We have commented the unhappy career of Gurlitt, with his two major works, Wozzeck and Die Soldaten, being overshadowed by Berg and Zimmermann versions. This Nana is interesting, but musically clearly inferior to Gurlitt's previous operatic efforts.
I watched Le Cid on Youtube with Alagna And Beatrice Uria-Monzon here. This is the only version I've seen as it unfortunately does not exist on DVD (Why not?).
Alagna was fine, I just wallow in his glorious French, but Uria-Monzon steam-rolled her way through the role, big voice with heavy vibrato singing with no finesse whatsoever. So I'm resting my ears with this now that I know the plot:
Someone needs to tell Dario Fo that less is more, and filling your stage with people dressed as animals, funny men with false tummies, real rockets and endless lovely women in various stages of undress and contortion, doesn't really help your singers make a big impression.
Despite that this guy stood out for me, battling out against the endless distractions to make a lovely sound:
That wonderful Rigoletto with Demuro, Machaidadiaaizdze and Nucci. It's really great. I surely hope to hear Demuro on some real recording, preferably from studio, such handsome voice and singing manners much above current standards when it comes to tenors. I actually liked his Duke more than one by Kraus (and that's a lot since I'm huge fan of Kraus). Machaiaidziaaiadze is entirely convicing Gilda as well, loved her Caro Nome. Nucci provides insightful interpretation of his character, yet I would complain that he had some problems with high notes here. I think that he even missed one in his final AH, LA MALEDIZIONE cry. But nevertheless he doesn't fall under certain level that I expected him to keep.
Doing homework for London visit:
Watching a DVD and then listening to the recording in tandem works well to help me get to know a piece better.