What Opera Are You Listening to Now?

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

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Tsaraslondon

Quote from: Mirror Image on April 14, 2021, 10:39:36 AM
Cool, but I have already bought four of Sinopoli's recordings of Strauss operas (plus, I have already a bunch of Strauss on the way prior to these purchases), but I'll definitely keep it mind.

Oh I'm sorry. I thought you said you already had the Karajan Rosenkavalier but hadn't listened to it yet. Or were you referring to his second recording on DG?
\"A beautiful voice is not enough.\" Maria Callas

Mirror Image

Quote from: Tsaraslondon on April 14, 2021, 10:45:24 AM
Oh I'm sorry. I thought you said you already had the Karajan Rosenkavalier but hadn't listened to it yet. Or were you referring to his second recording on DG?

Ah yes, sorry for the confusion, but I own the recording that came in this Karajan DG box set:


Tsaraslondon

Quote from: Mirror Image on April 14, 2021, 11:24:34 AM
Ah yes, sorry for the confusion, but I own the recording that came in this Karajan DG box set:



It's not bad, but not as good as the EMI with Schwarzkopf.
\"A beautiful voice is not enough.\" Maria Callas

ritter

Quote from: Tsaraslondon on April 14, 2021, 12:39:46 PM
It's not bad, but not as good as the EMI with Schwarzkopf.
That's not the second recording (with Tomowa-Sintow and Baltsa, which as you say is good—IMO mainly the orchestral part), but the live 1960 with della Casa I was talking about.

Tsaraslondon



There's no escaping the Wagnerian influences, especially Parsifal and Tristan und Isolde but this is a gorgeously lush score and very well performed here. Certainly worth exploring.

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

Fritz Kobus

I have mixed feelings with this one. I am not that keen on the story, but the music and singing are wonderful!

Fritz Kobus


André

Cross-posted.



One of the lesser-known french opera composers, Ambroise Thomas wrote this beautiful work on a libretto by Carré and Barbier (Faust, Roméo et Juliette etc). The basis for the libretto is Goethe's bildungsroman Wilhelm Meister. It was premiered in 1866 at the Opéra Comique. The first Mignon was Célestine Galli-Marié. 9 years later Galli-Marié would be the first Carmen at the Opéra Comique. It was a triumph and Thomas' crowning achievement, one of the most frequently performed operas in France until the 1930s.

Thomas' score contains some of opera's most famous tunes. My favourite is Mignon's Connais-tu le pays (Kennst du das Land?), a text set to music countless times (by Beethoven, Schubert, Berg, Schoeck, Schumann, Wolf and many others). This gorgeous ballad based on a simple melody is a favourite of mezzos. I feel that Horne misses some of its wide-eyed simplicity and freshness - a bit too knowing, perhaps. The whole production is lavishly cast and produced (superb playing and sound). AFAIK there is no alternative in stereo, although a few performances from earlier generations are available, reflecting the opera's undeserved descent into oblivion.

Tsaraslondon

Quote from: André on April 19, 2021, 11:13:33 AM
Cross-posted.



One of the lesser-known french opera composers, Ambroise Thomas wrote this beautiful work on a libretto by Carré and Barbier (Faust, Roméo et Juliette etc). The basis for the libretto is Goethe's bildungsroman Wilhelm Meister. It was premiered in 1866 at the Opéra Comique. The first Mignon was Célestine Galli-Marié. 9 years later Galli-Marié would be the first Carmen at the Opéra Comique. It was a triumph and Thomas' crowning achievement, one of the most frequently performed operas in France until the 1930s.

Thomas' score contains some of opera's most famous tunes. My favourite is Mignon's Connais-tu le pays (Kennst du das Land?), a text set to music countless times (by Beethoven, Schubert, Berg, Schoeck, Schumann, Wolf and many others). This gorgeous ballad based on a simple melody is a favourite of mezzos. I feel that Horne misses some of its wide-eyed simplicity and freshness - a bit too knowing, perhaps. The whole production is lavishly cast and produced (superb playing and sound). AFAIK there is no alternative in stereo, although a few performances from earlier generations are available, reflecting the opera's undeserved descent into oblivion.

It's a long time since I've heard this set, but I remember thinking how much better Von Stade would have been in the role of Mignon. She sings a wonderful rendition of Connais-tu le pays on a recital disc.

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

Mirror Image

Cross-post from the 'Listening' thread:

Quote from: Mirror Image on April 19, 2021, 01:36:17 PM
New Arrival...

NP:

Strauss
Salome, Op. 54
Cheryl Studer, Bryn Terfel et. al.
Orchestra of the Deutsche Oper Berlin




I'm thoroughly enjoying this recording. I find it much more poetic and lyrical under Sinopoli's baton compared to Solti who as Rafael rightly pointed out is neurotic as hell and just not fun or enjoyable to listen to in any way (he also just doesn't get Strauss, IMHO). Cheryl Studer and Bryn Terfel are in fine voice. I really think Studer is a fine Straussian and I loved her in Vier letzte Lieder (also under Sinopoli). Thanks to Rafael for nudging me into getting these Strauss Sinopoli opera recordings. I should've bought them years ago when I was getting his recordings of the various tone poems.

André

Quote from: Tsaraslondon on April 19, 2021, 01:50:06 PM
It's a long time since I've heard this set, but I remember thinking how much better Von Stade would have been in the role of Mignon. She sings a wonderful rendition of Connais-tu le pays on a recital disc.

I would agree. Much as I love Horne, she sounds a bit too masculine here. When introduced by Jarno, he describes her as 'not a girl, not a boy, not a woman'. That certainly gives much leeway in terms of vocal casting and interpretation. But this sounds just bizarre.

I'll try to get 'Connais-tu le pays?' with von Stade.  :)

Fritz Kobus


Tsaraslondon

Quote from: André on April 19, 2021, 04:31:23 PM
I would agree. Much as I love Horne, she sounds a bit too masculine here. When introduced by Jarno, he describes her as 'not a girl, not a boy, not a woman'. That certainly gives much leeway in terms of vocal casting and interpretation. But this sounds just bizarre.

I'll try to get 'Connais-tu le pays?' with von Stade.  :)

You can hear it on youtube https://youtu.be/QAUMBxSDuk8
\"A beautiful voice is not enough.\" Maria Callas

André


Florestan

Quote from: André on April 19, 2021, 04:31:23 PM
When introduced by Jarno, he describes her as 'not a girl, not a boy, not a woman'.

If she were introduced by Justin Trudeau, he'd describe her as "zer".  ;D
Every kind of music is good, except the boring kind. — Rossini

Wanderer


Florestan

#2456
Quote from: Wanderer on April 20, 2021, 10:36:16 AM
.
Does he both conduct and sing all roles simultaneously?  ;D

I'm sorry but I think an opera recording art cover which lists only the conductor and the orchestra and no soloists is the top of egocentrism from the conductor's part. Really sorry, but that's my honest feeling.
Every kind of music is good, except the boring kind. — Rossini

knight66

Quote from: Wanderer on April 20, 2021, 10:36:16 AM
.

How do you find it? I bought the Figaro which I did not much enjoy and the Don Giovanni which enjoyed a lot. I decided that his likely approach to Cosi was not for me. Also, I don't take to some of his singers.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.

Florestan

Quote from: knight66 on April 20, 2021, 12:01:50 PM
I don't take to some of his singers.

Who are they, actually? The cover art is utterly and inexcusably silent about them.  ;D
Every kind of music is good, except the boring kind. — Rossini

knight66

Quote from: André on April 19, 2021, 11:13:33 AM
Cross-posted.



One of the lesser-known french opera composers, Ambroise Thomas wrote this beautiful work on a libretto by Carré and Barbier (Faust, Roméo et Juliette etc). The basis for the libretto is Goethe's bildungsroman Wilhelm Meister. It was premiered in 1866 at the Opéra Comique. The first Mignon was Célestine Galli-Marié. 9 years later Galli-Marié would be the first Carmen at the Opéra Comique. It was a triumph and Thomas' crowning achievement, one of the most frequently performed operas in France until the 1930s.

Thomas' score contains some of opera's most famous tunes. My favourite is Mignon's Connais-tu le pays (Kennst du das Land?), a text set to music countless times (by Beethoven, Schubert, Berg, Schoeck, Schumann, Wolf and many others). This gorgeous ballad based on a simple melody is a favourite of mezzos. I feel that Horne misses some of its wide-eyed simplicity and freshness - a bit too knowing, perhaps. The whole production is lavishly cast and produced (superb playing and sound). AFAIK there is no alternative in stereo, although a few performances from earlier generations are available, reflecting the opera's undeserved descent into oblivion.

André, I don't know the opera beyond a couple of arias, but your writeup has got me interested. I have just started streaming this version. I can imagine that having Horne in this kind of part would be like shoving the mature Orson Wells onto the stage to play Oberon in Midsummer Night's Dream.

Mike
DavidW: Yeah Mike doesn't get angry, he gets even.
I wasted time: and time wasted me.