What Opera Are You Listening to Now?

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

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Mirror Image

Quote from: Moonfish on October 16, 2019, 11:26:39 AM
Let us know how it compares with other renditions. You make me want to go and revisit the castle....!   >:D

:laugh:

Todd




I bought Furtwangler's Ring quite a while ago, and only now, after at least a two month gap since Die Walküre, am I getting to Siegfried.  I must admit, this Ring has not at all lived up to expectations.  If I go for a 50s era recording, both Krauss and Keilberth are much more to my liking.
The universe is change; life is opinion. - Marcus Aurelius, Meditations

People would rather believe than know - E.O. Wilson

Propaganda death ensemble - Tom Araya

Maestro267

Wagner: Parsifal (Act 1)
Bayreuth 1962/Knappertsbusch

André


From WAYLT thread:

Quote


Is there a limit to Britten's ingeniosity? For Screw he devised a perfectly symmetrical structure. It starts with a piano-accompanied Prologue. There follows an orchestral theme that precedes a short operatic scene. Then we have an orchestral interlude which is a variation of the theme, then the second scene, then variation no 2, scene 3, and so on until the end. Theme and 15 orchestral variations interspersing 16 scenes, divided in two acts of equal length. To make matters even more intricate Britten turns the screw on the music too, with tonality ascent (A, B, C, D etc, in the first act) followed by descent (G, F, E flat, C etc in the second act). That mathematical, cartesian structure gives a rigorous frame to a ghost story where reality, dream (nightmare) and madness freely intertwine.

Given the way the music is composed, every link in this perfect musical chain must be of equal quality. Any little fault would stand out and make the whole limp. No such worries need be entertained, though. Everything in this performance falls neatly in place musically and dramatically. As always with Britten, though, I get the impression that the most meaningful music takes place in the orchestra. When voices are heard they give dramatic meaning to the text but never introduce anything original musically - other than taking over or varying orchestral material. But that's Britten's way, his response to Debussy and Berg.



Tsaraslondon

I've loved The Turn of the Screw ever since I first saw it when I was a student in Newcastle-upon-Tyne. It was a wonderfully atmospheric production by Anthony Besch, with the lovely Catherine Wilson as the Governess.

I've seen it several times snce too and it never fails to work its magic. I'm not sure I totally agree with you about the voices never introducing anything new musically. I'm thinking of the Quint's eerie melismas, which are first heard in the voice, the Malo theme sung by Miles and the gorgeous tune of the final duet between the Governess and Miles (So, my dear, we are alone), though it is echoed in the orchestra, I grant you.

My go to recording is still the composer's own with the original cast, despite it being in mono. It is a welcome reminder that it is possible to sing English and be perfectly understood. You don't really need to follow with a libretto, the singers' diction is so good. I used to have the Davis recording too, with Helen Donath, Heather Harper and Robert Tear but even they don't articulate the text as clearly.



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

André

The Quint theme is first heard in Act I, scene 3, on the celesta. This instrument characterizes Quint throughout the opera. Celesta = Quint. Miss Jessel's instrument is the gong. Gong = Jessel. Britten himself said « the orchestra is the story ». The fascinating musical commentary in the Collins booklet is worth reading for the light it sheds on Britten's method.

Cato

Revisiting the great performance from just a few years ago:

The Oresteia by Sergei Taneyev, Leon Botstein conducting the American Symphony Orchestra.

Available as an Amazon download only (incomprehensible as to why there is still no CD package):


"Meet Miss Ruth Sherwood, from Columbus, Ohio, the Middle of the Universe!"

- Brian Aherne introducing Rosalind Russell in  My Sister Eileen (1942)

Tsaraslondon

Quote from: André on November 08, 2019, 05:08:44 AM
The Quint theme is first heard in Act I, scene 3, on the celesta. This instrument characterizes Quint throughout the opera. Celesta = Quint. Miss Jessel's instrument is the gong. Gong = Jessel. Britten himself said « the orchestra is the story ». The fascinating musical commentary in the Collins booklet is worth reading for the light it sheds on Britten's method.

You're right of course. I'd momentarily forgotten about that, but the theme itself seems so vocally conceived, so tailored to Pears's voice that I wonder which came first.

I've seen various productions over the years. Some make the ghosts a very real presence, where others make them exist only in the Governess's imagination. I believe Britten preferred the former interpretation, but it can take both approaches.
\"A beautiful voice is not enough.\" Maria Callas

mc ukrneal

Quote from: Tsaraslondon on November 10, 2019, 03:13:40 AM
You're right of course. I'd momentarily forgotten about that, but the theme itself seems so vocally conceived, so tailored to Pears's voice that I wonder which came first.

I've seen various productions over the years. Some make the ghosts a very real presence, where others make them exist only in the Governess's imagination. I believe Britten preferred the former interpretation, but it can take both approaches.
I love both approaches (I think it's almost a must to see both at least once). There are also some interesting video versions. I can't remember which one it is, but the video where the governess's dress changes color as the drama moves along was an interesting concept. I love how directors and singers have enough latitude to visually represent her mental condition as the opera moves along (in different ways).

It's still one of my favorite operas.
Be kind to your fellow posters!!

Mirror Image

I'd like to get around to revisiting Sibelius' Maiden in the Tower. If I remember correctly, it was quite good. Normally one doesn't think of Sibelius as an opera composer, but imagine if he had turned his attention again to the medium in his mature years?

JBS

Quote from: Tsaraslondon on November 10, 2019, 03:13:40 AM
You're right of course. I'd momentarily forgotten about that, but the theme itself seems so vocally conceived, so tailored to Pears's voice that I wonder which came first.

I've seen various productions over the years. Some make the ghosts a very real presence, where others make them exist only in the Governess's imagination. I believe Britten preferred the former interpretation, but it can take both approaches.

That merely reflects the ambiguity present in the original story:  James wrote it in a way that would support either view. 
Britten being able to convey that same ambiguity can be seen as a mark of his excellence (and that of his librettist, Mrs. Piper, of whom I know nothing beyond what the Wikipedia article says).

Hollywood Beach Broadwalk

André


This is how I see the presence of Quint and Miss Jessel in the opra:



Like in a house of mirrors, where reality exists somewhere, somehow. Or maybe not.

KevinP


André

Quote from: KevinP on November 10, 2019, 08:25:40 PM


Just finished my first listen.

And?

I haven't listened to it in years, practically forgot what it sounds like  :-X

KevinP

I just ordered it from Amazon and so will take two weeks to get here. What I listened to was Amazon's autorip feature, which is to say I do not have the libretto (assuming it comes with the CD in the first place which is likely).

The dominating adjective is 'brutal' which is exactly what it should be. The male voices have surprisingly less stage time then I'd expected. The juxtaposing of Amazing Grace is very effective.

Will give it a second listen today or tomorrow.

André

A 266 page libretto is included.  Unless yours is a newer incarnation, expect a 4cm thick box  :).

Tsaraslondon

#1776




A much better and more interesting disc than the tacky presentation would suggest. From the cover you might assume it was one of those ubiquitous collections of Tchaikovsky pops, whereas what we have here is a selection of excerpts from mostly some of Tchaikovsky's more rarely performed operas, at least here in the West. The two sopranos, Inessa Galante and Marina Shaguch are both excellent, though it would have been nice to know who was singing what, as is the baritone, Sergei Leiferkus. If the tenor, Alexander Fedin, isn't quite in their class, the orchestral contribution from the Royal Opera House, Covent Garden under Neeme Järvi is splendid.

The only really familiar item here is Tayana's Letter Scene from Eugene Onegin, and of course many will know the two arias from Queen of Spades (Hermann's Act I arioso and Yeletsky's Act II aria), but the rest of the excerpts are not at all well known. Aside from Eugene Onegin and Queen of Spades, I only have a recording of Mazeppa, but this disc certainly makes me want to explore more of Tchaikovsky's operas.

I simply cannot understand the reasoning behind such shoddy presentation, which meant the disc soon found its way to the remainder bin and never got the attention it deserved. The booklet gives a little background to each piece and helpfully tells you you can get texts and translations by writing to BMG, UK, though given the album was issued in 1997, I doubt that's still the case. I would have liked to know which soprano sings which piece too. A shame that such artistic excellence should be let down so badly by the presentation.
\"A beautiful voice is not enough.\" Maria Callas

JBS

This Amazon review identifies the singers, though it gives no indication of where he got the information
QuoteJulian Grant
5.0 out of 5 starsUnexpected pleasures
January 22, 2000
Format: Audio CD
You might, coming across a CD entitled 'The Tchaikovsky Experience', expect yet another compilation of over-familiar favourites - not so here. While Tchaikovsky's ballets and symphonies are in danger of over-exposure, his ten operas are, with two exceptions, unfamiliar.
This beautifully planned recital provides extracts from every one of them - even an abandoned one (Undine). Four singers: two sopranos, tenor and baritone perform a selection of arias and duets. Inessa Galante delivers an engrossing and very emotional performance of the most familiar item here, the Letter Scene from 'Eugene Onegin', she enters fully into Tatyana's world. She is just as good in an extended duet from Tchaikovsky's last opera 'Iolanta', partnered ably by tenor Alexander Fedin - and she darkens her voice convincingly for a plangent account of Joan of Arc's aria from 'The Maid of Orleans' - traditionally mezzo territory. Marina Shaguch (familiar from many recent Kirov Opera recordings)has a brighter timbre, which suits Undine's delectable song, and possibly the most ravishing aria on the disc, that from 'Vakula the Smith', a rustic comic opera that cries out for a modern recording - it is almost totally unknown and contains some of Tchaikovsky's most delicious music. She is less involving in the final scene and deranged lullaby from 'Mazeppa', which doesn't pack the necessary punch here, though it is beautifully sung. Alexander Fedin is less consistent, best in the familiar excerpts from 'The Queen of Spades'. Sergei Leiferkus has the least to do, but does it well, though his account of Yeletsky's aria from 'The Queen of Spades' does not bear comparison with Pavel Lisitsian's classic account. But it is the wealth of unfamiliar music here that counts, and with sparkling support from the Royal Opera House orchestra and Neemi Jarvi, this disc is a winner, and should be essential listening for every Tchaikovsky lover.
Don't be put off by the most awful jacket design - a green tinged Sloane-y young gel(presumably Tatiana)who looks as if she's strayed in from a photoshoot for 'Brides' magazine. Ridiculous,inappropriate and unimaginative, but we all know better than to judge a CD by its cover, don't we?

You're not the only one to dislike the cover, obviously.

Hollywood Beach Broadwalk

Tsaraslondon

Quote from: JBS on November 13, 2019, 06:17:28 AM
This Amazon review identifies the singers, though it gives no indication of where he got the information
You're not the only one to dislike the cover, obviously.

I've scoured the CD insert again and still can't find any reference to which woman sings what. Maybe I missed it, but if the information is there, it's not easy to find, that's for sure.
\"A beautiful voice is not enough.\" Maria Callas

KevinP



Been a long time since I've spun this. Still good.