What Opera Are You Listening to Now?

[André]

Recorded live from the Sydney Opera House in 2011. I bought this set new for a pittance in February. It is worth a whole lot more than many full price versions I know. The conducting is the most incisive, colourful and dynamic one could imagine. I've never heard so much wind detail as here, such forceful and trenchant attacks as those in the overture or the Supper Scene. The singing is never less than good. Standing out in the cast is the superb Elvira of Jacqueline Dark (never heard of her). Also excellent are the Leporello and Don Giovanni, both in fine voice and terrific vocal actors. Teddy Tahu Rhodes is a so-called barihunk, a baritone with an athlete's physique. His timbre is strange and takes a while to get used to: very dark, bottled, clouded on top. But it's a voice that cuts through the ensembles and rides over the orchestra, one that is never in danger of being mistaken for that of Leporello (happens rather frequently).

What I liked most here is the dashing movement, the care taken to characterize the scenes and the superb word-pointing of a fine ensemble cast. It has the unmistakable thrill of a truly exciting live performance. The sound is very good. I wish they had cut the work on two discs instead of three. It could have been done easily, with one act to a disc and would have made much more sense dramatically. Here, scene 5 of I is on the second disc, with the beginning of II, which concludes on the third disc. Strange and cumbersome.

I still cherish individual vocal performances from many other versions, as well as the superb conducting from the likes of Krips, Solti, Giulini or Nézet-Séguin. But for a great ensemble performance that gives as much Da Ponte as Mozart, this will be hard to beat.

[Tsaraslondon]

My annual visit to Der Ring des Niebelungen starting with Das Rheingold. A controversial choice of recording, no doubt, but it's the only one I have (I've heard a few others, but nowhere near as many as some people on here - they must have an awful lot of time on their hands  ) and I don't like Wagner enough to want to duplicate. In any case, I've always preferred Karajan's way to Solti's "orgasm in every bar" approach.

[Florestan]

Looks rather like Siegfried than Don Giovanni. 

[André]

Cross posted from the WAYL2 thread.

Well known in its film incarnation (best actress oscar for Susan Sarandon), Sister Helen Prejean's novel was turned into an opera by composer Jake Heggie and librettist Terrence McNally. It was premiered at the San Francisco Opera in 2000, reprised by opera houses the world over. It was to be staged at the Met this spring. I saw it in Montreal 7 years ago. This recording is from a Houston Grand Opera production in February 2011.

It's a powerful work, thanks to McNally's tight narrative and Heggie's voice-friendly, lucid musical lines and his resourceful use of the orchestra. The words are easily heard and understood. A good thing, as there is no printed libretto. The booklet mentions an online one on the Virgin website, but it leads to the Deutsche Grammophon online catalogue, where a search for Heggie among composers brings a 'no result' dead end.

Listening on disc to an unfamiliar opera I saw on stage is a bit strange. The words are clearer on record, but the visuals are gone, so something is lost one way or another. The singing is excellent, with an all-star female cast (Joyce Di Donato, Suzanne Mentzer, Frederica von Stade, Measha Brueggergosman) - the men are an unknown lot, but sing convicingly too. There is a nonstop hum throughout the recording, like something electronic, unless it's an AC unit (how warm is it in Houston in February?).

[Wendell_E]

[Dead Man Walking] was to be staged at the Met this spring.

Next spring, actually, so we can hope it'll still happen. April 8th to May 2nd, 2021, "Live in HD" on April 17th, so maybe a commercial release to follow.

I've got the "original cast" San Francisco Opera recording, and have seen it live three times (once in New Orleans in 2016, twice in Pensacola in 2017) and find myself liking it more and more.

[André]

Next spring, actually, so we can hope it'll still happen. April 8th to May 2nd, 2021, "Live in HD" on April 17th, so maybe a commercial release to follow.

I've got the "original cast" San Francisco Opera recording, and have seen it live three times (once in New Orleans in 2016, twice in Pensacola in 2017) and find myself liking it more and more.

Is that so? The Met web site mentions April and May performances (no mention of the year), so I assumed it was 2020 ! It's supposed to be on screen as well. That would be terrific.

When I wrote my comment above, the second act was midway through. The final scenes are simply extraordinary. The role of Sister Helen is one mezzos would kill to sing. Di Donato is mind, body and soul into the role. Fabulous !

[Tsaraslondon]

Continuing my Ring journey with Die Walküre. Sound and orchestral playing are superb. Listening to Act I at the moment. Vickers and Talvela are fantastic. Equivocal feelings about Janowitz as I often do. The voice has a sort of disembodied purity, which is slightly at odds with such a passionate woman.

[Tsaraslondon]

The recording is hard going, so I'm just listening to Callas's bits and she is incredible - literally. When do you ever hear singing like this these days? The power and accuracy of her coloratura, the fabulous top notes (right uo to an Eb n alt in the duet with Nabucco) cutting through the dim recording like laser beams, the way she can caress a phrase and spin out the cantilena in Abigaille's few tender moments. Has anyone since (or even before) sung like this?

Longer review on my blog https://tsaraslondon.wordpress.com/2017/10/07/nabucco-naples-1949/.

[André]

from this box:



I played this set to the ground in its 3 LP incarnation on the Seraphim label. I believe it was my first ever complete opera set, bought in my late teens. With that long a connection it surprises me that many observations I made then still stand today. First of all, there are three extraordinary performances here. In order of importance, they are Callas, Serafin and Tucker.

It's hard to overstate the artistry of Callas here. Verbally, emotionally and musically she elevates the character of Leonora and the music Verdi wrote to iconic levels. There's no denying that her voice is often unstable on pianissimo notes, even in her middle register. But, strange as it may seem, her emission is very controlled and never threatens to become wobbly. Only the flutter at invan la pace makes me cringe. In the big outbursts, in the preghiera, in the big Act III aria she is simply sublime. Her way with the curse that crowns Pace, pace mio Dio is incredible: she hurls the final « MalediZZione » thrillingly. Most of the time sopranos make a meal of the word, losing its syllabic bite - something like 'malezione' or even simply an Ahhhh! Her death scene is a masterclass in singing (pointing words while always keeping a legato line) and interpretation.

Serafin conducts with great elan, attention to detail and rythmic incisiveness. It's apparent right from the opening brass chords - biting, slashing - that this will be a dramatic reading. The orchestra plays splendidly, too. Through the well-balanced mono recording one can hear excellent balances. The offstage brass in the battle scene are clearly heard but neatly distanced from the main soundstage. The boring Preziosilla scene is almost interesting for the verve Serafin brings to it.

Tucker's performance is the other vocal glory of this set. His impetuosity, his heart on sleeve singing, alternately tender and biting are thrilling. The timbre is unitalianate to be sure - dryish, like Gedda's for example - but the heft, ease on top and sheer gutsiness carry everything before him in his big scenes. Following Callas' example (?) his imprecations in the final scene (MalediZZione) are blood curdling. I forgive him the sobs and occasional whining tone. In this opera too much is better than restraint.

The other roles are decently taken, although I find Carlo Tagliabue a bore - decent singing but not really credible as the vengeance crazed psycho brother of Leonora. This recording was dismissed by purists because of some cuts. Personally I would dispense with all the buffo elements of the opera: Trabuco, Melitone, Preziosilla in the third Act really test my patience. I would have cut that silly scene altogether.

[Tsaraslondon]

One of Callas's greatest studio sets in my opinion. Leonora was actually her first Verdi role. She sang it in Trieste in 1948, then again in Ravenna in 1954 shortly before making this recording, but, unfortunately, never again.

She was emerging from her famous weight loss at this time and Walter Legge had said to her that if she didn't sort out the wobble he would have to give out sea sickness tablets with the records. Apparently one day during the sessions they were having lunch at Biffi Scala with Legge's wife, Elsiabeth Schwarzkopf and, whilst they were waiting to be seated, Callas turned to Schwarzkopf and said, "Elisabeth, show me how you sing top As and Bs and then make a diminuendo from them." Much to the delight of the lunch guests, Schwarzkopf at first demurred but then eventually complied, whilst Callas felt her ribs and diaphragm. "Thanks, I think I've got it. I'll let you know how it goes," she said, and the two ladies swept into the restaurant.

I agree with you absolutely that Serafin is the other star of the recording. He rarely gets enough credit, but his conducting is dramatically incisive, yet wonderfully lyrical. I'm less tolerant of Tucker than you. I always think it a shame that Corelli hadn't been engaged, but I suppose this would have been early days for him, though later that year he was singing with Callas in La Vestale at La Scala.

Review on my blog, if anyone's interested https://tsaraslondon.wordpress.com/2017/01/08/la-forza-del-destino/

[Pohjolas Daughter]

Very nice roundup of this excellent recording, Tsaraslondon! A classic, for sure, and successful at all levels. Don Carlo(s) is also a favourite of mine.  I have a feeling that its composer, attending to an important commission from a major foreign house, outdid himself in terms of the overall ambition of the work, and the orchestral aspect in particular.

+1 A favorite of mine!  Love the opera to begin with and the singing and portrayals in this recording are excellent! 

[Pohjolas Daughter]

Next spring, actually, so we can hope it'll still happen. April 8th to May 2nd, 2021, "Live in HD" on April 17th, so maybe a commercial release to follow.

I've got the "original cast" San Francisco Opera recording, and have seen it live three times (once in New Orleans in 2016, twice in Pensacola in 2017) and find myself liking it more and more.

Same here...with Susan Graham.  Great that you've seen it live!  I imagine that it would have even more of an impact then.  It's certainly very relevant these days.

[Pohjolas Daughter]

One of Callas's greatest studio sets in my opinion. Leonora was actually her first Verdi role. She sang it in Trieste in 1948, then again in Ravenna in 1954 shortly before making this recording, but, unfortunately, never again.

She was emerging from her famous weight loss at this time and Walter Legge had said to her that if she didn't sort out the wobble he would have to give out sea sickness tablets with the records. Apparently one day during the sessions they were having lunch at Biffi Scala with Legge's wife, Elsiabeth Schwarzkopf and, whilst they were waiting to be seated, Callas turned to Schwarzkopf and said, "Elisabeth, show me how you sing top As and Bs and then make a diminuendo from them." Much to the delight of the lunch guests, Schwarzkopf at first demurred but then eventually complied, whilst Callas felt her ribs and diaphragm. "Thanks, I think I've got it. I'll let you know how it goes," she said, and the two ladies swept into the restaurant.

I agree with you absolutely that Serafin is the other star of the recording. He rarely gets enough credit, but his conducting is dramatically incisive, yet wonderfully lyrical. I'm less tolerant of Tucker than you. I always think it a shame that Corelli hadn't been engaged, but I suppose this would have been early days for him, though later that year he was singing with Callas in La Vestale at La Scala.

Review on my blog, if anyone's interested .

Great story!     I also have a soft spot for Richard Tucker.  Have you ever heard his singing of "Rachel, Quand du Signeur"?  I found this recording online (hadn't heard it before now).  https://www.youtube.com/watch?v=CyIJQ9cKID0  I'll have to see when mine was recorded.

Best,

PD

[Tsaraslondon]

Is it sacrilege to say that Siegfried is my least favourite opera of the tetrology? It just seems to be a series of conversations that don't really hold my interest. I have to resist the urge to jump to the final, splendid scene when Siegfried awakes Brünnhilde.

[Biffo]

Is it sacrilege to say that Siegfried is my least favourite opera of the tetrology? It just seems to be a series of conversations that don't really hold my interest. I have to resist the urge to jump to the final, splendid scene when Siegfried awakes Brünnhilde.

No, its not sacrilege if that is how the work strikes you. For a long time Siegfried in the Karajan recording was the only instalment of the Ring cycle that I owned though I had heard all the others. I have to confess I listened to Act 3 more often than the rest of it. I think the work has grown on me over the years..

[JBS]

I agree with Tsaraslondon. Or would, if I didn't find Gotterdammerung to be even less interesting as a drama. [What Wagner did musically is what saves it for me.] I like the forging scene, but I could jump to the final scene without regret.

[Mirror Image]

Is it sacrilege to say that Siegfried is my least favourite opera of the tetrology? It just seems to be a series of conversations that don't really hold my interest. I have to resist the urge to jump to the final, splendid scene when Siegfried awakes Brünnhilde.

I never have liked Siegfried, so, no, it's not sacrilege at all. To be honest, The Ring really isn't any of my favorite Wagner with the exception of Das Rheingold. I've always been more partial to Parsifal and Tristan und Isolde.

[Tsaraslondon]

I never have liked Siegfried, so, no, it's not sacrilege at all. To be honest, The Ring really isn't any of my favorite Wagner with the exception of Das Rheingold. I've always been more partial to Parsifal and Tristan und Isolde.

I'm not sure why I've never become a real Wagnerite. I don't actively dislike his operas, far from it, but I do enjoy Italian and French opera much more. My favourite Wagner is probably Dutchman, to be honest, but I do like the other three operas in the Ring and I love the closing scene in Siegfried. It just seems to take an awful long time to get there.

[T. D.]

[Mirror Image]

What's this one like, T. D.? Noteworthy?