What Opera Are You Listening to Now?

Started by Tsaraslondon, April 10, 2017, 04:29:04 AM

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Tsaraslondon

Quote from: Jeffrey Smith on June 15, 2017, 07:43:09 AM
I have a few recordings of Aida and Otello already, but the others are ones I will be probably be content with one recording only.   In fact, I don't remember ever hearing Vespri before (unless that too was broadcast by the Met matinee, which it may well have been).  Aida and Otello, on the other hand, I will be soon getting at least one more each.  Such is the way things go, each will have Domingo.  Meaning I will have three Domingo Otellos and two Domingo Radames.

I agree with you about Domingo, but you really ought to investigate Vickers in the role of Otello too. I have his earlier performance under Serafin, with Gobbi, the very best of all Iagos, though I don't care much for Rysanek as Desdemona. He also recorded it with Karajan, but Karajan takes a heinous cut in the great Act III ensemble, which puts it out of the running for me, despite Freni's affecting Desdemona. There is also a tremendous video of a Zeffirelli Met production with Scotto as Desdemona and Cornell MacNeil as Iago, with Levine in the pit.

For Aida, predictably, I turn to Callas, for all that I don't think she was ever that suited to the role. She brings the rather placid character of Aida to life more than any other soprano on record. Vocally she is a lot better live in Mexico than she is on the EMI recording, but the sound on the Mexico performance is a stumbling block. Muti's recording with Caballe and Domingo is a good central recommendation, but the new Pappano is definitely worth considering. Kaufmann is superb as Radames, arguably one of the greatest recorded.

\"A beautiful voice is not enough.\" Maria Callas

kishnevi

Quote from: Tsaraslondon on June 15, 2017, 08:42:25 AM
I agree with you about Domingo, but you really ought to investigate Vickers in the role of Otello too. I have his earlier performance under Serafin, with Gobbi, the very best of all Iagos, though I don't care much for Rysanek as Desdemona. He also recorded it with Karajan, but Karajan takes a heinous cut in the great Act III ensemble, which puts it out of the running for me, despite Freni's affecting Desdemona. There is also a tremendous video of a Zeffirelli Met production with Scotto as Desdemona and Cornell MacNeil as Iago, with Levine in the pit.

For Aida, predictably, I turn to Callas, for all that I don't think she was ever that suited to the role. She brings the rather placid character of Aida to life more than any other soprano on record. Vocally she is a lot better live in Mexico than she is on the EMI recording, but the sound on the Mexico performance is a stumbling block. Muti's recording with Caballe and Domingo is a good central recommendation, but the new Pappano is definitely worth considering. Kaufmann is superb as Radames, arguably one of the greatest recorded.

Got almost all of those.
The Vickers/Serafin Otello was among the first opera recordings I ever got, and is still the only Otello I have that's not with Domingo.
Don't have the Karajan or the DVD, but I saw the production (a great one in its own right, no matter who was in the cast) live

QuoteAtlanta, Georgia
May 1, 1979


OTELLO {235}
Giuseppe Verdi--Arrigo Boito

Otello..................Richard Cassilly
Desdemona...............Gilda Cruz-Romo
Iago....................Sherrill Milnes
Emilia..................Jean Kraft
Cassio..................Frank Little
Lodovico................James Morris
Montàno.................Robert Goodloe
Roderigo................Andrea Velis
Herald..................Arthur Thompson

Conductor...............James Levine

Cassilly was a "last minute" sub for a "sick" Vickers.  People were always skeptical about Vickers calling in sick.  Anyone who wanted to be better than Milnes in that role has a very high hurdle to clear....

As for Aida,  I've got the Pappano, am getting ready to order the Muti, and have both Callas recordings (although the studio recording is still unheard, sitting in THE BOX). I've also got the Karajan EMI (the one with Carreras and Freni).

In the Domingo box, the recordings are the Otello with Levine and the Aida with Leinsdorf.

Spineur

Mario del Monaco is the legendary otello

[asin]B000VZAV44[/asin]

He recorded it several times, but his prestance is so strong that I keep coming back to this live performance.

Tsaraslondon

Quote from: Jeffrey Smith on June 15, 2017, 09:05:05 AM
As for Aida,  I've got the Pappano, am getting ready to order the Muti, and have both Callas recordings (although the studio recording is still unheard, sitting in THE BOX). I've also got the Karajan EMI (the one with Carreras and Freni).

In the Domingo box, the recordings are the Otello with Levine and the Aida with Leinsdorf.

I like that Karajan recordings, especially Baltsa's Amneris, a spoiled young Princes, rather than the harridan she is often portrayed.

I have the Levine Otello too, and I do like it, not least for Scotto's Desdemona.
\"A beautiful voice is not enough.\" Maria Callas

Dee Sharp

Rossini: Semiramide. Studer/Ramey/Larmore Marin/LSO.


Tsaraslondon

Quote from: Spineur on June 15, 2017, 09:25:25 AM
Mario del Monaco is the legendary otello

[asin]B000VZAV44[/asin]

He recorded it several times, but his prestance is so strong that I keep coming back to this live performance.

He had the perfect voice for the role, and I still have a soft spot for Karajan's first recording, but I think both Vickers and Domingo probe more deeply.

\"A beautiful voice is not enough.\" Maria Callas

Marsch MacFiercesome

Quote from: Tsaraslondon on June 15, 2017, 09:39:16 AM
I like that Karajan recordings, especially Baltsa's Amneris, a spoiled young Princes, rather than the harridan she is often portrayed.

I have the Levine Otello too, and I do like it, not least for Scotto's Desdemona.

Oh my God yeah!

I can't exhaust superlatives on how affecting Scotto's Act I love duet before dawn is with Domingo.

I mean I was just floored with it when I heard it.

It has to be my overall favorite Othello.

- although I'll still take the ferocious majesty of Karajan's opening choruses on the EMI/BPO performance.
Easier slayed than done. Is anyone shocked that I won?

kishnevi

#307
Purchases from the local used CD store.






This means I can now do a Placido threeway with Otello.
I didn't even notice Domingo was in the Cilea until I got home. I got it because I have no recordings of this opera.

Tsaraslondon

Quote from: Jeffrey Smith on June 15, 2017, 09:05:05 AM

As for Aida,  I've got the Pappano, am getting ready to order the Muti, and have both Callas recordings (although the studio recording is still unheard, sitting in THE BOX).

You'll never hear a better Nile scene than this one with Callas and Gobbi. Serafin is also at his best here too. No other conductor quite makes the violins weep the way he does as Aida sings that sublimely moving phrase on O patria, patria quanto mi costi.
\"A beautiful voice is not enough.\" Maria Callas

Tsaraslondon

Quote from: Marsch MacFiercesome on June 15, 2017, 10:02:02 AM
Oh my God yeah!

I can't exhaust superlatives on how affecting Scotto's Act I love duet before dawn is with Domingo.

I mean I was just floored with it when I heard it.

It has to be my overall favorite Othello.

- although I'll still take the ferocious majesty of Karajan's opening choruses on the EMI/BPO performance.

I find it hard to choose between Serafin and Levine. Vickers and Gobbi are a hard act to follow, but Rysanek is nowhere near as affecting as Scotto. I need them both.

\"A beautiful voice is not enough.\" Maria Callas

Tsaraslondon

Quote from: Jeffrey Smith on June 15, 2017, 12:39:41 PM
Purchases from the local used CD store.






This means I can now do a Placido threeway with Otello.
I didn't even notice Domingo was in the Cilea until I got home. I got it because I have no recordings of this opera.

I have the Giulini Il Trovatore and the Cilea.

I like the Trovatore very much, though not as much as the Callas/Karajan, which is one of the great Verdi recordings. Karajan is so alive to its rhythmic vigour, and Giulini can be a tad slow in comparison. That said, Plowright has just the right tinta for Leonora, and Fassbaender is an extremely interesting, if unconventional Azucena.

The Cilea is a load of old hokum, if you ask me, but this recording makes the very best case for it.

\"A beautiful voice is not enough.\" Maria Callas

kishnevi

Quote from: Tsaraslondon on June 15, 2017, 01:02:28 PM


The Cilea is a load of old hokum, if you ask me, but this recording makes the very best case for it.

Yes, that's why I didn't have a recording of it before. This is the one in which she dies from poisoned flowers, isn't it?  Since it came used, there's no libretto book, just the CDs.

I'm hoping this Chenier is better than the Pavarotti, which I have...and was not impressed with. This store also had copies of the Corelli and Carreras recordings. Have you heard either of those?

Tsaraslondon

Quote from: Jeffrey Smith on June 15, 2017, 01:42:03 PM
Yes, that's why I didn't have a recording of it before. This is the one in which she dies from poisoned flowers, isn't it?  Since it came used, there's no libretto book, just the CDs.

I'm hoping this Chenier is better than the Pavarotti, which I have...and was not impressed with. This store also had copies of the Corelli and Carreras recordings. Have you heard either of those?

I used to have the Chenier on LP many moons ago, but never replaced it on CD. It's not an opera I like much, to be honest, but I think that Domingo/Levine recording is the best I've heard.

\"A beautiful voice is not enough.\" Maria Callas

Marsch MacFiercesome

#313
Quote from: Jeffrey Smith on June 15, 2017, 07:44:19 AM

Have to disagree with you.  But then I'm the one that just actually did the Ring in four days (last week). :P

The entire tetraology? In four days?

You're dedicated.

Talk about a Gesamtkunstquirk.
Easier slayed than done. Is anyone shocked that I won?

Marsch MacFiercesome

#314
Quote from: Tsaraslondon on June 15, 2017, 12:53:36 PM
I find it hard to choose between Serafin and Levine. Vickers and Gobbi are a hard act to follow, but Rysanek is nowhere near as affecting as Scotto. I need them both.

Oh sure.

Discernment implies appreciation as well as censure.

But on the other hand, sometimes the very act of choosing is diminishment.

So yeah,  hedge your bet.

Love 'em both. . . I do.

"My name is Blair and I'm a shop-o-holic."




Ha.  Ha.  Ha.  Ha.  Ha.

Easier slayed than done. Is anyone shocked that I won?

Marsch MacFiercesome

#315
Quote from: Tsaraslondon on June 15, 2017, 01:02:28 PM
I have the Giulini Il Trovatore and the Cilea.

I like the Trovatore very much, though not as much as the Callas/Karajan, which is one of the great Verdi recordings. Karajan is so alive to its rhythmic vigour, and Giulini can be a tad slow in comparison. That said, Plowright has just the right tinta for Leonora, and Fassbaender is an extremely interesting, if unconventional Azucena.

The Cilea is a load of old hokum, if you ask me, but this recording makes the very best case for it.

I remember reading some critic saying that the conducting on Karajan's Callas Trovatore was 'vulgar'- as if that floating abstraction was some sort of a demerit.

It's a full-blooded and spirited reading- to be sure.

Italianate and Spanish in flavor definitely.

But 'vulgar'?

Do the corpses who make these feckless indictments even have blood pumping through their veins?

Easier slayed than done. Is anyone shocked that I won?


kishnevi

Quote from: Marsch MacFiercesome on June 15, 2017, 02:50:28 PM
The entire tetraology? In four days?

You're dedicated.

Talk about a Gesamtkunstquirk.

It's not an enterprise I propose to repeat. But I have four more Rings never played in my pile yearning for their day in the sun.

But tonight

I started in on this set some years ago, but Life Intervened, and I never got back to it until now. So I resume with Ascanio in Alba.
Although the whole thing is fluffy enough to float away on a cloud. Even Mozart didn't actually call it an opera. But it's certainly better than most people can produce at age 15.

Autumn Leaves

Now playing:



Quite delighted with this recording.

Later:



Have listened to everything in the box apart from Turandot - will be playing it tonight for a first listen (the recording and the work - never heard this Opera  before).



GioCar

Quote from: Conor71 on June 16, 2017, 03:13:04 AM

Later:



Have listened to everything in the box apart from Turandot - will be playing it tonight for a first listen (the recording and the work - never heard this Opera  before).

You'll love it. And this is a stellar performance.