What Opera Are You Listening to Now?

[Tsaraslondon]

I am now listening to the Carlos Kleiber Tristan. Beside it on the shelf is the Goodall set. My liking for his work is tidal, it comes and it goes. Although this Tristan is slow, it keeps me interested. There is an overall feeling of the inevitable trajectory of each act. And in Linda Esther Gray we have basically a wonderful lost Isolde. Her main problem was said to be stage fright. She acts well with the voice and there is a telling and expressive use of portamento, I assume she was coached in detail by Goodall. I think the set is now available at mid price. Not a first choice, Mitchinson's Tristan is good, but the voice is not fresh and has a beat under pressure. But there are lots of very fine elements to the set.

I missed out on singing in a Goodall Beethoven 9th, he was ill, we got Maazel instead. So it was efficient and forgettable.

Mike

I actually saw Linda Esther Gray very early in her career, as Mimi in a Glyndebourne Touring production. It was a traditional prodiction and the performance was one of those where everything seemed to work. I can't remember the other singers but Gray's performance has remained in my mind. I do like her Isolde, which is beautifully sung and, unlike Price, she did actually sing the role on stage. What a shame her career came to an abrupt end. She has written her own story in the book A Life Behind Curtains.

[Mandryka]

Thanks for the memories, gents! Live performances provide unique moments, to be sure. The only 'incidents' I recall are Brendel making a fuss about the tuning of his piano. Technicians changed the whole keyboard (I didn't know it could be done). Oh, and a Ida Handel violin problem, when a string snapped. The orchestra leader graciously handed her his instrument and she continued the performance. Minor mishaps.

That reminds me of seeing Tureck play some Bach. She made us wait a long time, eventually turned up, went to the piano and looked at it, then took out a Kleenex and began to clean the keys.

[knight66]

I actually saw Linda Esther Gray very early in her career, as Mimi in a Glyndebourne Touring production. It was a traditional prodiction and the performance was one of those where everything seemed to work. I can't remember the other singers but Gray's performance has remained in my mind. I do like her Isolde, which is beautifully sung and, unlike Price, she did actually sing the role on stage. What a shame her career came to an abrupt end. She has written her own story in the book A Life Behind Curtains.

I was supposed to see her in a Scottish Opera Turandot. On opening night we sat, time moved on and an announcement was made, she was indisposed. We then waited until a stand-in was in the building. I don't think she sang on stage after that.

Mike

[Tsaraslondon]

I was supposed to see her in a Scottish Opera Turandot. On opening night we sat, time moved on and an announcement was made, she was indisposed. We then waited until a stand-in was in the building. I don't think she sang on stage after that.

Mike

I must say I'm quite interested to read her book now.

[Tsaraslondon]

This was actually the first opera set I ever owned, a Christmas present from my brother. I'd have been about eighteen at the time and I played it incessantly, so got to know it pretty well and I've known it now for around fifty years.

Since then my favourite recording of the opera has become the live 1955 La Scala relay with Callas, Simionato and Del Monaco, but this one still has a special place in my heart and is the recording I would always turn to if I want to hear the opera in decent stereo sound. Callas's voice has deteriorted since the earlier studio recording and since that miraculous 1955 live performance, it is true, but she is completely inside the role and I find some parts more movingly voiced here than in any of her other performances.

There are other reasons to cherish the recording, amongst them Ludwig's youthfully fresh Adalgisa, an unlikely casting choice that completely pays off, Corelli on his best behaviour as a noble and clarion voiced Pollione and Zaccaria as a patrician Oroveso. Serafin is a paragon in the pit and I have no hesitation recommending this recording as the best of all studio recordings of the opera.

A more extensive review on my blog http://tsaraslondon.com/2017/01/07/callass-1960-norma/

[André]

The 1964 stereo production under Stravinsky. I am impressed by the clarity and immediacy of the sound, eminently suitable for Stravinsky's neo-classical textures with their mix of bite and succulence. The singing is vivid and youthful-sounding (the low voice roles, both male and female are sometimes taken by over-the-hill singers).

[Wendell_E]

The 1964 stereo production under Stravinsky. I am impressed by the clarity and immediacy of the sound, eminently suitable for Stravinsky's neo-classical textures with their mix of bite and succulence. The singing is vivid and youthful-sounding (the low voice roles, both male and female are sometimes taken by over-the-hill singers).

The first Rake's Progress I ever heard, and I absolutely hated it. Now older and wiser, it's one of my favorite operas. I do like that recording now, but it's probably my least favorite of the five I have in my collection.

[Mirror Image]

The first Rake's Progress I ever heard, and I absolutely hated it. Now older and wiser, it's one of my favorite operas. I do like that recording now, but it's probably my least favorite of the five I have in my collection.

Which one would be your first choice?

[Wendell_E]

Which one would be your first choice?

Just saw your question. I'd be hard-pressed to pick just one, but probably John Eliot Gardiner's DG set, with Bostridge, Terfel, Deborah York, and von Otter. I also really like the Blu-ray of the 2010 Glyndebourne revival of the venerable John Cox production, with Topi Lehtipuu, Miah Persson, and Matthew Rose, Vladimir Jurowski conducting.

[Mirror Image]

Just saw your question. I'd be hard-pressed to pick just one, but probably John Eliot Gardiner's DG set, with Bostridge, Terfel, Deborah York, and von Otter. I also really like the Blu-ray of the 2010 Glyndebourne revival of the venerable John Cox production, with Topi Lehtipuu, Miah Persson, and Matthew Rose, Vladimir Jurowski conducting.

Very nice. Thanks for the feedback. I own the Gardiner (twice actually --- the single issued set and as part of the DG box set Complete Works).

[Tsaraslondon]

This version has no doubt been superseded by HIP versions under the likes of Minkowski, Curtis, McGegan and Bolton, but it still has its attractions, not the least of which is Janet Baker's superb Ariodante. Edith Mathis is quite impressive too. I'm enjoying it despite the use of modern instruments.

[bhodges]

That reminds me of seeing Tureck play some Bach. She made us wait a long time, eventually turned up, went to the piano and looked at it, then took out a Kleenex and began to clean the keys.

Just caught this by accident, and hilarious. Thanks for posting. (I never saw her perform.)

--Bruce

[Handelian]

Just caught this by accident, and hilarious. Thanks for posting. (I never saw her perform.)

--Bruce

John Culshaw told of a recording session with Michelangeli. They had lined up for pianos for him to try and he walked in, kicked each piano in turn and walked out again

[bhodges]

John Culshaw told of a recording session with Michelangeli. They had lined up for pianos for him to try and he walked in, kicked each piano in turn and walked out again

Thanks, that's a good one, and hadn't heard it.

--Bruce

[Tsaraslondon]

German's light opera Merrie England has particular significance for me, as it was the last show my father conducted before his untimely death from cancer at the age of 47. My father was an amateur conductor, who took his "hobby" very seriously. At one time he had contemplated a career in music but the war and family responsibility intervened and he ended up running the family business. However he became quite well known locally as a conductor of musicals and operatta and was musical director of several local operatic societies, conducting both American shows like The Music Man and Annie Get Your Gun, as well as the operettas of his favourite composer, Offenbach.

As far as I know, this is Merrie England's only recording and, though it does sound a little studio bound, it will certainly do very nicely. The principal singers were all Sadlers Wells Opera stalwarts and it was a pleasure to be reminded how easily and naturally people sang English back then. All of them have superb diction. German was considered the successor to Sir Athur Sullivan and you can certainly hear the influences of Gilbert and Sullivan on the score. I suppose it would all be considered a little twee and old fashioned these days, but I must say I rather enjoyed listening today.

[knight66]

I used to have an LP of excerpts of Merrie England on, I think, Ace of Clubs, which I think was a label of Decca. I also think that the cast was from an earlier generation, though I cannot recall names. The way I feel about GB just now, it may be some time before I go near a piece that is so blatantly patriotic. But it does have some good tunes.

Mike

[Tsaraslondon]

I used to have an LP of excerpts of Merrie England on, I think, Ace of Clubs, which I think was a label of Decca. I also think that the cast was from an earlier generation, though I cannot recall names. The way I feel about GB just now, it may be some time before I go near a piece that is so blatantly patriotic. But it does have some good tunes.

Mike

I do know what you mean (and I have a feeling I probably feel the same about GB as you do at the moment) but, as I said, the show does bring back certain memories for me. I'm still astonished at how easy it is to hear the words on this recording. Very few of today's singers sing with such clear diction, Why is that?

[knight66]

I do know what you mean (and I have a feeling I probably feel the same about GB as you do at the moment) but, as I said, the show does bring back certain memories for me. I'm still astonished at how easy it is to hear the words on this recording. Very few of today's singers sing with such clear diction, Why is that?

The Tenor Wilfred Owen made the touchstone version of Finzi's Dies Natalis. He sings in what was then Received Pronunciation and every word is clear. With the passage of time I now find it increasingly irritating and affected. Parallel to that is to hear John Gielgud in Shakespeare. I frankly find it overdone and absurd now. There was a substantial shift when the actors of the 30s and 40s were superseded by working class men and women who injected into the theatre more natural ways of speaking. Even Elizabeth II sounds very different in say 2010 than she did in 1954.

I have no doubt that this shift translated into how people were taught to sing. My recollection of June Bronhill is that she sounds very Julie Andrews, kind of precious to modern ears. But I agree, it would be good if more singers took care to ensure the words were clear in the theatre.

Mike

[Tsaraslondon]

The Tenor Wilfred Owen made the touchstone version of Finzi's Dies Natalis. He sings in what was then Received Pronunciation and every word is clear. With the passage of time I now find it increasingly irritating and affected. Parallel to that is to hear John Gielgud in Shakespeare. I frankly find it overdone and absurd now. There was a substantial shift when the actors of the 30s and 40s were superseded by working class men and women who injected into the theatre more natural ways of speaking. Even Elizabeth II sounds very different in say 2010 than she did in 1954.

I have no doubt that this shift translated into how people were taught to sing. My recollection of June Bronhill is that she sounds very Julie Andrews, kind of precious to modern ears. But I agree, it would be good if more singers took care to ensure the words were clear in the theatre.

Mike

I agree that "received pronunciation" has rather had its day, though we still sometimes say it of voices with no discernible regional accent. What we are in danger of losing now is intelligibility. I have absolutely no problem with regional accents in theatre or on stage as long as I can understand what the person is saying. Apparently when the acclaimed TV series The Wire was aired over here, many people found the only way of understanding what was going on was to watch with hard of hearing subtitles turned on. In an effort to make things sound authentic we sometimes forget that it is also important that we are understood.

[Pohjolas Daughter]

German's light opera Merrie England has particular significance for me, as it was the last show my father conducted before his untimely death from cancer at the age of 47. My father was an amateur conductor, who took his "hobby" very seriously. At one time he had contemplated a career in music but the war and family responsibility intervened and he ended up running the family business. However he became quite well known locally as a conductor of musicals and operatta and was musical director of several local operatic societies, conducting both American shows like The Music Man and Annie Get Your Gun, as well as the operettas of his favourite composer, Offenbach.

As far as I know, this is Merrie England's only recording and, though it does sound a little studio bound, it will certainly do very nicely. The principal singers were all Sadlers Wells Opera stalwarts and it was a pleasure to be reminded how easily and naturally people sang English back then. All of them have superb diction. German was considered the successor to Sir Athur Sullivan and you can certainly hear the influences of Gilbert and Sullivan on the score. I suppose it would all be considered a little twee and old fashioned these days, but I must say I rather enjoyed listening today.

Oh, nice to hear about your father's hobby!  Thank you for sharing that.  Not familiar with Merrie England.  Any favorite songs from it for you?

And so sorry to hear that he past away so young.  You must have been quite young then yourself?

PD