I finally clicked with Joseph from Stephen. At first place I disliked him and woed that Callas recordings were made with him so much more often than with Corelli, Monaco or Kraus. But now I'm getting back to them and like his voice and singing more and more. Carreras praising of him helped me to overcome my first bad impression, I also understood what meant that person who called Di Stefano when Carreras was making his first steps and adviced him to "come and hear some Spaniard that sings very much like him when he was younger". Tomorrow it will be time for Lucia with same two, under Karajan.
As part of my homework before I see Falstaff*, I got this on recommendation from Aksel. It's fab-u-lous.
* a new production & according to the ROH site, it's going to be filmed.
Comparing these two Elixir of Love sets:
The fine 1997 Decca version with Alagna/Gheorghiu most people are familiar with, I like it very much so went back in time to 1993 Erato version with slightly younger more fluid Alagna and the brilliant bel canto singer Mariella Devia.
Devia seems to fly just below the radar screen but she is extremely good here technically edging out Gheorghiu, soaring sustained high notes dazzling runs etc. Angela may have a touch more personality and sparkle.....no reason not to have both of these
This is a very entertaining production (if extremely wacky) of a reasonably good opera. Lots of fun, beautifully sung especially by Sunhae Im and Tom Randle. Good to see an opera where Alcina gets to be the goodie for once.
Shigolch is right (of course). Beatrice di Tenda is an underrated opera - so beautiful. Would love to see a production of this.
Oh, and I'm working my way through this thing right now:
Amazing cast (all Danish, I think), great singing, even from Bo Skovhus (he actually sings amazing here), and the music is really quite something. Nielsen truly had a knack for writing for woodwinds.
And it's filled with amazing, amazing numbers, like Henrik's (as sung by Bo Skovhus) first act aria "Først kommer fæl og fus", describing to the main character, Leander, the dangers of getting engaged to unknown girls at masked balls; Leander's mother Magdelone's recount of her favourite dances, including a rather sprightly Folie d'Espagne; Jeronimus, Leander's father little hymn-like ditty about how things used to be better before; and the amazingness of the first act finale. And that's all in the first act!
Truly an opera that should be done more. If only singers could learn Danish.
Very, very beautiful.
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)