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Thread: What opera have you been listening to, lately?

          
   
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  1. #4201
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    This is pretty wonderful as well:

    Rossini: La Cenerentola

    Joyce DiDonato (Cenerentola), Jose Manuel Zapata (Don Ramiro), Paolo Bordogna (Dandini), Bruno Pratico (Don Magnifico),Patrizia Cigna (Clorinda), Martina Borst (Tisbe), Luca Pisaroni (Alidoro)
    Prague Chamber Choir & SWR Radio Orchestra Kaiserslautern, Alberto Zedda

    Natalie

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  3. #4202
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Adrian View Post
    (nothing to do with my age , your remark is hilarious)
    THIS is a funny post

    even if it did take me about twenty-four hours to figure out

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  5. #4203
    Senior Member Top Contributor Member Clayton's Avatar
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    Oh the effect of Itullian's visit to the forum...

    Wagner: Die Meistersinger von Nürnberg
    Norman Bailey (Hans Sachs), Bernd Weikl (Beckmesser), René Kollo (Walther von Stolzing), Hannelore Bode (Eva), Adolf Dallapozza (David), Magdalene (Julia Hamari (Magdalene), Kurt Moll (Pogner)
    Wiener Staatsopernchor & Wiener Philharmoniker, Sir Georg Solti
    Recorded October 1975 Sofiensaal Vienna

    Name:  Die Meistersinger von Nürnberg – Georg Solti Vienna 1975.jpg
Views: 73
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    I like this recording very much though I read on the PC site that Gramophone and Penguin Classics hail Norman Bailey's Hans Sachs as the stonger point of this production. I am not that keen and would go the other way and say that this is my least favourite part. I think there is a (small) lack of charismatic power that just takes it away from my ideal Hans Sachs. I do like the cast though and it makes it one of my preferred recordings. Of course there is the Vienna Philharmonic under Solti's direction that is joyful; I smile listening to it.

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  7. #4204
    Senior Member Involved Member Itullian's Avatar
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    Quote Originally Posted by Clayton View Post
    Oh the effect of Itullian's visit to the forum...

    Wagner: Die Meistersinger von Nürnberg
    Norman Bailey (Hans Sachs), Bernd Weikl (Beckmesser), René Kollo (Walther von Stolzing), Hannelore Bode (Eva), Adolf Dallapozza (David), Magdalene (Julia Hamari (Magdalene), Kurt Moll (Pogner)
    Wiener Staatsopernchor & Wiener Philharmoniker, Sir Georg Solti
    Recorded October 1975 Sofiensaal Vienna

    Name:  Die Meistersinger von Nürnberg – Georg Solti Vienna 1975.jpg
Views: 73
Size:  77.3 KB

    I like this recording very much though I read on the PC site that Gramophone and Penguin Classics hail Norman Bailey's Hans Sachs as the stonger point of this production. I am not that keen and would go the other way and say that this is my least favourite part. I think there is a (small) lack of charismatic power that just takes it away from my ideal Hans Sachs. I do like the cast though and it makes it one of my preferred recordings. Of course there is the Vienna Philharmonic under Solti's direction that is joyful; I smile listening to it.
    You mean the Chicago?

  8. #4205
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Itullian View Post
    You mean the Chicago?
    Well, that's the problem I find with Die Meistersinger von Nürnberg; once is rarely enough for me. I've just started with the Chicago recording but I prefer the Vienna. Even though by his own words he approached it with a lighter direction in the later Chicago, I think the earlier one is the lighter and more gay.

    Wagner: Die Meistersinger von Nürnberg
    José van Dam (Hans Sachs), Ben Heppner (Walther von Stolzing), Karita Mattila (Eva), Alan Opie (Beckmesser), Iris Vermillion (Magdalena), Herbert Lippert (David), René Pape (Pogner), Albert Dohmen (Kothner), Kelly Anderson (Nachtwächter)
    Chicago Symphony Orchestra & Chorus, Georg Solti
    1995

    Name:  Die Meistersinger von Nürnberg – Georg Solti 1995, José van Dam, Ben Heppner, Karita Mattila, Al.jpg
Views: 59
Size:  68.5 KB

  9. #4206
    Senior Member Involved Member Itullian's Avatar
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    Quote Originally Posted by Clayton View Post
    Well, that's the problem I find with Die Meistersinger von Nürnberg; once is rarely enough for me. I've just started with the Chicago recording but I prefer the Vienna. Even though by his own words he approached it with a lighter direction in the later Chicago, I think the earlier one is the lighter and more gay.

    Wagner: Die Meistersinger von Nürnberg
    José van Dam (Hans Sachs), Ben Heppner (Walther von Stolzing), Karita Mattila (Eva), Alan Opie (Beckmesser), Iris Vermillion (Magdalena), Herbert Lippert (David), René Pape (Pogner), Albert Dohmen (Kothner), Kelly Anderson (Nachtwächter)
    Chicago Symphony Orchestra & Chorus, Georg Solti
    1995

    Name:  Die Meistersinger von Nürnberg – Georg Solti 1995, José van Dam, Ben Heppner, Karita Mattila, Al.jpg
Views: 59
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    Oh, I misunderstood. thanks

  10. #4207
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Name:  LaCenerentolaAbbado.jpg
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    I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

    I'll give it another go next week when WNO stages LC.

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  12. #4208
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Name:  LaCenerentolaAbbado.jpg
Views: 58
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    I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

    I'll give it another go next week when WNO stages LC.
    I'm seeing it soon at NZ Opera. Would not be my first choice but beggars can't be choosers.
    Natalie

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  14. #4209
    Senior Member Involved Member Itullian's Avatar
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    If you folks don't have this, I strongly recommend you get it.
    It's absolutely beautiful.

  15. #4210
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Hoffmann View Post
    Name:  LaCenerentolaAbbado.jpg
Views: 58
Size:  26.8 KB


    I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

    I'll give it another go next week when WNO stages LC.
    I think that there is no doubt that the best serious operas by Rossini are far superior to La Cenerentola, and also, there is no doubt that Il Barbiere is better. I even think that L'Italiana in Algeri is a better comedy. This said, there is some charming music in La Cenerentola, some raucous pater songs, some beautiful coloratura especially in the final scene, and the character herself is charming. There are funny moments with the two sisters, and it is interesting to see this treatment of a fairy tale without the magical elements (it was a wise decision in terms of theatricality) so overall I find it to be rather pleasant and successful. Now, when we get the extremely beautiful Elina Garanca singing the title role in one of my favorite DVDs of it, as well as the fabulous Frederica von Stade in another great DVD, the opera grows even more in what it can deliver.

    Again, I'd insist that opera needs to be seen, not just heard, especially a comedy, which needs comedic timing, stage presence, and good theatrical pace in the stage direction. So, you're gauging it from a CD and as much as the singing must be great, it's still not ideal especially in comedic opera. I'd recommend either a live performance as long as they get the comedy right and there is a compelling singer for the title role, or one of these spectacular DVDs:



    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  17. #4211
    Senior Member Top Contributor Member Florestan's Avatar
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    A neat thing about the Abbado CD and Abbado DVD of Cenerentola is that Don Magnifico and his two daughters, Chlorinda and Tisbe are sung by the same people in both of these. For me it makes the CD much more pleasing since the DVD is my favorite rendition. And I would say that Berganza is as excellent a voice as Von Stade.
    Necessities of life: food, water, air, shelter, and opera.

  18. #4212
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Florestan View Post
    A neat thing about the Abbado CD and Abbado DVD of Cenerentola is that Don Magnifico and his two daughters, Chlorinda and Tisbe are sung by the same people in both of these. For me it makes the CD much more pleasing since the DVD is my favorite rendition. And I would say that Berganza is as excellent a voice as Von Stade.
    I don't doubt it. It's just that it is harder to enjoy a comedy as much by just listening to it, since acting, body language, comedic timing, chemistry between leads, and all, are so important in comedy. A scene can be very funny when seen, and "meh" when just heard (even though we can still admire the quality of the voices). Given that Hoffmann is a CD kind of guy who only recently started directing some of his attention to opera on DVD (and when he travels to see opera live he tends to privilege the heavy stuff such as Wagner), I was just wondering if he's seen La Cenerentola live or on DVD, and if he hasn't, maybe it can explain why he feels at a loss regarding this opera.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

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  20. #4213
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    The produciton Hoffmann will be seeing certainly looks colorful:



    He is also getting in the title role either the fabulous Isabel Leonard, or the charming Tara Erraught (depending on the specific day he'll be attending), so, chances are that the show will be good.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  21. #4214
    Senior Member Involved Member Itullian's Avatar
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    I think that Abbado cd is the best recording of Cinderella, although I really wanna hear the Cobos.
    Cobos' L'Italiana is superb, AND complete.

    What I can't stand is movies of operas. They always seem contrived and artificial to me. And I usually don't like the directing either.
    Live before a live audience is what I like, complete with curtain calls.

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  23. #4215
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Itullian View Post
    I think that Abbado cd is the best recording of Cinderella, although I really wanna hear the Cobos.
    Cobos' L'Italiana is superb, AND complete.

    What I can't stand is movies of operas. They always seem contrived and artificial to me. And I usually don't like the directing either.
    Live before a live audience is what I like, complete with curtain calls.
    Do you mean this kind of thing (which is anything BUT artificial)



    or just DVDs of stage shows, which are definitely second best to live shows but better than nothing IMO.
    Natalie

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