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

          
   
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  1. #676
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Festat View Post
    Natalie, how did you like that Gardiner Così? I have it on CD but it's still unlistened.
    It's OK - Ciofi was a bit too perky and the role doesn't really suit her voice, and I'm not wild about the timbre of Mei's voice. The boys were good, Kurt Rydl as Osmin particularly. It's certainly not going to knock my favourite DVD version off its perch.

    Natalie

  2. #677
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    I also love that version of Serail, but I meant the Così by Sir John Eliot Gardiner, not Die Entführung.



    I wonder what the budget for production designing was.
    Sets are so overly dressed I wouldn't be surprised if at some point a real random modern object is found lying on some coffee table.

  3. #678
    Senior Member Involved Member StLukesGuildOhio's Avatar
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    Aksel- I infinitely prefer the Boskovsky recording with Rothenberger and Gedda.

    I haven't heard that version... although Boskovsky is certainly a big selling point when it comes to Strauss. My favorite probably remains:



    But then again... I have no problem with picking up another Fledermaus. Of course I just realized I don't have Otto Acermann's recording... and so I had to rectify that. His post-war recordings of Wiener Blut, Eine Nacht in Venedig, and
    Der Zigeunerbaron are all classics.

    And what about this one:



    Now if only I could find more of Offenbach's operas in solid performances.
    "Suppose you were an idiot ... And suppose you were a member of
    Congress .. But I repeat myself." -Mark Twain

  4. #679
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Festat View Post
    I also love that version of Serail, but I meant the Così by Sir John Eliot Gardiner, not Die Entführung.
    O dear, late at night sorry!

    I liked the Cosi very much actually, but don't forget I was watching a DVD version so I was also following the story, and the acting was very good. I listened to Rainer Trost's Un Aura Amorosa twice though because I enjoyed it so much, beautifully sung. Don Alfonso was the weakest singer as he was a little long in the tooth, but in terms of verisimilitude that was appropriate.
    Natalie

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  6. #680
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    Quote Originally Posted by Soave_Fanciulla View Post
    Don Alfonso was the weakest singer
    Did Don Alfonso participate in this recording? I don't see his name on the cover!

    Martin, curious

  7. #681
    Senior Member Top Contributor Member HarpsichordConcerto's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    Fantastic. Lemieux, Basso and and Gauvin are stonking.
    Bloody stonking! That's great.

  8. #682
    Senior Member Veteran Member Aksel's Avatar
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    Quote Originally Posted by StLukesGuildOhio View Post
    [COLOR="#B22222"]
    Now if only I could find more of Offenbach's operas in solid performances.
    Oh, this one. Definitely. I wish there was a modern recording of La vie parisienne. I don't really like the Plasson recording, although it's OK enough.

  9. #683
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    Amazing for two reasons: slow aria from Otello and last scene from Armida. These two are pure amazement. Maometto II number is great too. The rest I find considerably less exciting. She had done whole Donna del Lago and the only addition here is (much) better quality than in the recording of whole opera. I don't know why she did that Elisabetta thing, it's just awkward mixture of Una voce poco fa with finale of Cenerentola.

  10. #684
    Senior Member Veteran Member Aksel's Avatar
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    Quote Originally Posted by Anne of Green Gables View Post
    Amazing for two reasons: slow aria from Otello and last scene from Armida. These two are pure amazement. Maometto II number is great too. The rest I find considerably less exciting. She had done whole Donna del Lago and the only addition here is (much) better quality than in the recording of whole opera. I don't know why she did that Elisabetta thing, it's just awkward mixture of Una voce poco fa with finale of Cenerentola.
    I rather love her in the Armida act II finale as well. And for some perverse reason, I rather like the Elisabetta excerpt.

  11. #685
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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  12. #686
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    I liked this. It was shown in what was originally a basketball stadium and Graham Vick took advantage of this to create an interesting staging using the sides of the auditorium and sometimes going in among the audience. Wish I'd been there to get the full effect. The action was updated to reference present Middle Eastern conflicts and I thought it worked well. And I thought particularly Dmitry Korchak did a lovely job as Faraone's spoilt son.

    Natalie

  13. #687
    Senior Member Veteran Member Aksel's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    I liked this. It was shown in what was originally a basketball stadium and Graham Vick took advantage of this to create an interesting staging using the sides of the auditorium and sometimes going in among the audience. Wish I'd been there to get the full effect. The action was updated to reference present Middle Eastern conflicts and I thought it worked well. And I thought particularly Dmitry Korchak did a lovely job as Faraone's spoilt son.
    Incoming HC and Aramis in 3... 2...

  14. #688
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    Quote Originally Posted by Aksel View Post
    Incoming HC and Aramis in 3... 2...
    ...1

    ... BOOM!

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  16. #689
    Senior Member Top Contributor Member HarpsichordConcerto's Avatar
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    Quote Originally Posted by Aksel View Post
    Incoming HC and Aramis in 3... 2...
    I am going to order a copy of that production of Mosè in Egitto anyway. I don't have a recording of the opera in whatever format.

  17. #690
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    Quote Originally Posted by HarpsichordConcerto View Post
    I am going to order a copy of that production of Mosè in Egitto anyway. I don't have a recording of the opera in whatever format.
    I suggest that getting CD with Raimondi, Anderson and Ernesto Palacio would be much safer choice.

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