Started by Harry, September 20, 2007, 02:17:55 AM
0 Members and 1 Guest are viewing this topic.
Quote from: Gabriel on September 20, 2007, 08:13:25 AM Moreover, his Don Giovanni will be very soon released.
Quote from: Harry on September 20, 2007, 08:49:42 AMAs to the Kuijken recordings, what can go wrong for 8 euro's the set?
Quote from: erato on September 20, 2007, 11:56:17 AMYou might not like it, and then you will have wasted 8 Euro. A performance you don't like, doesn't become a good buy simply by being cheap.
Quote from: sTisTi on September 20, 2007, 11:41:55 AMI have the Östman Zauberflöte and on the whole like it very much, although some numbers like "Der Vogelfänger bin ich ja" are done ridicilously fast. But if you like it "small scale, bubbly, spicy", Östman certainly should be explored! Like you, I have a strong dislike for excessive vibrato in sopranos, and while this performance is not free from it, it is less objectionable than many others I tried.Many also like Östman's Don Giovanni, but I cannot comment as I don't own it.
Quote from: longears on September 20, 2007, 11:50:09 AMHarry, Jacobs's Mozart is splendid, I also have Kuijken's Cosi and it's very good, and also Östman's Zauberflöte and Le Nozze.
Quote from: Harry on September 20, 2007, 08:49:42 AMAnd it will be the same with the Mozart operas.
Quote from: JoshLilly on September 20, 2007, 05:08:08 PMThe Così fan tutte performed by La Petite Bande is excellent, now my favourite performance. I have more recordings of this than any other complete opera, and this one is #1 for me. The price is also exceptional. Even if it's not your preferred performance, if you don't have a period recording this one definitely won't break the bank. I also recommend the sometimes maligned Roger Norrington edition of Don Giovanni. I think everything is absolutely perfect. Okay, one of the major criticisms is of the Donna Anna, Amanda Halgrimson, and I can't strongly argue with this; she's passable, but not great. Everything else is awesome. And Nancy Argenta as Zerlina, anything with Nancy Argenta is the best! She's also Despina in the La Petite Bande Così fan tutte... not that that's the only reason it's my favourite recording!
Quote from: Gabriel on September 20, 2007, 03:35:07 PMI also have Östman's Mozart opera recordings, and while his Zauberflöte and Don Giovanni are splendid, I remember that I was less impressed with his Figaro. His Così fan tutte, on the other hand, is quite eccentric and should be enjoyed after having heard some other good recordings.
Quote from: uffeviking on September 20, 2007, 07:50:08 PMSir, was it very painful for you to have stepped inside the domain of Opera Lovers? See, we are all very civilised and friendly and I, for one, welcome you with a friendly hug and a hearty Hojotoho! - Ooops, sorry, I went to fast there, you have not set foot inside Walhalla yet. It'll come too!
Quote from: Harry on September 20, 2007, 03:47:48 AM Reviewed: Gramophone 8/1999, Alan Blyth I can do no better than quote Stravinsky's rhetorical question (made, in his case, on hearing a new piece of music): 'Do we need it?' With the catalogue already brimming over with recommendable versions of Mozart's masterpiece, an addition to the ranks must have something special to justify its issue.
Quote from: zamyrabyrd on September 21, 2007, 02:19:21 AMAch, what a pleasure to read someone else who feels as I do! Luciano Berio allegedly had a poster in his house (or apartment) that various people reported on which read "Down with Opera", most probably inspired by the perceived need to repeat historical operatic works ad infinitum and ad nauseam. Inertia is one of those reasons but also serving up to the public expensive cultural fixes. It IS a problem when most of the major (and even minor) musical works of the past couple centuries have been recorded many times over. (So go buy a good DVD.) The "reason to exist" (or to happen) should be more than picking out of a catalogue what operas to do this year, but showing something new and exciting. The situation is even worse when spending public money. Who needs it? The poor people?ZB
Quote from: zamyrabyrd on September 21, 2007, 08:57:31 AMFirst of all, Harry, I like your pictures. My writing can be eliptical, depending on what time of day it is.In the past live performers were needed to go from city to city to popularize the works of composers, like what Clara Schumann did for her husband's works. In the age of recording (starting from more than 100 years ago) the role of the performer has been redefined. It is not enough to go and do "Trittico" or the 7th Symphony of Beethoven below a normal, more or less established standard. There should be SOMETHING special and insightful, not just boring repeats.With regard to the latter, a few years ago I found it really annoying to listen to a Japanese conductor just go through the motions of that symphony, as though the public needs to be informed of the notes. This is essentially 19th century practice when almost any performance could be accepted as it was educational at the same time, presenting works that people could not hear on the radio or phonograph at home.He conducted with no musical insight, didn't add anything to the interpretation of the piece, so why "do we need it?" as asked by Stravinsky is relevant here, to my mind.ZB
Quote from: Anne on September 26, 2007, 06:23:46 AMThis Magic Flute (Mozart: Die Zauberflote) film by Ingmar Bergman is famous and is mentioned almost any time a discussion of the Magic Flute occurs.http://www.arkivmusic.com/classical/album.jsp?album_id=104840
Quote from: Harry on September 26, 2007, 06:36:23 AMThank you Anne, but as I see it, it is sung in Swedish with English subtitles.I rather have it in German, if you don't mind.
Page created in 0.031 seconds with 25 queries.