Started by uffeviking, April 08, 2007, 12:54:48 AM
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Quote from: karlhenning on April 27, 2007, 06:55:15 AMTo be fair, though, banning the name had nothing to do with the singer; so far as I could tell (after the fact) that was entirely a matter of One Obnoxious Troll who was a Studer groupie.For similar reasons, there are fora where participants police themselves and forebear to mention a certain Debussy opera by name
Quote from: marvinbrown on May 01, 2007, 06:37:41 AM Just ordered this recording of Un Ballo, I was surprised to learn that Karajan was supposed to conduct the VPO in this performance but passed away before the performance, Solti took over as conductor on short notice, the performance however comes highly recommended I always prefer Domingo over Pavarotti in Verdi's operas. Verdi's operas tend to have leading men who are either military men, womanizers, playboys or royal figures (kings, dukes etc.) Pavarotti never seems to look the part with his overweight body and short stature. Will report back once I see this performance marvin
Quote from: knight on May 04, 2007, 10:44:19 PMMarvn, Karajan did what for him was standard procedure of producing a sound recording with the cast before first night of the production, a strange concept I feel. It means that there are Cd's of Karajan conducting the cast. The recording would then be used and the singers mimed while blocking in the final rehearsals. In Vienna the first night audience would receive copies of the Cd's as part of their ticket price.I think it was not just his final opera recording, but his final studio recording.Barstow was really past her best by this point. It had never been an ingratiating voice, but her acting was magnetic and Karajan had basically just discovered her for himself and was going to start to work some more with her. It was quite a blow to her career when he died.If you did want a CD set as well at some time, as you enjoy Solti, then his set is I feel very successful with Pavarotti 'in' his part, rather then merely singing and Margaret Price, completely superb as Amelia.Mike
Quote from: marvinbrown on May 05, 2007, 02:05:51 AMI am a little baffled by what you have written about the singers "miming while blocking" in this live performance that I just saw. Forgive me for asking but are you telling me that all the cast members were not actually singing but merely moving their lips to an already existing recording? marvin
Quote from: knight on May 05, 2007, 03:23:47 AMit allowed lots of rehearsal without the orchestra, or perhaps even Karajan being present
Quote from: knight on May 05, 2007, 03:23:47 AMYep Marvin....as Wendell explained. I think it an odd idea to the extent that during, or at the end of the run that whole production will have more depth. I believe that later recordings would have enabled the singers to get more inside their parts and interact possibly more excitingly. But Karajan had his methods, I can see the logic of it all, for instance; it allowed lots of rehearsal without the orchestra, or perhaps even Karajan being present; so the cast could get to grips with the production. I do wonder then how inflexable the subsequent performances might have been, or was there nevertheless room to experiment in the moment of the drama.Mike
Quote from: marvinbrown...looking for a good recording of Tristan und Isolde on dvd. This is my FAVORITE opera...
Quote from: uffeviking on May 17, 2007, 07:34:51 AMThought nobody would ever ask! My favourite choice is the Opus Arte DVD of the Nikolaus Lehnhoff production, Kent Nagano conducting the Deutsche Symphonie-Orchester. The cast is one of the best ever with Matti Salminen taking charge as Gurnemanz. Too often this character is boring, not with Salminen! Of course Waltraud Meier is again the best Kundry we have at present, and the best we had in a long time. Thomas Hampson surprises is an active Amfortas under Lehnhoff's direction, on his feet, instead of, as usual, on his back in bed; very dramatic. I am mentioning Christopher Ventris in the title role last, because he might not be the most powerful Wagnerian tenor, but he still fits in well with this powerhouse. You'll be fascinated by this production!
Quote from: 71 dB on May 19, 2007, 06:04:48 AMFor years I did not buy opera DVDs. I feared the price, low quality etc. I also didn't consider myself a big opera fan.Little over a year ago I saw Rameau's Les Boréades (Christie) on TV. I was blown away by the increadible choreography (and music of course as a Rameau fan). I was glad to find out the performance was released on DVD by Opus Arte. I bought the set. At that time someone in the old GMG gave a hint about £5 Puccini Turandot (Paternostro) at Play.com. I bought it and liked it a lot. Recently I found Puccini's Tosca (Muti) at the local Lidl store for just 4 euros! I also recently bought Rameau's Les Indes galantes (Christie).I have never been to an opera in my life. These 4 opera DVDs are my only "real" opera experiences. I have operas on CD but I have listened them as pure music without any interest of the plot. DVD's make me interest of the plot. I am surprised about how simple, weird and slow the opera plots are. Anyway, the plot, choreography, set pieces and the music create together great entertainment.I am getting hooked. It seems buying opera on CD is irrational when you can have DVDs. There's picture (anamorphic 16:9 on new productions), 5.1 channel sound and extra material. Opera DVDs may seem very expensive but they mean a lot of audiovisual entertainment. As my budget is very limited, I have to almost stop buying CDs and concentrate on opera DVDs. The next DVD I am planning to buy is Handel's Giulio Cesare (Christie).
Quote from: marvinbrown on May 19, 2007, 06:28:33 AM Glad to hear that you are acquiring an interest in opera 71dB. I, like you have operas on cds (well over 50 I am a huge fan) although none are from the Baroque period.
Quote from: marvinbrown on May 19, 2007, 06:28:33 AMI have enjoyed them greatly for the music only . Only recently have I started to acquire them on DVD and the experience is MUCH MORE satisfying. I found that I was missing alot by just listening to them. Operas should be staged (seen) and not just heard.
Quote from: marvinbrown on May 19, 2007, 06:28:33 AM True, as you have said, some opera plots are downright boring but some operas really need to be seen such as Wagner's Ring cycle, Strauss Elektra and Salome (for the shock factor-I do not want to give anything away) and of course lets not forget about Verdi's Aida (for the staging and constumes) and Otello (this one is a real treasure trove of Verdi's music and Shakespeare's drama). Opera and drama go hand in hand or so Wagner says.
Quote from: marvinbrown on May 19, 2007, 06:28:33 AMWith regards to price it would surprise you to know that opera DVD can be cheaper than opera cds...a perfect example is Wagner's Ring (the Solti and Karajan cds retail at £60+ and I bought the Levine Ring DVD for £45). In addition you can get any Verdi opera on amazon.co.uk for under £15. For the most economical prices of opera DVDs I usually shop on-line (amazon, play.com etc.) marvin
Quote from: 71 dB on May 19, 2007, 07:06:51 AMTry Rameau's operas. I didn't say the plots are boring. In fact they are interesting but they are also simple and slow compared to movies were you can tell stories at much faster speed.
Quote from: marvinbrown on May 19, 2007, 07:39:25 AM Sorry I misunderstood you. Personally I find some opera plots rather dull but if the music is great then thats good enough for me . I am not familiar with Rameau's operas (nor Handel's for that matter) would Les Boréades be the best one to start with? Would you recommend that Opus Arte DVD recording for a first timer? marvin
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