What Opera Are You Listening to Now?

[Der lächelnde Schatten]

Very well sung but with the voices too forward for my taste. They not only leap out of the speakers but they seem to be singing loud most of the time. The effect is tiring on the ear. Stryja conducts wonderfully. This set has a hothouse sonic atmosphere, intoxicating but prone to be overbearing in the climaxes. I'm still not sure it qualifies as a standard opera. I'm reminded of Strauss' Frau Ohne Schatten by the work's luxuriant orchestration and up front, ecstatic vocalism, but also of early 20th century symbolist operas by its static, philosophical subject matter. It can almost be heard as a big vocal symphony, symbolism be damned.

I haven't heard that Stryja recording, but I love this Kaspszyk recording on the CD Accord label and highly recommend it:

[Tsaraslondon]

I haven't heard that Stryja recording, but I love this Kaspszyk recording on the CD Accord label and highly recommend it:

I'm told this is the best recording of the work, but I have the Rattle, which seems pretty good to me.

[Der lächelnde Schatten]

I'm told this is the best recording of the work, but I have the Rattle, which seems pretty good to me.

The Rattle is quite good, indeed. I haven't heard it in ages, though.

[nico1616]

Very well sung but with the voices too forward for my taste. They not only leap out of the speakers but they seem to be singing loud most of the time. The effect is tiring on the ear. Stryja conducts wonderfully. This set has a hothouse sonic atmosphere, intoxicating but prone to be overbearing in the climaxes. I'm still not sure it qualifies as a standard opera. I'm reminded of Strauss' Frau Ohne Schatten by the work's luxuriant orchestration and up front, ecstatic vocalism, but also of early 20th century symbolist operas by its static, philosophical subject matter. It can almost be heard as a big vocal symphony, symbolism be damned.

Thanks for the information. The Rattle version has been in my collection for years, without ever being played. I guess I'd better turn to 'die Frau ohne Schatten' first, which is also in my library.

[Tsaraslondon]

Thanks for the information. The Rattle version has been in my collection for years, without ever being played. I guess I'd better turn to 'die Frau ohne Schatten' first, which is also in my library.

Try it. It's a good deal shorter than Die Frau ohne Schatten.

[André]

I haven't heard that Stryja recording, but I love this Kaspszyk recording on the CD Accord label and highly recommend it:

I have Kaspszyk's recording too but don't recall it well. I remember that I felt the need to buy another one after listening to it though.

[nico1616]

Médée is a tragédie lyrique that was created in the style of Lully after his death. It sounds like Lully in orchestration and divertissements but is more dramatic. The role of Médée is created for a prima donna and Lorraine Hunt has been the perfect personification with William Christie.
So my first though was we did not need a new recording, but Hervé Niquet has surprised me in a positive way. Véronique Gens is the leading lady here and she is almost the equal of Hunt. Gens is now late in her career and seems to be focusing on the baroque repertoire, which suits her well. This new recording surpasses Christie in the Jason/Créuse couple. Cyrille Dubois is top notch as always and I am getting more and more attached to Judith Van Wanroij who takes part in loads of recordings of forgotten repertoire these days.
It is a great era for French baroque opera recordings and labels like Alpha keep on producing gems. It seems the French are chauvenistic enough to maintain and cherish their cultural heritage. Cds like these are the perfect follow-up after a visit to Paris, of which I can never get enough, as with this kind of repertoire.

[Que]

^^

Thanks for posting! 

[Wendell_E]

From the 2018 Salzburg Festival:

[ritter]

From the 2018 Salzburg Festival:

A very effective opera. I've seen it live twice: fully staged at the Teatro Real here in Madrid in 1991, conducted by Arturo Tamayo, and then in 2018 in concert form with Nagano conducting the Spanish National Orchestra (just a couple of months before the Salzburg performances). It made a strong impression both times.

[nico1616]

This 1963 live recording makes me understand why Mirella Freni became such a big name, she is just sensational here. Gianni Raimondi is the best partner she could have and Karajan's orchestral detail crystal clear. In secondary roles we find Panerai, Vinco, Taddei, Güden and they even have Kurt Equiluz to sing the two lines of Parpignol. Really, those 60s must have been something in the Wiener Staatsoper.

[San Antone]

Wagner : Götterdämmerung
Herbert von Karajan (1970)

[André]

This 1963 live recording makes me understand why Mirella Freni became such a big name, she is just sensational here. Gianni Raimondi is the best partner she could have and Karajan's orchestral detail crystal clear. In secondary roles we find Panerai, Vinco, Taddei, Güden and they even have Kurt Equiluz to sing the two lines of Parpignol. Really, those 60s must have been something in the Wiener Staatsoper.

Agreed. Wonderful performance.

For a very different musical approach, seek the Youtube video of a French 1960 TV production of Bohème with Alain Vanzo .

You'll never hear Rodolfo's high C in 'Che gelida manina' in the same way (start around 21:00). It's just part of his delivery, not a stunt or a 'Hear Me' high note. The whole cast is wonderful and, if the story appeals, the French translation shouldn't be a bother. 😊

[San Antone]

This 1963 live recording makes me understand why Mirella Freni became such a big name, she is just sensational here. Gianni Raimondi is the best partner she could have and Karajan's orchestral detail crystal clear. In secondary roles we find Panerai, Vinco, Taddei, Güden and they even have Kurt Equiluz to sing the two lines of Parpignol. Really, those 60s must have been something in the Wiener Staatsoper.

Do you prefer this one to the 1962 Freni, Gedda, Schippers in Rome?

[nico1616]

Do you prefer this one to the 1962 Freni, Gedda, Schippers in Rome?

That is a Bohème I don't own, I am not a fan of Gedda...

The other Bohèmes I have and know are these, of which I would put Beecham at the top.




And then there are these 2 on my shelf that I haven't listened to yet and which are actually the same ...


... sung in German, so I do not expect a lot from this.

[Tsaraslondon]

That is a Bohème I don't own, I am not a fan of Gedda...

The other Bohèmes I have and know are these, of which I would put Beecham at the top.




And then there are these 2 on my shelf that I haven't listened to yet and which are actually the same ...


... sung in German, so I do not expect a lot from this.

But, alas, not this one.



Callas in La Boheme

[nico1616]

But, alas, not this one.



Callas in La Boheme

I don't get Callas in Puccini, I know that her Tosca with De Sabata is considered the greatest ever, but there are others I like more (Tebaldi/Molinari-Pradelli and even Solti/Te Kanawa which is loathed by many...). I find her Butterfly just too mannered.
On the other hand, I often love Callas in Verdi. The Karajan/Trovatore or Serafin/Rigoletto for example. And she is a fantastic Norma and Lucia, but not Puccini.

[Tsaraslondon]

I don't get Callas in Puccini, I know that her Tosca with De Sabata is considered the greatest ever, but there are others I like more (Tebaldi/Molinari-Pradelli and even Solti/Te Kanawa which is loathed by many...). I find her Butterfly just too mannered.
On the other hand, I often love Callas in Verdi. The Karajan/Trovatore or Serafin/Rigoletto for example. And she is a fantastic Norma and Lucia, but not Puccini.

I'm pretty gobsmacked, particularly about you liking the Te Kanawa/Solti Tosca! LOL A clutch of Decca Toscas

And, I find her Butterfly unbearably moving, and not in the least bit mannered.

The Callas Karajan Madama Butterfly.

But you can't please all of the people all of the time! ;-)

[ritter]

Turning to grand opéra tonight, spurred by the vague Proustian connections of the work (the composer's great-nephew Daniel Halévy was a close friend of Marcel Proust).

Fromental Halévy: La Reine de Chypre.


Wagner praised the work, while George Sand said it was "boring to death ". I do not find it particularly inspired, but pleasant enough, with a certain charme désuet.

Wonderful presentation by Bru Zane (released at the time —2018– by the Spanish label Ediciones Singulares) and very eloquent performance under Hervé Niquet, with the great Véronique Gens leading a string cast.

[nico1616]

I'm pretty gobsmacked, particularly about you liking the Te Kanawa/Solti Tosca! LOL A clutch of Decca Toscas

Hahaha, I must say the Te Kanawa Tosca has a story for me. It is the first opera recordings I bought and also my, so you can say I am biased
But really, if there is any critism on Leo Nucci, it is justified, he never had a pleasant voice but I can accept that for Scarpia. Giacomo Aragall is an underrated tenor and his Cavaradossi is impeccable. As for Te Kanawa, she is of course a drama queen but still, the torture scene in act 2, I am still totally involved when I hear her 'pièta', and the start of act 3 has the right atmosphere.
PS I certainly like the Price/Karajan Decca Tosca, and I have it in my collection but I can't find it for the moment.
PS2 I heard fragments of the new Harding recording, and it sounds very promising. It is on my shopping list.