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Jared Kushner today on the Administration's investigation on the Khashoggi murder:

 "We're getting as many facts as we can... then we'll determine which facts are credible.

Source:  CNN
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Great Recordings and Reviews / Re: Recordings of Machaut's Motets
« Last post by Mandryka on Today at 09:10:36 AM »
After contemplating the Passion the lover/seeker brushes himself down and picks himself up with regained hope.

The tenor Speravi is from an introitus Domine, in tua misericordia speravi which is taken from this verse of psalm 13, here in English

Quote
But I have trusted in thy mercy; my heart shall rejoice in thy salvation.

The poem in the motetus is really beautiful  -- even I can tell that just from being able to read modern French

Quote
Puis que la douce rousee
D’Umblesse ne vuet florir
Pitez, . . .

stunning pastoral incipit, the sweet dew doesan't wish to make pity come into flower.

The triplum talks about wven though he's down in the dumps he sometimes regains hope and that's nice. The motetus talks about how he's on fire with desire, so much so he wants to submit to the loved ones will (Christ's will) even unto death. Cool!

I've found six recordings of the whole thing. HE, EMN, Orlando, Ferarra ensemble, Tenet Vocal Artists (youtube) and The Early Music Consort of London (a blown instrument for the tenor). In addition EMN take the triplum as a solo song, I've no idea why --  I don't have the booklet.

<a href="https://www.youtube.com/v/KWvvFF0Umzc" target="_blank" class="new_win">https://www.youtube.com/v/KWvvFF0Umzc</a>

Now we come to something interesting. Hilliard are much more rhythmically flexible than the rest. It's as if the others all believe that the music a C14 isorhythmic motet isn't about expressing meaning. There's a sort of jauntiness about what they do because modal rhythms are often jaunty rhythms, and that  could be taken for speravi -- though a pretty caricatural form of hopefulness IMO, especially given the complex mystical meaning of the cycle. And indeed the finesse of the poet.

HE however are much more rhythmically flexible, and they take their time more, allowing the listener to smell the roses. Their interpretation is hopeful in its affect, positive and optimistic, but rather subtly so and with great complexity of expression. To me it makes much more sense given what has gone before.
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Name That Tune? / Re: Piano piece, possibly French...
« Last post by 71 dB on Today at 09:09:03 AM »
I know nothing about Chabrier's music, but that was a nice piece.  :)
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Opera and Vocal / Re: What Opera Are You Listening to Now?
« Last post by Tsaraslondon on Today at 09:06:03 AM »


Oddly enough, I was listening earlier to an opera (Massenet's Cendrillon) where a female breeches role was given to a tenor, and the same happens here, though not quite to such detrimental effect. Rudolf Christ's languidly effete Orlovsky almost reconciles me to the change and is my only slight quibble about a superb, classic recording, which I happen to prefer to Karajan's later effort for Decca.

Though recorded in London with the Philharmonia, cast and conductor bring an echt Viennese quality to the whole enterprise, the judicially edited dialogue delivered in sparkling fashion. You don't really need to speak German to understand what's going on.

Schwarzkopf is a superb Rosalinde, none better, singing her Czardas with appropriate dash and swagger, the voice gloriously rich and firm; Streich a delightfully pert and flirtatious Adele; Gedda a properly tenor Eisenstein, with a fine line in comedy, especially when impersonating Blind in the final scene; Kunz a genially scheming Falke. Excellent contributions also from Krebs as Alfred, Dönch as Frank and Majkut as Blind.

Karajan's conducting is on the swift side, but the whole performance fizzes and pops like the very best brut champagne that the operetta celebrates.
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The Diner / Re: Six-letter-word posts
« Last post by k a rl h e nn i ng on Today at 08:59:49 AM »
reside
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The Diner / Re: One Word Posts
« Last post by k a rl h e nn i ng on Today at 08:59:25 AM »
malachite
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The Polling Station / Re: Top 10 Favorite Ballets
« Last post by Brian on Today at 08:59:23 AM »
Pronounced French theme to my list - especially a pronounced Diaghilev in Paris theme.

Falla - El sombrero de tres picos
Offenbach/Rosenthal - Gaîté parisienne
Pierné - Cydalise et le chèvre-pied
Prokofiev - Romeo and Juliet
Poulenc - Les biches
Ravel - Daphnis et Chloé
Ravel - Ma mère l'oye
Roussel - Bacchus et Ariane
Stravinsky - Petrushka
Tchaikovsky - Sleeping Beauty
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The Diner / Re: Three-Word Posts
« Last post by k a rl h e nn i ng on Today at 08:59:16 AM »
Got a chip?
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General Classical Music Discussion / Re: Purchases Today
« Last post by aligreto on Today at 08:59:15 AM »
It is a party you will enjoy a great deal  :)

Cheers Karl, it seems to have received a universally good press around here.
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