Last edited by Almaviva; March 30th, 2012 at 07:55 PM.
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
sospiro liked this post
Have you read our extensive article on her life and career, on the Home page? (I'm assuming you're talking about Natalie Dessay, not Emmanuelle Haim - who is also good, of course).
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
Finished the article on Natalie Dessay. Man what a talent singing and acting.
Daniel
I think it is a steller recording. Alan Curtis and Il Compresso Barocco come highly recommended and the singers are excellent. ( you said "nice line up" so I take it your familier with the vocalist. I'm not." ) The pacing and dynamics flow, the fidelity of the recording is excellent. I'm a little familier with Vivaldi and like his work but I was not aware of this opera and its fascinating history. Any idea if this has been performed in the last decade?
I picked up a couple of these great bleeding chunks... erm... "highlights" of Wagner's operas sans vocals. As a sworn Wagnerian I should be ashamedbut I actually picked them up so that I can listen a bit more to Wagner in the studio while painting, where I don't tend to listen to any opera outside of highlights and arias because I simply cannot follow the libretto.
Wagner by Jarvi with the beautiful sound production of Chandos... not bad.
*****
I finally got around to listening to Strauss Die Frau ohne Schatten. I had picked up the highly regarded Karajan live recording last year after Alma praised the opera to the high heavens... but I put off listening to it after some noted that Karajan's version includes cuts that make the complex narrative even more confusing. I finally picked up this live Bohm recording with Birgit Nilsson, Leonie Rysanek, Walter Berry, and James King:
I also picked up a second Bohm after reading up on it and giving a listen to bits and pieces on Spotify... after all it was priced under $10 at the time.
As in the first hearing of any opera I generally just read through the synopsis and then give the entire work a first hearing focusing almost exclusively on the music. The music in this instance is thrilling... dramatic... and grandly sensuous. The quality of the recording is quite stunning. I'd have been hard-pressed to know this was a live recording prior to the applause at the end of act one. The orchestra sound rich and deep... not muffled or lost in contrast to the vocals... as it can be in live recordings. This is great because Strauss is surely one of the greatest masters of orchestration ever. Of course the vocals are equally brilliant... which one would certainly expect with the cast.
With a week off for Spring Break I'll have the time to give this a second spin where I can follow along with the libretto, and I'll also have the time to listen to a number of other operas purchased... but yet to be played, including a couple by Gluck, a couple by Mozart, Beethoven's Fidelio, several other Strauss recordings, a couple Wagner operas... including Bychkov's Lohengrin, and a slew of works by Vivaldi and Handel.
"Suppose you were an idiot ... And suppose you were a member of
Congress .. But I repeat myself." -Mark Twain
Truly wonderful mad scene from Marie-Nicole Lemieux, and Philippe Jaroussky on fine form here:
I'm not sure if this opera is actually stageable, but it's very beautiful:
Maupassant meets the Vicar of Dibley. Bitter-sweet and endearing. John Graham-Hall shines as the eponymous hero.
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Natalie
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