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

          
   
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  1. #1321
    Senior Member Top Contributor Member Dark_Angel's Avatar
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    Falstaff x 2
    The one Verdi opera where Karajan was at the top of his Verdi game, two great Falstaffs with Gobbi and Taddei and quality supporting casts

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  3. #1322
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    I shouldn't get into a one upmanship about impulsivity with you guys, but two years ago I went out to pick up a piece of carpeting I had ordered and drove home in a new Mercedes from the dealership next door to the carpeting place. And, I used to walk to work, so..

    Anyway:

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    Gorgeous singing by Beverly Sills and Marilyn Horne in 1970 (from the only production where they sang together), but the live recording is only pretty good.

  4. #1323
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    I had Maria Stuarda exploring adventure during my ban period and collected most of avaiable recordings of this opera. This is 3rd Gruberova Stuarda I have, more or less as good as her studio one (the Nightingale one has certainly better performance of tenor role, but doesn't have the lush symphonic sound of the Patanè CD).

  5. #1324
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    It's been way too hot outside to do much adventuring outside the house, so: lots of opera!

    This morning:

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    Yesterday:

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    and:

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    This was conducted by Giulini and from a year earlier than the EMI recording with Alceo Galliera. Good, but the recording itself is live and not as clear as the better known EMI.

  6. #1325
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by Hoffmann View Post
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    This was conducted by Giulini and from a year earlier than the EMI recording with Alceo Galliera. Good, but the recording itself is live and not as clear as the better known EMI.
    Do you prefer it to the '57 Galliera which has largely the same cast?
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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  7. #1326
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    Do you prefer it to the '57 Galliera which has largely the same cast?
    No - I prefer the '57 Galliera recording (it's one my favorites). I don't think the Giulini recording has been remastered, so it's not very clear and there are sections where the singers become faint as they walk away from the microphones. Giulini is a better recognized conductor, so I will need to do a closer side-by-side comparison with the Galliera to see if I can hear distinct differences.

    It was included in a box set of Callas operas, so I didn't buy it specifically to own another Callas Barbiere.

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  9. #1327
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    This uses some awkward variant of orchestral score, if I understood well, it's alternative orchestration done by the conductor basing on vocal score he found in archives. It doesn't end on orchestration though, the last number of opera ends with some slow coda that I've never heard in any other recording. It's all in minus as the effect is bad. But it's absolutely worth having nevertheless for the sake of singers.

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  11. #1328
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    Rare opera with a strong cast. I extremely love Stoyanova's voice and recommend everything she sings ^O^

  12. #1329
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by cedric View Post
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    Rare opera with a strong cast. I extremely love Stoyanova's voice and recommend everything she sings ^O^
    Stoyanova is indeed a beautiful soprano and I recently saw her in the ROH production of Eugene Onegin (in the cinema house). Here she is singing "Tatyana's Letter Scene":

    [As my only gripe on another thread, while she sings this beautifully, she is about 4x the age of Pushkin's Tatyana, so they have to use this little trick of the dancer representing the real(?) Tatyana as Stoyanova (if the dancer is her, then what is Stoyanova? the soul?) sings.]
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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  14. #1330
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    Stoyanova is indeed a beautiful soprano and I recently saw her in the ROH production of Eugene Onegin (in the cinema house). Here she is singing "Tatyana's Letter Scene":

    [As my only gripe on another thread, while she sings this beautifully, she is about 4x the age of Pushkin's Tatyana, so they have to use this little trick of the dancer representing the real(?) Tatyana as Stoyanova (if the dancer is her, then what is Stoyanova? the soul?) sings.]
    Well, I don't know. It's a question of artistry. Renée Fleming is a middle-aged woman, and she is a very convincing Tatyana. They shouldn't have needed this device.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  15. #1331
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Well, I don't know. It's a question of artistry. Renée Fleming is a middle-aged woman, and she is a very convincing Tatyana. They shouldn't have needed this device.
    Renee Fleming looks like she is in her twenties to me!
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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  16. #1332
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    Quote Originally Posted by tyroneslothrop View Post

    [As my only gripe on another thread, while she sings this beautifully, she is about 4x the age of Pushkin's Tatyana, so they have to use this little trick of the dancer representing the real(?) Tatyana as Stoyanova (if the dancer is her, then what is Stoyanova? the soul?) sings.]
    I cannot stop watching this video clip from time to time, since Stoyanova's interpretation is fabulous.

    I didn't see the whole production, but I guess it's more like a reflection of middle-aged Tatyana (by Stoyanova), and the dancer may represent the young Tatyana. It should have nothing to do with the age of the singer.

  17. #1333
    Opera Lively Coordinator - Donor Member Top Contributor Member tyroneslothrop's Avatar
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    Quote Originally Posted by cedric View Post
    I cannot stop watching this video clip from time to time, since Stoyanova's interpretation is fabulous.

    I didn't see the whole production, but I guess it's more like a reflection of middle-aged Tatyana (by Stoyanova), and the dancer may represent the young Tatyana. It should have nothing to do with the age of the singer.
    A possible point, but in that case, I would argue this entirely changes what Tchaikovsky set out to do with Eugene Onegin and would be inconsistent with Pushkin's original story. Eugene Onegin is not a tale of people reminiscing about a lost and foolish youth, but about the decisions that people live through. This story has an entirely different meaning (as different as the most extreme forms of Regieoper and the productions of Calixto Bieito) if it is the story of a pair of people in middle age dreaming about the decisions of their earlier youth. If this is true, then I don't see why traditionalists don't complain massively about this production (which I did see in the cinema this year)... wait I know why they don't complain. Because for most traditionalists, Regieoper = naked people doing offensive things that "I" don't like, and not Regieoper = director going off-script and deviating from the composer's intent, as it should be.
    “The hand of Providence creeps among the stars, giving Slothrop the finger.”
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  18. #1334
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by tyroneslothrop View Post
    As my only gripe on another thread, while she sings this beautifully, she is about 4x the age of Pushkin's Tatyana, so they have to use this little trick of the dancer representing the real(?) Tatyana as Stoyanova (if the dancer is her, then what is Stoyanova? the soul?) sings.
    Quote Originally Posted by cedric View Post
    I didn't see the whole production, but I guess it's more like a reflection of middle-aged Tatyana (by Stoyanova), and the dancer may represent the young Tatyana. It should have nothing to do with the age of the singer.
    You're both wrong.

    Clearly, not only is Stoyanova the older Tatyana, but her character has gotten caught up in a time loop, so that she has gone back to the past and taken a job in her old family disguised as Filippyevna, the nanny. This way she can help raise her younger self and teach her to avoid the same tragic mistakes. Unfortunately, the younger Tatyana falls into the very same traps, and ultimately goes back in time to try to protect *her* younger self, in an endless repeating cycle. It's the director's meditation on Nietzsche's idea of the eternal recurrence of history.

    I can't be the only one who gets this.

  19. #1335
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    Quote Originally Posted by tyroneslothrop View Post
    A possible point, but in that case, I would argue this entirely changes what Tchaikovsky set out to do with Eugene Onegin and would be inconsistent with Pushkin's original story. Eugene Onegin is not a tale of people reminiscing about a lost and foolish youth, but about the decisions that people live through. This story has an entirely different meaning (as different as the most extreme forms of Regieoper and the productions of Calixto Bieito) if it is the story of a pair of people in middle age dreaming about the decisions of their earlier youth. If this is true, then I don't see why traditionalists don't complain massively about this production (which I did see in the cinema this year)... wait I know why they don't complain. Because for most traditionalists, Regieoper = naked people doing offensive things that "I" don't like, and not Regieoper = director going off-script and deviating from the composer's intent, as it should be.
    First, I doubt there is a consensus about the intent of the poem or the opera Eugene Onegin and I don't believe there should be. Even though there were, it should not prohibit the director from interpreting it in his own way. ''Going off-script and deviating from the composer's intent'' is not a problem to me at all, as long as it is self-consistent.

    Actually, according to my understanding of the opera, I even think that the brokeback mountain version by Krzysztof Warlikowski is the closest to what Tchaikovsky set out to do

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