What Opera Are You Listening to Now?

[Florestan]

J/K, I am sure there are countless famous and infamous people sharing my birthday. But Franco's is the only one of those that I remember. 

Google is your friend: Andre Campra,  Michel Pignolet de Monteclair, Thomas Carlyle, Samuel Butler...

[Pohjolas Daughter]

Really? That's interesting. Mine is 4th December and I was pretty much certain that the only (in)famous person that shares my birthday is Franco which isn't exactly flattering.

  Well, now you're in much better company! 

PD

[Tsaraslondon]

My knowlegde of Russian opera is relatively scant. Just Tchaikovsky's Onegin, Queen of Spades and Mazeppa and Mussorgsky's Boris Godunov, so I'm trying to do a bit of catch up. A few days ago it was Borodin's Prince Igor and tonight Rimsky-Korsakov's The Tsar's Bride. It's full of wonderful tunes and gorgeous orchestrations, as you might expect from Rimsky-Korsakov. The performance under Gergiev is very good with some outstanding singing from the likes of Hvorostovsky and Borodina.

[Tsaraslondon]

Jochum conducts a great performance of Mozart's Singspiel. Erika Köth is a better Kostanze than I remember, but she still sounds more like a Blonde to me. On the other hand, Wunderlich is even better than I remembered, both heroic and meltingly lyrical. None better on disc.

[Tsaraslondon]

Caballé is the undoubted star of this recording, taped at a concert performance at Carnegie Hall in 1976. A re-working of the earlier Stiffelio, I don't think it hangs together quite as well, but Verdi did write some superb new music for it and I would always want a recording of both works. Cecchele and Pons are not quite in Caballé's class, but are never less than adequate and sometimes more than that.

[Que]

https://www.good-music-guide.com/community/index.php/topic,7641.msg1335613.html#msg1335613

[Undersea]

 Now listening:



From:




Quite an awesome recording - Have been listening to bits and pieces of the Ring Cycle the last few days...

[Tsaraslondon]

Britten's final opera was also his last love song to the man who was his lifelong partner and the role of Aschenbach was written with Pears' vocal timbre and idiosyncracies in mind. It was the summation of both their careers, but unfortunately Britten was too unwell to conduct either at the premiere in Aldeburgh or the recording, which were conducted by Steuart Bedford, though Britten remained involved.

Britten creates some amazing soundscapes, especially with the gamelan-like percussion, which accompanies Tadzio's movements, but the score is quite acerbic. This historic recording, like all of Britten's own recordings of his works, will always be a reference recording.

[knight66]

Now listening:





Quite an awesome recording - Have been listening to bits and pieces of the Ring Cycle the last few days...

The opera gala box certainly has an interesting mix of discs. Some I recognise from way back. I can't remember who the featured singer was, possible Ghiaurov. There do seem to be some deservedly obscure items in, perhaps they will be surprising.

Mike

[Mirror Image]

Britten's final opera was also his last love sing to the man who was his lifelong partner and the role of Aschebach was written with Pears' vocal timbre and idiosyncracies in mind. It was the summation of both their careers, but unfortunately Britten was too unwell to conduct either at the premiere in Aldeburgh or the recording, which were conducted by Steuart Bedford, though Britten remained involved.

Britten creates some amazing soundscapes, especially with the gamelan-like percussion, which accompanies Tadzio's movements, but the score is quite acerbic. This historic recording, like all of Britten's own recordings of his works, will always be a reference recording.

This could be debated. The fidelity of Britten's own recording of The Turn of the Srew leaves much to be desired. The performance is outstanding, but when the audio quality hinders the performance, which, in my mind, is a part of the package, then I find it difficult to appreciate. So, with this in mind, I prefer the Steuart Bedford recording, which, thankfully is just as inspired as Britten's and obviously the audio quality is up to the performance's high standard.

[Tsaraslondon]

This could be debated. The fidelity of Britten's own recording of The Turn of the Srew leaves much to be desired. The performance is outstanding, but when the audio quality hinders the performance, which, in my mind, is a part of the package, then I find it difficult to appreciate. So, with this in mind, I prefer the Steuart Bedford recording, which, thankfully is just as inspired as Britten's and obviously the audio quality is up to the performance's high standard.

But, in a manner of speaking, the Bedford is Britten's recording of Death in Venice. Britten wasn't well enough to conduct the opera either in Aldeburgh or for the recording and Steuart Bedford took over, but Britten oversaw them both.

When it comes to The Turn of the Screw, I still prefer Britten's own recording, despite the mono sound. It still has the best cast. On the other hand I prefer Hickox's Billy Budd and A Midsummer Night's Dream and Peter Grimes has had quite a few excellent recordings. That doesn't prevent Britten's own from being reference recordings, which is not the same as saying they are the best.

[Tsaraslondon]

These days Poliuto is chiefly remembered as the vehicle for Callas's return to La Scala in 1960 after a hiatus of almost two years, a performance preserved in sound and issued in Warner's Callas Live Remastered series. Callas is in slightly parlous voice but Corelli, who plays Poliuto, is splendid.

Carreras is not quite Corelli, but he sings with his customary passion and sincerity and Ricciarelli is lovely as Paolina. The sound of this 1986 concert performance is of course a good deal better than the live Callas and it is probably the safest bet for anyone wanting this opera on disc. That said, I would never be without the Callas/Corelli set.

[Mirror Image]

But, in a manner of speaking, the Bedford is Britten's recording of Death in Venice. Britten wasn't well enough to conduct the opera either in Aldeburgh or for the recording and Steuart Bedford took over, but Britten oversaw them both.

When it comes to The Turn of the Screw, I still prefer Britten's own recording, despite the mono sound. It still has the best cast. On the other hand I prefer Hickox's Billy Budd and A Midsummer Night's Dream and Peter Grimes has had quite a few excellent recordings. That doesn't prevent Britten's own from being reference recordings, which is not the same as saying they are the best.

I have no issues with Bedford's Death in Venice, which I knew that Britten was heavily involved in and had a lot of input. Death in Venice and The Turn of the Screw are my favorite Britten operas. I have much respect for Peter Grimes, Billy Budd, Gloriana, etc. but it's the afore mentioned operas that have made the greatest impression on me and I like their psychological stories. They're also just strange operas to me and seem to revel in that Britten eeriness that I love so much.

[springrite]

Britten's final opera was also his last love sing to the man who was his lifelong partner and the role of Aschebach was written with Pears' vocal timbre and idiosyncracies in mind. It was the summation of both their careers, but unfortunately Britten was too unwell to conduct either at the premiere in Aldeburgh or the recording, which were conducted by Steuart Bedford, though Britten remained involved.

Britten creates some amazing soundscapes, especially with the gamelan-like percussion, which accompanies Tadzio's movements, but the score is quite acerbic. This historic recording, like all of Britten's own recordings of his works, will always be a reference recording.

I am just reminded that my DVD of Death in Venice has arrived for months and I should open and watch it this week or next.

[Tsaraslondon]

I have no issues with Bedford's Death in Venice, which I knew that Britten was heavily involved in and had a lot of input. Death in Venice and The Turn of the Screw are my favorite Britten operas. I have much respect for Peter Grimes, Billy Budd, Gloriana, etc. but it's the afore mentioned operas that have made the greatest impression on me and I like their psychological stories. They're also just strange operas to me and seem to revel in that Britten eeriness that I love so much.

The Turn of the Screw was the first Britten opera I ever saw and it's always been one of my favourites. The Bedford recording is certainly excellent, and sonically of course outclasses the Britten, though I think Britten's singers (the women at least) enunciate the text more clearly. The Britten also has David Hemmings as Miles, who is much better at conveying the ambiguity in Miles's character than any of the other boys I've heard. As an adult, Hemmings of course went on to become a successful actor.

[Mirror Image]

Act I from Karajan's Parsifal:



I don't have a lot lot of experience with Wagner (aside from a summer I spent listening through Karajan's Ring), but this seems like a rather formidable performance of Wagner's swan song as I've ever heard. I also own Solti and Barenboim in this opera. Solti's was 'okay' the best I can remember. Barenboim's sounded rather good, but Karajan's is hitting all the right spots for me right now.

[Tsaraslondon]

This was Callas's much anticipated return to La Scala after an absence of more than eighteen months and audience anticipation was at fever point, exemplified by the uproar that breaks out in the theatre on her entrance, forcing Votto to stop the orchestra before they can continue with the opera. Understandably she sounds rather tentative to begin with, though she gains confidence by the end of the opera, phrasing her music with an eloquence reminiscent of her best work.

But this is really the tenor's opera and Corelli is the undoubted star of the performance, reminding me of his splendid Pollione which he had recorded with Callas a few months earlier. Votto conducts a much more vitally dramatic performance than Caetani , who conducted the Carreras performance I listened to a couple of days ago. That one has better sound, but this one is much more thrilling.

[Tsaraslondon]

This is my first listen to this opera, which is probably best known for its overture. Of the two recordings on Spotify (I also sampled the one conducted by Lü Jia on Dynamic) this one, conducted by Rossini specialist Alberto Zedda would appear to be better. It's a strange work, somewhere between comedy and tragedy with secco recitatives (here played on the piano).

I found it enjoyable enough, if not particularly memorable. 

[knight66]

I have been listening to Strauss' Elektra. The version is played by the VPO and conducted by Sinopoli. Alexandra Marc has the main role, her mother is Hanna Schwarz and the sister is Deborah Voigt. Jerusalem is Aegisth and Ramey is Orest.

The voices are well forward, but words are frequently indistinct, the men show up the lack of consonants in the other singers. The pacing is fine and all three women's voices cope well with what they have to accomplish. However, those voices are insufficiently distinct, it is often a puzzle to understand who is singing unless the libretto is followed. This rather undermines the central conflict between mother and daughter, as neither establish a vocal personality.

The orchestra sounds terrific both in filigree patches and the occasional wall of sound. I don't sense that push and pull that Sinopoli often imposed and this kind of histrionic piece suits him.

I still prefer the visceral Solti where the voices of the three women are easy to differentiate. And no one has been recorded in such steely vocal health as Nilsson. I saw her in the part and it was not a matter of it seeming easy, rather that she sounded as fresh at the end as at the start. When I have seen other singers in the part, it has really taken it out of them.

Mike

[Tsaraslondon]

I have been listening to Strauss' Elektra. The version is played by the VPO and conducted by Sinopoli. Alexandra Marc has the main role, her mother is Hanna Schwarz and the sister is Deborah Voigt. Jerusalem is Aegisth and Ramey is Orest.

The voices are well forward, but words are frequently indistinct, the men show up the lack of consonants in the other singers. The pacing is fine and all three women's voices cope well with what they have to accomplish. However, those voices are insufficiently distinct, it is often a puzzle to understand who is singing unless the libretto is followed. This rather undermines the central conflict between mother and daughter, as neither establish a vocal personality.

The orchestra sounds terrific both in filigree patches and the occasional wall of sound. I don't sense that push and pull that Sinopoli often imposed and this kind of histrionic piece suits him.

I still prefer the visceral Solti where the voices of the three women are easy to differentiate. And no one has been recorded in such steely vocal health as Nilsson. I saw her in the part and it was not a matter of it seeming easy, rather that she sounded as fresh at the end as at the start. When I have seen other singers in the part, it has really taken it out of them.

Mike

It's not an opera I like particularly. For too much of the time it sounds like a load of women screaming at each other and the Solti recording tends to emphasise the hysteria at the expense of the lyrical side of the score, something that Sawallisch brings out better in his recording. I agree, though, that Nilsson is by far the best Elektra on disc. Marton, who is on the Sawallisch, is not a singer I usually like and, compared to Nilsson, she does occasionally sound strained, but it's a fine performance nonetheless, probably her best on disc. I also prefer Studer to Collier and Lipovsek to Resnik. Weikl is also very fine as Orest. If I were to buy a recording, the Sawallisch is probably the one I'd go for, but it's not something I'd listen to very often.