Started by Tsaraslondon, April 10, 2017, 04:29:04 AM
0 Members and 1 Guest are viewing this topic.
Quote from: jessop on April 12, 2017, 02:54:01 PMI've been listening to this quite a bit over the last week
Quote from: Tsaraslondon on April 13, 2017, 07:33:34 AMThe voice and technique were stunning, that is true, and I do enjoy her Art of the Prima Donna set, for instance, but she is a singer who never really "speaks" to me, and even that recital I can only take piecemeal. I've tried and tried, but I can think of very few of the operas she sang that I don't actually prefer sung by someone else. Even in La Fille de Regiment which is brim full of breath taking vocal feats, the mushy diction drives me potty. Pavarotti, on the same recording, sings with a terrible French accent, but his diction is so good, you can hear just how bad hers is. I know it bothers most people a lot less than me, but it irritates me terribly and consequently I have very few of her recordings. Incidentally, on the live 1959 Lucia di Lammermoor from Covent Garden which made her a star, her diction is pretty good. Tullio Serafin was in the pit, so maybe that had something to do with it. He actually thought she should go on to sing more dramatic fare, and said he thought she'd have made an excellent Lady Macbeth. The voice was huge. Maybe she would have.
Quote from: mc ukrneal on April 13, 2017, 10:46:29 AMAll fair comments. Since I don't understand Italian, it doesn't bother so much and that is where it would be felt most I think. Have you heard her Norma?
Quote from: Alberich on April 13, 2017, 08:00:10 AMI have said this before, but Kleiber's recording of Tristan is quite possibly my favorite Tristan recording of all time. I find Price's light timbre extremely fascinating and I think it actually fits Isolde, especially the raptured Isolde of Acts 2 and 3. Funny how it is pretty much only with operas where I pay attention in specific recordings, with everything else anything goes.
Quote from: king ubu on April 12, 2017, 10:51:26 AMLove having this thread as well, thanks for starting it! Saw Massenet's "Werther" on stage at Zurich opera last night, was exhausted after work, but wow, this was a near-epiphany! Juan Diego Flórez IS Werther, really! The moment he enters is amazing, he really owns the part! The production is great as well, really working in a way that the whole thing is great theatre (not just great music in a - more or less - appealing setting). Anna Stéphany gives her role debut as Charlotte, and both her and Mélissa Petit's Sophie were up to the challenge that Flórez presents, and Audun Iversen's Albert was more than adequate. The orchestra, conducted by Cornelius Meister, was wonderful - transparent to the point of reaching a chamber-like lightness often. And did I mention how amazing Juan Diego Flórez was - seriously!Details here: http://www.opernhaus.ch/en/activity/detail/werther-02-04-2017-18667/Some thoughts in German: http://forum.rollingstone.de/foren/reply/10143577/--Now listening to this for the very first time (some controversy arose last week when I mentioned listening to the somewhat glossy Sutherland/Pavarotti recording two days before catching the opera live at Zurich with the great Nello Santi on the podium, or rather: behind the piano) to this recording that just arrived:First impression, half an hour in, is that quite possibly I will not need to look for another recording (the Sutherland/Pavarotti is the only other complete one I have). The music is wonderful indeed, there's enough melancholy and brooding in the comedy so it really does appeal to me, and the orchestration is so varied and colourful and so well done that I really love listening to it just for the thrill of discovering this little detail here and that nice touch there.
Quote from: cilgwyn on April 14, 2017, 01:34:28 AMThe Pritchard sounds very tempting,if I like this! Still,mustn't break the bank!! I haven't received the Francesco Molinarri-Pradelli recording,yet!!
Quote from: cilgwyn on April 14, 2017, 02:35:21 AMI should point out;that I don't dislike Joan Sutherland's singing;I just haven't been particularly moved by her singing,to date. This is partly because of here repertoire,which hasn't really appealed to me. But times move on,and your tastes developd,and I've often been tempted to explore some Donizetti. I think part of the problem is the sheer profusion of operas. He composed so many. Not being a wealthy man,I tend to concentrate on certain core areas,and unfortunately some composers get left out!! Having a recording without cuts does make sense,though. You can enjoy a score with cuts if the performance is particularly good;but if you're an intelligent music lover you obviously need to hear what's been left out. My shelf is groaning with the weight of multiple Mozart opera recordings (not many compared to some here,no doubt) so I don't think I'll be able to resist for very long!! I need to know!!
Quote from: cilgwyn on April 14, 2017, 03:00:05 AMBought it!! The clincher was Geraint Evans. Living in Wales,it was an obvious incentive! I also (sort of) met him a long time ago. I was sitting in my fathers rustbucket (literally) waiting for him to ccome out of school. Suddenly Geraint Evans,who was at a concert there appeared. As he was about to get into his Rolls Royce,which was parked next to my fathers car,he saw me looking at him. He did a sort of double take,and smiled. "Sorry,I thought you were waiting for me!",he said;then got in his Roller!The review on Musicweb was another incentive. I do like to have more than one recording of an opera,though (generally speaking).
Quote from: king ubu on April 14, 2017, 03:23:47 AMHow is the later Molinari-Pradelli with Freni/Gedda? I love Freni (and I guess the same applies to Gedda, though I haven't heard that much by him yet), so this would possibly be of interest as well.
Quote from: Tsaraslondon on April 14, 2017, 03:29:20 AMFreni and Gedda are both singers I like, but it's a bit dull to be honest. It's an early recording for Freni, and I don't think she had yet learned the ability to project personality through sound alone, or maybe the producer didn't know how to get the best out of her. Conducting is a bit routine too, to be honest.
Quote from: king ubu on April 14, 2017, 03:50:28 AMBtw, as I have read many of your insightful posts here, even before becoming a member, let me use the occasion to say thank you for sharing your knowledge and insights and opinions, much appreciated!
Quote from: Tsaraslondon on April 14, 2017, 05:47:18 AMThis one would be a good choice. Considered by many to still be the best recording of the piece.
Page created in 0.048 seconds with 24 queries.