Rim, that I finally got around to ordering the Decca Aida. Should be here anyday. Cheers
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Jules Massenet's Werther by Washington National Opera at the Kennedy Center last Saturday. It's the last one for this season. I thought the conductor did a very good job with the orchestration. You want to shake Werther by the shoulders to snap him out of his pathological love by the end of the opera. Be that as it may, the roles were sung well and it was quite enjoyable.
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Just saw "Kennedy in China" at the sf.
Fantastic. Best modern opera I have seen. I left the opera humming and contemplating. The sf production has brilliant art and set people, not to mention great casting. Amazing, must see.
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Just saw "Kennedy in China" at the sf.
Fantastic. Best modern opera I have seen. I left the opera humming and contemplating. The sf production has brilliant art and set people, not to mention great casting. Amazing, must see.
Be careful, Bill. You are showing your political bias. So you like Kennedy better than Nixon, eh? :lol: I am jealous that you got to see "Nixon in China" in person first. I have not seen that one. I hope to see it some time.
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OMG :o
DUH :duh:
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That is what I get for crowing about going to the opera. :cry:
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WNO's season premiere with Anna Bolena featuring Sondra Radvanovsky in the title role. It was good and she has a lovely voice but she was a little off this night. I attributed the "muddledness" to her (and the orchestra's) inappropriate modulation but the post critique heard it as a rhythm issue. It maybe a combination of both. It still was a very good show and we enjoyed it immensely. But such is the chance you take with live productions. Also my series is the opening nights which typically is not the best performance but such is life. You take what you can get.
Don Giovanni a week later was a good professional production without any glitches but also not inspiring any epiphany. Thoroughly enjoyed the production but there was nothing surprising since I saw the same production in '07. Opera finances are such that new productions are rare these days. Opera Houses usually borrow from each other but this production is from right here -- just 5 years removed. The Commendatore scene always seem abrupt to me dramatically and the whole aftermath of moral play is not necessary in my opinion. We had a great time.
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This was highly enjoyable. Wonderful singing from all the performers, challenging music, beautiful stage craft. Highly recommended for those interested in hearing a contemporary opera. One weakness as pointed out in the NYT review was the libretto filled with too many trite and forced rhymes.
http://www.nytimes.com/2012/10/25/arts/music/an-inspired-and-personal-tempest-makes-met-debut.html (http://www.nytimes.com/2012/10/25/arts/music/an-inspired-and-personal-tempest-makes-met-debut.html)
Still it was a great night. The only thing better would be to see/hear it live in NYC.
A few weeks ago I heard Ades conduct the BSO in one of his pieces, In Seven Days as part of a marvelous concert including Dawn Upshaw singing Sibelius Luonnotar, for soprano and orchestra; Kiril Gerstein playing the Prokofiev Piano Concerto No. 1 & concluding with Sibelius Symphony No. 6. We were so taken with the whole night, we wanted more and decided to go see the Met Live in HD encore.
Wondering if anyone else here has seen/heard this opera and what they think?
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I just saw a few scenes from the London Premier on YouTube. What tough singing for Ariel. :o
Contemporary compositions are hit and miss in my experience but it sounds like you had a good time. I am sure Lepage made it an interesting production. I was pretty impressed with his whole Ring Cycle. I don't know much about Thomas Adès but I will be watching his progress.
WNO is taking a different tack at presenting contemporary music. They have Jerome Kern's Show Boat coming up in May. Is it Opera or Broadway Musical? I have seen Broadway productions. It will be interesting to see if there will be any difference.
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woodsyi - thanks for mentioning the video of the Royal Opera Covent Garden Production. It has a much sparser look than the Met's version. I may pick up the recording as I find the music compelling.
Certainly the Musical is an off shoot of classic Opera. I hope you enjoy that production.
One great thing I wanted to mention about the theatre showing the Met Live in HD near me is that they have recently upgraded the sound system and it sounded pretty darn good. Nothing offensive as I had experienced a few years back at the first live in HD showing I saw, Domingo as baritone in Verdi's Simon Boccanegra.
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Went to the San Francisco Opera last Sat. and enjoyed Tosca. There was a fill in for Angela Gheorghiu ( Tosca ) who was " indisposed " Melody Moore was her name. I didn't care for the tenor who sang Cavaradossi ( Massimo Giordano ) I thought he was a bit too throaty for me or at least that's what I call it. The scenery was beautiful however. All in all an enjoyable evening.
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(http://gargoyle.smugmug.com/Music/CD-Choral/i-2nvZ4vf/0/L/51qmiqFH06L._SS500_-L.jpg)
1. Aida: Prelude Maria Dragoni 4:13
2. Aida: Act I: Se quel guerrier io fossi! ... Celeste Aida Riccardo Ferrari 4:28
3. Aida: Act I: Ritorna vincitor! ... I sacri nomi di padre, d'amante Maria Dragoni 6:29
4. Aida: Act I: Dance of the Priestesses Riccardo Ferrari 2:39
5. Aida: Act II: Dance of the Moorish Slaves Maria Dragoni 1:45
6. Aida: Act II: Sul del Nilo al sacro lido ... Numi, pieta del mio martir Riccardo Ferrari 2:54
7. Aida: Act II: Gloria all' Egitto Maria Dragoni 3:19
8. Aida: Act II. Grand March Riccardo Ferrari 1:34
9. Aida: Act II: Ballet Music Francesco Ellero D' Artegna 4:43
10. Aida: Act II: Vieni, o guerrero vindice Riccardo Ferrari 2:29
11. Aida: Act III: Qui Radames verra! ... O patria mia Maria Dragoni 6:23
12. Aida: Act III: Ciel mio padre! ... Su dunque! Riccardo Ferrari 5:08
13. Aida: Act IV: L'Aborrita rivale a me sfuggia ... Gia i Sacerdoti Francesco Ellero D' Artegna 3:54
14. Aida: Act IV: Die mie discolpe Riccardo Ferrari 0:59
15. Aida: Act IV: Morire! Ah, tu dei vivere Francesco Ellero D' Artegna 2:39
16. Aida: Act IV: Chi ti salva, sciagurato Riccardo Ferrari 0:36
17. Aida: Act IV: E la morte un ben supremo Francesco Ellero D' Artegna 1:25
18. Aida: Act IV: La fatal pietra ... Morir! si pura e bella Riccardo Ferrari 6:07
19. Aida: Act IV: O terra, addio; addio di vale di pianto Francesco Ellero D' Artegna 5:17
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(http://gargoyle.smugmug.com/Music/CD-Choral/i-2nvZ4vf/0/L/51qmiqFH06L._SS500_-L.jpg)
1. Aida: Prelude Maria Dragoni 4:13
2. Aida: Act I: Se quel guerrier io fossi! ... Celeste Aida Riccardo Ferrari 4:28
3. Aida: Act I: Ritorna vincitor! ... I sacri nomi di padre, d'amante Maria Dragoni 6:29
4. Aida: Act I: Dance of the Priestesses Riccardo Ferrari 2:39
5. Aida: Act II: Dance of the Moorish Slaves Maria Dragoni 1:45
6. Aida: Act II: Sul del Nilo al sacro lido ... Numi, pieta del mio martir Riccardo Ferrari 2:54
7. Aida: Act II: Gloria all' Egitto Maria Dragoni 3:19
8. Aida: Act II. Grand March Riccardo Ferrari 1:34
9. Aida: Act II: Ballet Music Francesco Ellero D' Artegna 4:43
10. Aida: Act II: Vieni, o guerrero vindice Riccardo Ferrari 2:29
11. Aida: Act III: Qui Radames verra! ... O patria mia Maria Dragoni 6:23
12. Aida: Act III: Ciel mio padre! ... Su dunque! Riccardo Ferrari 5:08
13. Aida: Act IV: L'Aborrita rivale a me sfuggia ... Gia i Sacerdoti Francesco Ellero D' Artegna 3:54
14. Aida: Act IV: Die mie discolpe Riccardo Ferrari 0:59
15. Aida: Act IV: Morire! Ah, tu dei vivere Francesco Ellero D' Artegna 2:39
16. Aida: Act IV: Chi ti salva, sciagurato Riccardo Ferrari 0:36
17. Aida: Act IV: E la morte un ben supremo Francesco Ellero D' Artegna 1:25
18. Aida: Act IV: La fatal pietra ... Morir! si pura e bella Riccardo Ferrari 6:07
19. Aida: Act IV: O terra, addio; addio di vale di pianto Francesco Ellero D' Artegna 5:17
It's glorious music for sure. I am not familiar with the recording though. How is it?
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Just as soon as I finish Howard Hanson's Lament for Beowolf- orchestra and chorus (Mercury Living Presence)- I'll be spinning Callas, DiStefano, Gobbi and TOSCA with De Sabata conducting the La Scala Orchestra and Chorus (Angel). :)
A great Tosca, maybe THE great Tosca. Gobbi is terrifying.
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I've only seen one opera in my life .... 'The Marriage Of Figaro' at the Lincoln Center in NYC. It was surprisingly good and surprisingly long (over 3 hours).
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Hey!
I'm off to see Met Opera's "L'Elisir d'Amore" tomorrow night at the Lincoln Center. This will be my third operas. It will be the last show of this opera this season. And it's feature Anna Netrebko, I've heard her name many times before and saw some short clips of her singing on TV. And that is one of the reason why I wanted to see this opera, because of her, to see and hear her live.
I will be sitting all the way up in the Family Circle pretty much in the middle. I've heard and read that up there is best for sound, but far for a good view. Well, I'm OK with that for best sound... not that I could afford mid orchestra roll anyway :roll:
Take care,
Buddy :thumb:
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This is an opera I was able to attend on a trip to London. Austere by any standards, but this recording will involve you (at a modest volume level, ime, for an ambient stage and realistic location and size of the piano and singers) . . Britton's Turn of the Screw (Naxos). I think Naxos is a budget label. Sounds very transparent and believable to me, regardless.
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Hey!
I'm off to see Met Opera's "L'Elisir d'Amore" tomorrow night at the Lincoln Center. This will be my third operas. It will be the last show of this opera this season. And it's feature Anna Netrebko, I've heard her name many times before and saw some short clips of her singing on TV. And that is one of the reason why I wanted to see this opera, because of her, to see and hear her live.
I will be sitting all the way up in the Family Circle pretty much in the middle. I've heard and read that up there is best for sound, but far for a good view. Well, I'm OK with that for best sound... not that I could afford mid orchestra roll anyway :roll:
Take care,
Buddy :thumb:
How was Anna as Adina? I bet she looked good! 8) This role is easily in her wheelhouse and she should have sounded good too. BTW, Family Circle is why they made opera glasses. :wink: I would rather be center Family Circle than side orchestra. How is Raymond Vargas' voice holding up? I love a good "Una furtiva lagrima."
The last L'Elisir d'Amore I saw was at La Scala with Joyce DiDonato and Juan Diego Flórez. It was a great experience.
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This is an opera I was able to attend on a trip to London. Austere by any standards, but this recording will involve you (at a modest volume level, ime, for an ambient stage and realistic location and size of the piano and singers) . . Britton's Turn of the Screw (Naxos). I think Naxos is a budget label. Sounds very transparent and believable to me, regardless.
I know your love for Britton. I did send you a copy of the War Requiem, didn't I?
I recently went through all my opera records and pulled out duplicates -- 20 or so boxed sets and about 100 singles. There are some good pristine LPs. You can have them if you pay shipping.
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Recently took a trip to the enormous record store Bananas in St. Petersburg Fl. and spent a few hours scrounging through their neglected classical lps back in their storage area and found a nearly mint copy of Bernard Herrmann's "Wuthering Heights" opera. I wasn't familiar with it, but I like Bernard Herrmann's film music so I spent the $7.99 and was rewarded with a very fine opera. Most entertaining. This was a project very dear to Bernard, I understand he paid to record the opera out of his own pocket after being unable to secure underwriting by a recording company.
(http://www.audiocircle.com/image.php?id=94233)
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How was Anna as Adina? I bet she looked good! 8) This role is easily in her wheelhouse and she should have sounded good too. BTW, Family Circle is why they made opera glasses. :wink: I would rather be center Family Circle than side orchestra. How is Raymond Vargas' voice holding up? I love a good "Una furtiva lagrima."
The last L'Elisir d'Amore I saw was at La Scala with Joyce DiDonato and Juan Diego Flórez. It was a great experience.
Hey!
It was great! I really enjoyed it from start to finish. Yes, I sat all the way up there in the Family Circle....
(http://farm3.staticflickr.com/2871/12334503734_fd29fa808a_c.jpg) (http://www.flickr.com/photos/8309248@N06/12334503734/)
Metropolitan Opera, NYC. (http://www.flickr.com/photos/8309248@N06/12334503734/) by setpower1 (http://www.flickr.com/people/8309248@N06/), on Flickr
A bit far away but the sound was good up there. That the view from my seat taken before the show start.
I've heard about Anna but never see her live. And I have to say she was wonderful as Adina. Yes, Anna is pretty and with great voice for sure. :inlove:
I've never heard other sing this but Ramon Vargas as Nemorino did a great job with "Una furtiva lagrima" You can hear the hall turned silence when that aria start. And I can tell that the crowd loved it.
(http://farm8.staticflickr.com/7398/12334502544_cbb9800fc9_c.jpg) (http://www.flickr.com/photos/8309248@N06/12334502544/)
"L'Elisir d' Amore" at Metropolitan Opera, NYC. (http://www.flickr.com/photos/8309248@N06/12334502544/) by setpower1 (http://www.flickr.com/people/8309248@N06/), on Flickr
No I didn't take any picture during the performance of which was not allow to my understanding and I sat far away and only have my old P&S camera with mebut got the one above when the cast did the last curtain call.
Anyway, it was wonderful overall. The casts was excellent, the sets and lighting were beautifully done. I really enjoyed it.
Take care,
Buddy :thumb:
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1954 recording on DG. Rita Streich's voice is utterly amazing! Very nice audio quality - clean and clear.
(http://www.audiocircle.com/image.php?id=96812)
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Recorded 1953
(http://www.audiocircle.com/image.php?id=96861)
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Not an opera, but opera (and other) songs sung by an opera singer. Very enjoyable! :thumb:
(http://www.audiocircle.com/image.php?id=97482)
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Poulenc's Dialogues of the Carmelites, Sunday at the Eastman School of Music. Performed by voice students at Eastman, this production was excellent and the singing magnificent. Full marks for the Eastman students. Bravo!
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I am not surprised. Eastman is a very good school.
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(http://i.ebayimg.com/00/s/MTMzNlgxNjAw/z/jm0AAOxyAs9SQKan/$(KGrHqZ,!rIFI4bf3HFvBSQK,mrKig~~60_57.JPG)
I am taking my daughter to Magic Flute on Saturday. I try to refresh my memory by listening to a few recordings before going to the performance.
This 1964 Bohm is really good. I forgot how good this one is. The Berliner orchestra under the baton of Karl Bohm really produced the most incisive music. Add the fantastic male singers and this one is a must hear. Lear and Peters are passable Pamina and the Queen of the Night. Lear's singing seemed diffused compared to the males and the orchestra which are focused. For me, Peter's voice was not enjoyable in itself but she does come across as evil. So in that sense, she may have been a perfect Queen. Any way, they knew how to make a stereo recording in 1964. :thumb:
BTW, my daugher dressed as Papagena on Halloween last year. She and I spent a couple of days sewing and gluing feathers on a Tutu and it actually turned out quite nicely.
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What, woodsyi? No attached photos of Papagena??
Thanks for the review of Die Zauberflote ... I have that recording and now the incentive to listen again.
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(http://www.audiocircle.com/image.php?id=99127)
(http://www.audiocircle.com/image.php?id=99128)
An excellent re-mastering of baritone Titta Ruffo's 1907-1926 recordings. Surprisingly clean, clear, consistent voice (considering such early recordings and transfer from 78s), although most all accompaniments are fairly muffled.
Note - his birth name was Ruffo Titta, but he reveresed it for the stage. I don't see the point. :scratch:
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Last night I listened to Das Rheingold from this 17-disc set, Wagner: Der Ring des Nibelungen (Super Deluxe) [Deluxe Edition]:
(http://www.audiocircle.com/image.php?id=100230)
Astonishing audio quality and superb liberetto and accompanying documentation.
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Currently listening to:
(http://www.audiocircle.com/image.php?id=100231)
This is on Naxos and picked it for a nice price, but NO LIBERETTO!! Argh!!!
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It's glorious music for sure. I am not familiar with the recording though. How is it?
Tosca with Di Stefano and Callas with The La Scala Orchestra and Chorus on Angel on the table tonite.
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OK, so I went overboard on my latest obsession, Cecilia Bartoli. Just received these in the mail. Not operas, but songs from operas and various compositions. Just amazing to me how cheaply these CDs can be purchased.
(http://www.audiocircle.com/image.php?id=130139)
(http://www.audiocircle.com/image.php?id=130140)
(http://www.audiocircle.com/image.php?id=130141)
(http://www.audiocircle.com/image.php?id=130142)
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(http://www.audiocircle.com/image.php?id=132996)
Performers: Elisabeth Schwarzkopf, Nicolai Gedda, Victoria De Los Angeles
Listening to this on vinyl and even though Gedda and Schwarzkopf have top billing, to my ears De Los Angeles steals the show. Stunning.
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Puccini - Tosca - Maria Callas (2 discs)
(https://www.audiocircle.com/image.php?id=240524)
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Just heard Philip Glass' 'Akhnaten' from the met. Mind blowing. :green: