What Opera Are You Listening to Now?

[NumberSix]

Starting my exploration of Billy Budd, one of Britten's masterpieces. Britten's marine operas (Peter Grimes being the other) explore isolation, cruelty, sexual repression and mortification. Fun stuff, yay ! 😵�💫

I have listened to Ian Bostridge on lieder (Schubert, probably) and found him to quite enjoyable.

[Roasted Swan]

Starting my exploration of Billy Budd, one of Britten's masterpieces. Britten's marine operas (Peter Grimes being the other) explore isolation, cruelty, sexual repression and mortification. Fun stuff, yay ! 😵�💫

Britten rarely floats my boat - but Billy Budd is wonderful.  I saw it years ago (1988?) at ENO with a stellar cast led by Thomas Allen and Philip Langridge (can't really "hear" Bostridge singing the Pears role - but I guess I just lack imagination!)

[André]

Britten rarely floats my boat - but Billy Budd is wonderful.  I saw it years ago (1988?) at ENO with a stellar cast led by Thomas Allen and Philip Langridge (can't really "hear" Bostridge singing the Pears role - but I guess I just lack imagination!)

Au contraire ! When we put a vocal 'face' on a role it's our imagination that builds a strong mental alias to the character (voice type, verbal characterization etc). This being my first BB, I'm registering all kinds of character/vocal traits to Bostridge's portrayal. He will no doubt impress his way with the role onto my imagination. When I listen to another interpretation some things will no doubt clash with the mental portrayal that sits in my brain. Such is the power of music.

I've put in my cart the Nagano set (original 4 acts version: all others are of the revised one, including Britten's own Decca recording). That will have Anthony Rolfe-Johnson, a more 'manly' voice than Bostridge's, as well as the beautiful voice of the young Thomas Hampson.

BB is much about suppressed desires, internalized homophobia (esp. as it may be conjectural - being at sea for 6 months with men only). Desiring yet rejecting the desire. Billy is the outsider, the disruptive element forced onto the Indomitable's crew. The men react like white cells attacking a dangerous intruder. The tragic end is inevitable - foreordained. Billy Budd must die. Peter Grimes suffers the same fate: inexorably isolated and rejected, cornered until he finds the ultimate escape.

[Tsaraslondon]

Au contraire ! When we put a vocal 'face' on a role it's our imagination that builds a strong mental alias to the character (voice type, verbal characterization etc). This being my first BB, I'm registering all kinds of character/vocal traits to Bostridge's portrayal. He will no doubt impress his way with the role onto my imagination. When I listen to another interpretation some things will no doubt clash with the mental portrayal that sits in my brain. Such is the power of music.

I've put in my cart the Nagano set (original 4 acts version: all others are of the revised one, including Britten's own Decca recording). That will have Anthony Rolfe-Johnson, a more 'manly' voice than Bostridge's, as well as the beautiful voice of the young Thomas Hampson.

I'd recommend the Gramophone Award winning Hickox too. It has Philip Langridge as Vere, Simon Keenlyside as Billy and John Tomlinson as Claggart and the sound is spectacular.

[Roasted Swan]

I'd recommend the Gramophone Award winning Hickox too. It has Philip Langridge as Vere, Simon Keenlyside as Billy and John Tomlinson as Claggart and the sound is spectacular.

+1 for Hickox set but I do like the Nagano as well

[Lisztianwagner]

Richard Wagner
Die Walküre

Georg Solti & Wiener Philharmoniker

[Iota]

Britten rarely floats my boat - but Billy Budd is wonderful.  I saw it years ago (1988?) at ENO with a stellar cast led by Thomas Allen and Philip Langridge (can't really "hear" Bostridge singing the Pears role - but I guess I just lack imagination!)

Actually I thought the role of Vere kind of suited Bostridge's somewhat detached stage presence. Though had I not heard it, I think I'd have thought pretty much the same as you.
But fine as he is, I think top awards go to Harding and the LPO who are sensational, with some brilliantly intense timps and bass drum thwacking, playing havoc with the psychological drama, and absolutely fantastic, bracing singing from the chorus.
I now clearly have to hear the Hickox set. 

[nico1616]

I was able to pick up some historic Wagner recordings at the local thrift store. I guess a big Wagner collection came in because there was a lot. They costed me €1,50 a box, so no risk involved. I already listened to snippets of these Meistersinger and I must say, the sound and singers are surprisingly good.
My favorite Meistersinger were the Sawallisch and Jochum until now.
Anyone has thoughts on (one of) these recordings?

[André]

Meistersinger isn't an opera I listen to for pleasure 🫢 but pressed to choose, I'd go for the Reiner set. I would definitely trust him for giving the work the élan, majestic stature and humour that I know are there (but not always receive). Not all his soloists are from the A team, but the Staatsoper operated as an ensemble, which certainly counts for much in this opera.

I don't know the provenance or the date of the Knappertsbusch set (great soloists) but Kna is not a conductor I'd trust to give the work the qualities I mentioned  (Jochum certainly has those, though: his recording is generally loved, but I detect a hint of condescension in many reviews).

Not sure about Kempe or Cluytens in Wagner in general: safe, sane, solid conducting but nothing trancendent. Cluytens' soloists are big favourites: Brouwenstijn, Windgassen, Hotter, Greindl. Hmmm....

Kempe is from Dresden, 1951: same orchestra (Saxon State Orchestra = Dresden Staatskapelle), same year as Karajan's famous Bayreuth recording, but Karajan has name soloists...

If I was to choose between various historical Meistersingers, I'd go for the Reiner or Karajan's. Personally I think this work, of all Wagner's operas, benefits the most from modern technology: Jochum and Karajan's second Dresden recording, then.

[Roasted Swan]

Actually I thought the role of Vere kind of suited Bostridge's somewhat detached stage presence. Though had I not heard it, I think I'd have thought pretty much the same as you.
But fine as he is, I think top awards go to Harding and the LPO who are sensational, with some brilliantly intense timps and bass drum thwacking, playing havoc with the psychological drama, and absolutely fantastic, bracing singing from the chorus.
I now clearly have to hear the Hickox set.

You've convinced me!  Just ordered a cheap 2nd hand copy......

[nico1616]

Meistersinger isn't an opera I listen to for pleasure 🫢 but pressed to choose, I'd go for the Reiner set. I would definitely trust him for giving the work the élan, majestic stature and humour that I know are there (but not always receive).

Tx for the recommendation! Personally I think Meistersinger is one of Wagner's best. Especially in the theatre. When cast and orchestra are able, it gives one of the most gratifying evenings opera has to offer. I get much more impatient with Tristan (that second act duet goes on forever) or die Walküre (Wotan's monologue ...), Meistersinger is constantly entertaining.

[Iota]

You've convinced me!  Just ordered a cheap 2nd hand copy......

Hope you get the kind of thrills that I did with it! 

[André]

Just receive the 4 act version of Billy Budd (Nagano, Erato). I look forward to hear it this weekend.

[ritter]

First listen in ages to Richard Strauss' Intermezzo (Popp, Fischer-Dieskau, BRSO, Sawallisch).



This bourgeois comedy is actually quite attractive, and the composer's own libretto is masterfully sat to music, in a quick, conversational style. And the orchestral backdrop is quite seductive.

This is miles away from the finesse, grandeur and occasional, let's face it, pomposity of the operas on libretti by Hugo von Hofmannsthal, but is an interesting sideway in the composer's career.

From the Sawallisch opera box on Warner:



Not that I really miss it (I have the Sinopoli recrding of this rather unattracteve opera), but for some unfathomable reason, this box is missing Sawallisch's recording of Strauss Friedenstag (originally on EMI).

[Kalevala]

First listen in ages to Richard Strauss' Intermezzo (Popp, Fischer-Dieskau, BRSO, Sawallisch).



This bourgeois comedy is actually quite attractive, and the composer's own libretto is masterfully sat to music, in a quick, conversational style. And the orchestral backdrop is quite seductive.

This is miles away from the finesse, grandeur and occasional, let's face it, pomposity of the operas on libretti by Hugo von Hofmannsthal, but is an interesting sideway in the composer's career.

From the Sawallisch opera box on Warner:



Not that I really miss it (I have the Sinopoli recrding of this rather unattracteve opera), but for some unfathomable reason, this box is missing Sawallisch's recording of Strauss Friedenstag (originally on EMI).

I haven't heard of that opera before now.  When did he write it (roughly) during his career?

K

[Ganondorf]

I haven't heard of that opera before now.  When did he write it (roughly) during his career?

K

IIRC, it's literally in the middle of his operatic output, 8th out of his 15 operas.

[JBS]

Not that I really miss it (I have the Sinopoli recrding of this rather unattracteve opera), but for some unfathomable reason, this box is missing Sawallisch's recording of Strauss Friedenstag (originally on EMI).

Perhaps Bayerische Rundfunk withheld their rights to it for some reason (such as releasing their own issue of it)?

[Roasted Swan]

IIRC, it's literally in the middle of his operatic output, 8th out of his 15 operas.

That only tells half the story.  The date of the premiere - July 1938 - is significant as is the use of Gregor as the librettist.  Wiki says this; The opera thematically expresses anti-war sentiments, which William Mann has described as "a determined counter to the militaristic policies of Nazi Germany".

[nico1616]

Another opera I found in the thrift store. A 1949 recording in surprisingly good sound. Fricsay is a great Mozart conductor with a perfect cast here, Dermota is just amazing!

[André]

Handel's last authentic masterpiece, an oratorio sometimes mounted for the stage. There is little difference between the two genres in Handel's output. His greatest oratorio is of course Messiah, but Samson, also listed as an oratorio is often in the repertory of opera houses.

Jephta has some fine dramatic and musical moments, all dealing with the tragedy of Iphis' sacrifice and Jephta's subsequent distress. There are only 5 characters, plus the obligatory Angel descending from heaven to neatly arrange a happy end. General rejoicing.

The orchestral writing is often arresting. All characters have important scenes and arias. One bone of contention common to all recordings is the casting of Hamor, Iphis' fiancé. Handel wanted the castrato Guadagni for the role but he wasn't available. It is unclear who sang the role in the first run, but it appears it would have been Isabella Young, a 17-year old mezzo soprano (and incidentally composer Thomas Arne's niece). Nowadays it is taken up by countertenors. On record the likes of Paul Esswood and Michael Chance have sung it. On this recording it is sung execrably by one Robert Expert (!) He hoots and wobbles his way through the role with the voice of a capon. A pity, since there is no dearth of excellent countertenors (Fagioli, Daniels). A fine contralto would also been effective. In any case, it (he) is the only negative point in this otherwise superb recording. Great conducting and playing (PI), fine sound.