What Opera Are You Listening to Now?

[André]

This film is a mix of an actual stage performance at Opera North with in the wings shots of some sections. I'm quoting an Amazon reviewer's description for better understanding of what we actually get in this DVD:

This is not, as you might expect, simply the filming of a stage performance. It is, in fact, a film in which the stage performance is the major part but not the only part of its substance. We get Phyllida Lloyd's staging of 'Gloriana' at Opera North as the heart of the film but we also get many backstage scenes interspersed as well (perhaps a throwback to Ingmar Bergman's approach in his film of 'The Magic Flute'), with a focus on Josephine Barstow, on-stage and off, in her preparation for and performance of the role of Elizabeth I in which she is so stunningly effective, both vocally and dramatically

Musically it is very strong, although Barstow's first scene finds her voice quite unsettled. She improves as the opera evolves (in real time). Two scenes were excised to tighten the action and focus on the Elizabeth and Essex relationship. Technically it is a superb achievement: sets, camera work, costumes, jewellery, hairpieces and the like add to the visual splendour. Barstow's acting (but not her singing) is stunning. The backstage bits add rather than detract to the realism of the action. 

[Tsaraslondon]

Khaikin's wonderful 1956 recording of Eugene Onegin may not have the best sound but in all other respects it's as close to ideal as you can get. There is something so intrinsically right about Khaikin's handling of the score, his pacing absolutely perfect, his control of his forces absolutely stunning.

His cast is also pretty much unbeatable, with the young Galina Vishneskaya capturing to perfection something of Tatyana's youthful sensuality, her Letter Scene one of the most erotic on disc, a young girl alone giving in to the passion in her heart. Belov is suitably reserved in the opening scenes but desparingly intense in the final scene. Lemeshev is caught a little late in his career as Lensky (he would have been 54 at the time of the recording) but sings with finesse and style.

Had the recording always been more readily available in the West, I have no doubt that it would enjoy the same elevated status as De Sabata's Tosca as one of the greatest opera recordings of all time.

[AlberichUndHagen]

Berlioz's great opus is one of my favourite operas. I can never understand why people go on about it being too long and why, even these days, it is often split into two parts. It's shorter than a lot of Wagner operas.

I actually, nowadays, love Les Troyens, after initially a cold start (when it comes to me this is the case with most Berlioz works, at first listening - nothing, but with patience - some of the best music and drama I've ever heard.) Although I still prefer Davis' later recording of the work.

[Tsaraslondon]

I actually, nowadays, love Les Troyens, after initially a cold start (when it comes to me this is the case with most Berlioz works, at first listening - nothing, but with patience - some of the best music and drama I've ever heard.) Although I still prefer Davis' later recording of the work.

I've loved Berlioz since I was a teenager, when I first heard his Symphonie fantastique was was bowled over by its weirdness.

It's a close call between Davis's two recordings of Les Troyens but, by and large, I prefer the cast of the first one, except for Lindholm's Cassandre. I much prefer Petra Lang. The new Nelson recording is very good as well.

[Que]

Khaikin's wonderful 1956 recording of Eugene Onegin may not have the best sound but in all other respects it's as close to ideal as you can get. There is something so intrinsically right about Khaikin's handling of the score, his pacing absolutely perfect, his control of his forces absolutely stunning.

His cast is also pretty much unbeatable, with the young Galina Vishneskaya capturing to perfection something of Tatyana's youthful sensuality, her Letter Scene one of the most erotic on disc, a young girl alone giving in to the passion in her heart. Belov is suitably reserved in the opening scenes but desparingly intense in the final scene. Lemeshev is caught a little late in his career as Lensky (he would have been 54 at the time of the recording) but sings with finesse and style.

Had the recording always been more readily available in the West, I have no doubt that it would enjoy the same elevated status as De Sabata's Tosca as one of the greatest opera recordings of all time.

Such an epic recording, and the only one I know that fully satisfies. 

Q

[Tsaraslondon]

Such an epic recording, and the only one I know that fully satisfies. 

Q

I agree. Despite the 1950s mono sound, it's still the best performance of the work I know.

[Tsaraslondon]

Not my favourite Puccini opera, nor a favourite Callas recording, but one I like to get out from time to time.

Fuller review on my blog https://tsaraslondon.wordpress.com/2017/01/08/manon-lescaut/

[Tsaraslondon]

Walter Legge always tried to capture the atmosphere of a live performance in his recordings of opera and operetta and this classic recording is particularly successful in that respect. The short introduction really does have that sense of expectancy of sitting in a darkened theatre waiting for the curtain to rise. Never fails to lift my spirits.

[Tsaraslondon]

Pagliacci is not a favourite opera of mine, but this superb cast almost brings me round.

[Pohjolas Daughter]

Such an epic recording, and the only one I know that fully satisfies. 

Q

I haven't heard of this recording before but will keep an eye out for it.  Thank you both for your comments.

PD

[Que]

I haven't heard of this recording before but will keep an eye out for it.  Thank you both for your comments.

PD

This seems to be its latest release (2013):

[asin]B007DCI0G4[/asin]
(Amazon.de has cheap copies)

Q

[André]

I should give it a spin. I have it in a budget issue from Preiser.

[knight66]

This seems to be its latest release (2013):

[asin]B007DCI0G4[/asin]
(Amazon.de has cheap copies)

Q

I had heard of it, but because I find the soprano's voice edgy in later recordings, I never tried this early one out. I have found it on Spotify and will listen to it. Thanks.

Mike

[knight66]

Walter Legge always tried to capture the atmosphere of a live performance in his recordings of opera and operetta and this classic recording is particularly successful in that respect. The short introduction really does have that sense of expectancy of sitting in a darkened theatre waiting for the curtain to rise. Never fails to lift my spirits.

I love this set so much. I have had it one way or another for about 50 years. When the Gardiner came out I got it, it is OK, but entirely misses the spontaneous, live feel of the Legge one. Everyone sounds inside their roles, voices all have  glamour and they sound like they are enjoying themselves. It is a great pity we did not get a lot more resordings than we did from this conductor.

Mike

[Que]

I had heard of it, but because I find the soprano's voice edgy in later recordings, I never tried this early one out. I have found it on Spotify and will listen to it. Thanks.

Mike

Vishnevskaya definitely sounds well past her best on later EMI recordings, but you'll see this sounds much better!

Q

[Tsaraslondon]

The Beecham Carmen has a lot to commend it, not least Beecham's wonderfully elegant and stylish conducting, but, love De Los Angeles as I do, and wonderfully musical as her singing is, I just can't imagine this Carmen ever pulling a knife on a fellow worker. She is charming, playful, coquettish, but not dangerous. However well Gedda sings, he doesn't quite convince me as José here either. He is much more forceful in his recording with Callas.

The chief pleasures of this recording are musical. As a dramatic experience it doesn't work quite so wel

[Tsaraslondon]

What a night this must have been! Callas and Karajan, on the rare occasions they worked together, always reaped gold and this performance of Lucia di Lammermoor has justly entered the realms of legend. They had worked together on the opera at La Scala the previous year and would take it to Vienna the next. Karajan's tempi are wonderfully elastic and Callas's breath control prodigious, and the rest of the cast (Di Stefano, Panerai and Zaccaria) could hardly be bettered, outdoing that on both her studio recordings.

https://tsaraslondon.wordpress.com/2018/01/13/lucia-di-lammermoor-berlin-1955/

[TheGSMoeller]

Der Rosenkavalier, Op. 59 by Richard Strauss
Performer:  Luciano Pavarotti (Tenor), Yvonne Minton (Mezzo Soprano), Manfred Jungwirth (Bass),
Régine Crespin (Soprano)
Conductor:  Sir Georg Solti
Orchestra/Ensemble:  Vienna Philharmonic Orchestra

[André]

Back in the lp days, in my late teens, From the House of the Dead was my first exposure to anythibg by Janacek. I was immediately hooked by the orchestral prelude. Another moment that stuck in my memory was the final chorus. That was from a Supraphon release, many years before the Mackerras critical edition had been in use. The orchestration was rather different - thicker, and the ending different.

This Boulez-Chéreau collaboration uses the critical edition. The important pantomimes of the second act must really been seen, not just heard (there's little in terms of spoken or sung dialog to point to what's happening: it's all in the orchestra). The camera work in the Prelude allows one to 'visit' the orchestra pit and visualize the very intricate and varied textures created by Janacek. Boulez conducts with his hands only, both going up or down together, never drawing attention to himself. Although the orchestra is a big one, textures are transparent and the orchestration often sparing.

A splendid production.

[Biffo]

Back in the lp days, in my late teens, From the House of the Dead was my first exposure to anythibg by Janacek. I was immediately hooked by the orchestral prelude. Another moment that stuck in my memory was the final chorus. That was from a Supraphon release, many years before the Mackerras critical edition had been in use. The orchestration was rather different - thicker, and the ending different.

This Boulez-Chéreau collaboration uses the critical edition. The important pantomimes of the second act must really been seen, not just heard (there's little in terms of spoken or sung dialog to point to what's happening: it's all in the orchestra). The camera work in the Prelude allows one to 'visit' the orchestra pit and visualize the very intricate and varied textures created by Janacek. Boulez conducts with his hands only, both going up or down together, never drawing attention to himself. Although the orchestra is a big one, textures are transparent and the orchestration often sparing.

A splendid production.

A splendid DVD all round.