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

          
   
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  1. #4861
    Senior Member Involved Member Nekrotzar's Avatar
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    I just want to listen to arias in this state of mind.....I can't put an opera plot into my brain in addition to everything else that's up there at the moment.

    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  2. #4862
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    I'm actually listening to it again today because nothing clicked with me when I first listened to it.

    Has this started to grow on you yet?

  3. #4863
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    Quote Originally Posted by Hoffmann View Post
    So, do you have this one? What do you think? Maybe time for a refresher listen!
    I will give it another go once I get home.

  4. #4864
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    Quote Originally Posted by Hoffmann View Post
    Attachment 8288


    I know, I know. Sutherland. I bought it for Marilyn Horne's Adalgisa. This was recorded in 1964 and both Horne and Sutherland are heartbreakingly beautiful. The guys weren't so well cast, IMO. John Alexander's Pollione sounds forced and Richard Cross' Oroveso much too light (besides, who's Richard Cross?).

    If it's hard for anyone to get past Joan Sutherland, this recording is worth it just for Marilyn Horne.

    And, of course, it is Bellini...

    Not for everyone

  5. #4865
    Senior Member Involved Member Nekrotzar's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Has this started to grow on you yet?
    Not yet....I do know you love it though and I don't want to give up based on one recording I have heard twice. I will have to watch it, I'll buy a dvd or something like that I think.
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  6. #4866
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    Not yet....I do know you love it though and I don't want to give up based on one recording I have heard twice. I will have to watch it, I'll buy a dvd or something like that I think.
    Have you encountered Don Carlos yet?
    Natalie

  7. #4867
    Senior Member Involved Member Nekrotzar's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Have you encountered Don Carlos yet?
    Nope. Opera Australia put on a production of it recently which has had positive reviews. It does look intriguing....looking at its length, is it slower than other Verdi?
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  8. #4868
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    Nope. Opera Australia put on a production of it recently which has had positive reviews. It does look intriguing....looking at its length, is it slower than other Verdi?
    No, it's just better. Give it a whirl instead of wasting your time on tumpty tum Nabucco.

    In French, 5 act version preferably
    Natalie

  9. #4869
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    No, it's just better. Give it a whirl instead of wasting your time on tumpty tum Nabucco.

    In French, 5 act version preferably
    Yeah, Don Carlo is definitely better than Nabucco, in my opinion. But the latter isn't bad, especially when one considers that it was only Verdi's third opera, and that he was recovering from the personal tragedies in his life, with the death of his wife and two children. I also think that Va, Pensiero is one of the most beautiful choruses ever composed, and it brings me to tears. I think the attempt to make of it, Italy's anthem, should have succeeded. You know, Nabucco's success is what brought Verdi back to composition. He was about to give up. We wouldn't have had Don Carlo and all the others, if not for Nabucco.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  10. #4870
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Don Carlo is Verdi at his best, indeed - the ultimate. All 5 acts. Listen, especially, for "Ella giammai m'amo" - the beginning of the third or fourth act. It's astonishing.

    The opera has it all: court intrigue, an auto da fe, the inquisition, murder, jealous rage, father-son discord - you name it.

    Nabucco, though, is a sentimental favorite. It's a wonderful opera and, of course, for all the reasons Luiz listed above. To hear Elena Suliotis kill it the way she does in the London recording - not to mention the great Tito Gobbi - gives me chills.
    Last edited by Soave_Fanciulla; January 5th, 2018 at 11:09 PM.

  11. #4871
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    Quote Originally Posted by Hoffmann View Post
    I just finished listening to this. Rather high, no? Google says this was recorded in the "original keys", but with modern tuning it almost sounds transposed up. I'm not a big fan of E flats, even though Sutherland pulls them off with little effort. Her diction is a little better than usual, I thought, but still very uneven. It is ~almost~ clear in the beginning of the first act and in fact the Dormono entrambi was quite moving — although I'm not really the right person to judge because once she goes Son miei figli! it could be Iggy Azalea singing that I'd be weeping. The voice is indeed impressive, but I don't get the strength and intensity I expect from Norma as a woman and as a political and religious leader. I know this vision of the role comes mostly from Callas' Norma and I try (I swear I try) not to compare, but it's difficult. I don't expect every Norma to put the fear of God in me like Callas does when she sings Tremi tu, but I expect SOME level of threat in her intonation.

    Marilyn Horne sounds beautiful and it's a pity they sing this so high (sky-high for Adalgisa!) because her lower register is the part of her voice I appreciate the most, even if her top is round and shiny. The duets blend splendidly and one can tell that she and Sutherland really worked well together. John Alexander, very average. Oroveso doesn't bother me that much.

    And, of course, it is Bellini...
    Yes! In the end that prevails, no matter which recording, when Norma tells Oroveso that she's a mother and begs for him to look after her children I am

  12. #4872
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Hehe, Norma will do that to you...
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  13. #4873
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    Puccini: Tosca.
    Price/ Di Dtefano/ Taddei.
    Herbert von Karajan
    The 1961 classics Decca recording.

    Talking about immortal performance, act two..........breathtaking.


  14. #4874
    Senior Member Involved Member Nekrotzar's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    That talk earlier about David et Jonathas prompts me to listen to it again....

    ...and again and again...
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  15. #4875
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    MET radio broadcast, 1957 Tosca, Licia Albanese... Not bad, even tho she screwd up just the last few seconds, well kinda... the singer who played Mario was decent, but he went off big time once during first act... all in all nice performance, audience loved it judging by the ovations

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