Author Topic: General Opera News  (Read 105796 times)

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Offline knight66

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Re: General Opera News
« Reply #660 on: February 19, 2016, 02:59:23 PM »
Greg, I could not get through it. I managed about half of it.

Mike
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Offline Greg Mitchell

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Re: General Opera News
« Reply #661 on: February 20, 2016, 03:01:16 AM »
Greg, I could not get through it. I managed about half of it.

Mike

It is rather a Marmite movie, it would seem  ;D
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Offline Wendell_E

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Re: General Opera News
« Reply #662 on: February 20, 2016, 11:55:01 AM »
In which case, is it really Bizet's Carmen?

Mike

Is the version with Guiraud's recitatives really Bizet's Carmen,
"Do you ever wonder where the producers of American Idol come up with the seemingly endless supply of people who can't sing but are deluded enough to get up in front of a national audience and screech out a song anyway?" — Sarah Palin, America by Heart

Offline knight66

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Re: General Opera News
« Reply #663 on: February 21, 2016, 10:34:32 AM »
Is the version with Guiraud's recitatives really Bizet's Carmen,

Who uses those now? In any case changing the sex and voice register of the main characters is a whole lot different from adding recits instead of spoken words. In the latter, none of Bizet's music is being mucked about.

Mike
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Offline Wendell_E

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Re: General Opera News
« Reply #664 on: February 22, 2016, 04:34:10 AM »
Who uses [the Guiraud recitatives] now?

The Met does, in its last two productions.  The two before that started out using dialogues, but eventually switched over to Guiraud.  Some of the regional companies I usually attend do, sometimes.  I can't believe those are the only ones.  I imagine most companies that do use them don't even mention Guiraud, so it's difficult to research.  I did find that last summer's Chorégies d’Orange production, with Kaufmann and Aldrich, used the recitatives.

I'm not defending the MODO, production and agree that the changes are quite different from Guiraud's, but I still think the Guiraud version really isn't Bizet's Carmen.  Closer than MODO, certainly.
"Do you ever wonder where the producers of American Idol come up with the seemingly endless supply of people who can't sing but are deluded enough to get up in front of a national audience and screech out a song anyway?" — Sarah Palin, America by Heart

Offline knight66

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Re: General Opera News
« Reply #665 on: February 22, 2016, 08:53:41 AM »
Thanks, I really thought the old recits had died a death. Perhaps they are easier for singers than rattling off some authentic sounding French. It all goes so much more dramatically with the spoken dialogue.

Mike

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Offline Wendell_E

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Re: General Opera News
« Reply #666 on: February 24, 2016, 04:10:32 AM »
Thanks, I really thought the old recits had died a death. Perhaps they are easier for singers than rattling off some authentic sounding French. It all goes so much more dramatically with the spoken dialogue.

Mike

I've heard the spoken dialogues require extra rehearsal time, and particularly in a repertory house like the Met, often with changing casts throughout a run, it's just easier.  The first time Crespin did Carmen at the Met, they were still using the dialogues, and she did them wonderfully, but three years later when she sang it, it was back to Guiraud, and that really was a letdown.
"Do you ever wonder where the producers of American Idol come up with the seemingly endless supply of people who can't sing but are deluded enough to get up in front of a national audience and screech out a song anyway?" — Sarah Palin, America by Heart

Online Spineur

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Re: General Opera News
« Reply #667 on: February 26, 2016, 08:06:33 AM »
For those interested, here is the program of the 2016-2017 season of the Dutch national opera

http://www.operaballet.nl/en/program?filter=179
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Anna Akhomatova

Online betterthanfine

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Re: General Opera News
« Reply #668 on: March 01, 2016, 07:03:41 AM »
For those interested, here is the program of the 2016-2017 season of the Dutch national opera

http://www.operaballet.nl/en/program?filter=179
SO excited for Salome with Gatti and the RCO.

Online Spineur

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Re: General Opera News
« Reply #669 on: March 01, 2016, 10:42:20 AM »
SO excited for Salome with Gatti and the RCO.
+Parsifal and Dog Heart.  I think I am going to fly to Amsterdam for Salome and Parsifal.
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Re: General Opera News
« Reply #670 on: April 01, 2016, 12:43:40 PM »
For the US GMG members: free broadcast of Simon Boccanegra by the MET:

Tune-in Alert! Opening of #SimonBoccanegra w @PlacidoDomingo @MalteseTenor 725pm ET online & @SIRIUSXM

https://t.co/Ul4BwtZUsO
A woman voice glides like the wind
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And all it touches in this flight
Suddenly is over.

Anna Akhomatova

Offline Cato

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Re: The Shining as an opera + The Scarlet Letter
« Reply #671 on: May 17, 2016, 04:05:11 AM »
In the May 17, 2016 Wall Street Journal, Heidi Waleson reviews two new operas based on books: The Shining by Paul Moravec and The Scarlet Letter by Lori Laitman.

Some excerpts:

Quote
...Mr. Moravec’s witty, evocative music strikes a good balance between the sincere and the creepy. Act I, though slowed by too much exposition, gives Jack and Wendy some heartfelt arias and duets that express their bond, while groans from the orchestra and glassy violins suggest the evil that threatens them. At first, the ghosts are just implied, but from the riotous Act I finale on, they are corporeal. In Act II, the music fragments and disintegrates, and piles on the sardonic darkness with some Kurt Weill-tinged party scenes, as Jack goes over the edge....

...Nathaniel Hawthorne’s “The Scarlet Letter”... has the kernel of an operatic plot: Secret lovers, trapped in a rigid Puritan community, are tormented by a malevolent enemy. But in Lori Laitman’s relentlessly tuneful setting, which had its world premiere at Opera Colorado, the darkness of the story goes unplumbed. The tale is there, efficiently distilled into six scenes by the poet David Mason. But his verse libretto is both constraining and occasionally jarring (“scrimp / imp”; “myself / dear elf”), and the too-pretty music rarely breaks out of this rhythmic straitjacket...

...tenor Dominic Armstrong captured (Dimmesdale's) increasing guilt and torment with wide-eyed bewilderment and his public confession was the opera’s one moment of real connection. With her high, slender soprano, Laura Claycomb’s Hester was a secondary figure, never budging from her stoic acceptance of her fate. As Roger Chillingworth... baritone Malcolm MacKenzie was severely limited by the vocal writing, which was plodding and repetitive rather than poisonous. The repressive community also seemed under-characterized (“Repent, the world was born in sin” sounded positively sunny); the witchy Mistress Hibbons (mezzo Margaret Gawrysiak) gave voice to Dimmesdale’s secret guilt in waltz time, supplying some welcome rhythmic variety. As with the voices, Ms. Laitman favored cheerful colors and lush timbres in the orchestra...


See:

http://www.wsj.com/articles/the-shining-and-the-scarlet-letter-reviews-1463432951
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Offline karlhenning

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Re: General Opera News
« Reply #672 on: May 17, 2016, 04:19:38 AM »
The phrase relentlessly tuneful can only be ambiguous, can't it?
Karl Henning, Ph.D.
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