Started by marvinbrown, April 20, 2007, 12:50:59 PM
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Quote from: lisbeth on December 01, 2014, 07:18:45 PMTscherniakov does not give us the usual 'park-and-bark' 'organ grinder' Verdi, but the most exciting, thought-demanding version of this old outlived war horse.http://ecx.images-amazon.com/images/I/51%2B73RNO0mL._AA160_.jpg
Quote from: lisbeth on December 02, 2014, 08:02:12 AMI do share your enthusiam and admiration for Herbert von Karajan, Juliani, et al; my remark of "park and bark" refers to singers! I don't think conductors, as a rule, sing. Maestro Rico Saccini has been known to take over a few bars for a singer who lost it all, words and melody, to bring the artist's memory back to the performance. From: " Made in Italy"Copyright © Rico Saccani:"And then Houston"Il Trovatore" is not a sing-long, but the few notes sung by conductor Rico Saccani last night were undoubtedly the first thing on the lips of the audience following Houston Grand Opera's opening night. Those notes were a jolt. His voice came during the Act Three tenor aria 'La pira' covering both orchestra and singer. It was Saccani in stentorian tones correcting the tenor (Vyacheslov Polozov), who had gotten completely lost. A lot of people woke up from their dozing to attend to the podium.- The Houston Chronicle, January 25, 1992."
Quote from: marvinbrown on October 16, 2015, 07:23:38 AM On my end I can not tell one way or the other as I have not heard the Karajan recording. Perhaps some of GMG's Verdi experts can weigh in on the differences? I am also left to wonder if Falstaff really is an opera buffa in the traditional (i.e. Rossini, Mozart etc.) sense? marvinbrown
Quote from: Tsaraslondon on October 16, 2015, 09:10:51 AMI love the Karajan recording, though some have also opined that it too lacks humour. For my part, I think it fizzes and sparkles like vintage champagne, and the Philharmonia play brilliantly for Karajan. With a near ideal cast, it remains my first choice for the opera.
Quote from: GioCar on May 21, 2017, 02:43:27 AMJessop, just the opposite for me... Take the Otello for example.I don't need to watch it to enjoy it, the drama is in the music, nowhere else, from the first blasting chord to the quiet, transfigured end. What does it make it so popular and much more loved than the Shakespeare's original? I think it's simply Verdi's music...Verdi gave to Otello, Falstaff (!), Macbeth and all others (Rigoletto!! Hugo's original is almost forgotten...) a new greatness, a new immortality, thanks to his music and the drama which is deeply interwoven with it, not to the plot or the staging. Verdi made this alchemy and this is possibly why people enjoy his music so much.Don't waste your time analyzing it too much.
QuoteFor who would bear the whips and scorns of time, Th'oppressor's wrong, the proud man's contumely, The pangs of dispriz'd love, the law's delay, The insolence of office, and the spurns That patient merit of th'unworthy takes, When he himself might his quietus makeWith a bare bodkin? Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death,The undiscovere'd country, from whose bournNo traveller returns, puzzles the will, And makes us rather bear those ills we have Than fly to others that we know not of?
Quote from: Moonfish on November 10, 2014, 07:09:57 AMVerdi: Rigoletto Moffo/Merrill/Kraus/Elias/Flagello/RCA Italiana Opera Chorus & Orchestra/Solti Excellent version of one of my favorite Verdi operas! Somehow Rigoletto became more enjoyable after I took in a staged version on a dvd. It was fantastic. The imagery of the staging blended with the music so now any Rigoletto triggers the enjoyable experience. This Solti version was very good with wonderful singing from Moffo and Merrill. Solti's orchestra embraced the performance. I am still looking for my #1, but this one and a version with Callas would qualify as my current contenders. Such a sad story!
Quote from: Moonfish on May 24, 2018, 10:09:20 PMHa ha! I have returned to Solti's performance of Verdi's Rigoletto once again. And, once again being reminded by Tsaraslondon that I should revisit the Serafin performance with Callas/Gobi! Hmm, not much activity in the Verdi thread since 2014..... No love for Verdi?
Quote from: SurprisedByBeauty on January 12, 2019, 10:47:21 PMLatest on ClassicsToday (InsiderContent):A Lady Macbeth From Hellby Jens F. LaursonThe idea of Verdi's Macbeth (in the original, dramatically taut 1847 version) performed by a period instrument ensemble is, generously viewed, intriguing–at least when Europa Galante and Fabio Biondi are involved, with all their creditable expertise in Italian music. Granted, Verdi is not Vivaldi and... Continue Reading
Quote from: JBS on January 13, 2019, 04:36:40 PMTo me the only important flaw...unfortunately a very important flaw...was the Lady Macbeth. But I have to wonder if that may not stem from an intentional choice by Biondi, since the liner notes make a point of Verdi's statements that he wanted an ugly sounding singer for the role.(Not being an Insider I have no idea of what you wrote beyond the lead...)
Quote from: Tsaraslondon on January 14, 2019, 02:30:03 AMWhatever Verdi's intentions and, as I've pointed out before, they should no doubt be taken with a pinch of salt, there is no excuse for bad singing. Not only does Michael have a vibrato you could drive the whole of Macbeth's army through, her singing of the notes Verdi wrote is approximate in the extreme. I used to think Souliotis's singing on the Gardelli set was pretty disastrous, but beside Michael she is a paragon. I can't imagine what possessed those involved to go ahead. A Macbeth with an inadequate Lady Macbeth is as disastrous for Verdi as it is for Shakespeare, and I have no idea what Biondi was thinking. Back in Legge and Culshaw's day she would have been dismissed before she even got into the recording studio.
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