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Thread: What concert performance are you next going to?

          
   
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  1. #16
    Senior Member Top Contributor Member Clayton's Avatar
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    That is an impressive church. I imagine the acoustics must be good too.

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    Senior Member Top Contributor Member Florestan's Avatar
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    Quote Originally Posted by Clayton View Post
    That is an impressive church. I imagine the acoustics must be good too.
    Orchestra sounded great!

    Melrose Abbey in Scotland was a huge influence on the design of Kirk in the Hills.
    http://detroit1701.org/Kirk-in-the-Hills.html
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

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    Senior Member Top Contributor Member Clayton's Avatar
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    I haven't got that much money to leave a legacy but I will build several hotels before I go.



    Hotels for insect wildlife in the garden.

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    Senior Member Top Contributor Member Florestan's Avatar
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    Got tickets for this December to see the following:

    Joyce DiDonato with Yannick Nézet-Séguin, piano.

    Handel's Messiah, which tickets I painfully bought because this year they have a countertenor. I tried Detroit Symphony Orchestra but they don't do Messiah annually. Is it wrong to wish the countertenor be unable to make the concert and be substituted by a female alto?
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

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  9. #20
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Florestan View Post
    Got tickets for this December to see the following:

    Joyce DiDonato with Yannick Nézet-Séguin, piano.

    Handel's Messiah, which tickets I painfully bought because this year they have a countertenor. I tried Detroit Symphony Orchestra but they don't do Messiah annually. Is it wrong to wish the countertenor be unable to make the concert and be substituted by a female alto?

    I guess we all have our lines in the sand. Mine is contemporary music/opera, though I continue to work at it. While it still is not my first choice, I am coming to better understand it as a separate musical language and appreciate live performances (but CDS - not so much). I had tickets for three modern/contemporary operas this summer: The Nose(Shostakovich), Die Gezeichneten (Schreker) and Ti vedo, ti sento, mi perdo (Sciarrino) and enjoyed all three. I know from sitting in on Luiz's interviews with singers specializing in modern/contemporary singing that they are devoted to it and love its challenges.

    I think the same also would hold true if one has a gut instinct against the countertenor fach - one would need to decide that the fach is worth the effort to better understand and appreciate and that, while maybe sounding unnatural, legitimately provides an additional layer and nuance to performances of baroque and some contemporary opera. I also saw two baroque operas this summer featuring countertenors, and have become much more comfortable with an otherwise rare fach and what it adds to baroque performances that is different than casting female altos.

    I would suggest listening to the new recording of Orfeo ed Euridice with Philippe Jaroussky and comparing it with, say, the recording with Marilyn Horne and Pilar Lorengar (Solti) - I also have an old RCA Victor recording with Rise Stevens, Lisa Della Casa and Roberta Peters (Pierre Monteux), and it's lovely. However, what seems to be the artifice of the countertenor with its subtle male undertones, in my view, gives a whole new dimension to the opera.

    Another seemingly unnatural situation in opera that took me some getting used to was trouser roles. In live performances, and among the first operas I saw live were I Capulet e i Montecchi, Cendrillon and Der Rosenkavalier - all three operas' lead male characters are trouser roles. In live performance, costumes and makeup only go so far in creating the illusion of a male when the voice clearly is female. Many such performances later, I no longer see the disconnect.

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    Senior Member Top Contributor Member Florestan's Avatar
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    ^ Well you do give me food for thought, but I am very resistant. I do have a few recordings that have countertenors on them. Also will be listening at Messiah. I do not have a problem with women singing pants roles, perhaps because it is still a female voice of alto or soprano. Not sure why it does not work the other way, but this example might show where I draw the line. This is amusing but not something I like for anything in the way of serious entertainment. I would hate for this woman to sing a male part in an opera:



    I recall a guy in the church choir many years (decades) ago who could sing all voices. He would sing along with the sopranos when they were practicing. That didn't bother me because he was joking and that was not his normal voice.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  12. #22
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    "don carlo" at the santa monica pier. live at the LA opera. Played on the BIG screen. wine bar

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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by halochef View Post
    "don carlo" at the santa monica pier. live at the LA opera. Played on the BIG screen. wine bar
    Very envious!
    " … if you are interested in something, no matter what it is, go at it at full speed ahead. Embrace it with both arms, hug it, love it, and above all become passionate about it."
    Roald Dahl

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    Senior Member Top Contributor Member Florestan's Avatar
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    Just got back from Handel's Messiah half an hour ago.

    Yulia Van Doren, soprano
    John Holiday, countertenor
    Miles Mykkanen, tenor
    Alex Rosen, bass

    Of the soloists, the bass was fantastic. All were good, but I did not care for the tenor's voice. The soprano has some vibrato that was bothersome to me. And surprise, the countertenor actually was quite good (I still will avoid them though), but always kept me wishing for a female voice because it would be just that much better (to me).
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    I heard John Holiday several years ago singing in Glass' Galileo Galilei with the local opera company. At first I thought I was listening to a very fine mezzo . . . until I got a closer look!

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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Saw Messiah yesterday.

    John Butt and the The Hallé orchestra with

    Mary Bevan, soprano
    Jessica Dandy, contralto
    Stuart Jackson, tenor
    Lukas Jakobski, bass

    I'd heard Mary Bevan before so I knew she was good. I love a true contralto and Jessica Dandy was excellent. Stuart Jackson was super as was Lukas Jakobski.

    I really like John Butt. I remember going to a discussion on St Matthew Passion which he chaired and which was a bit over my head and the heads of others there, but he didn't make us dunces feel stupid.

    Love this pic of John Butt applauding his soloists.

    " … if you are interested in something, no matter what it is, go at it at full speed ahead. Embrace it with both arms, hug it, love it, and above all become passionate about it."
    Roald Dahl

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    Senior Member Top Contributor Member Florestan's Avatar
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    John Butt would be with the Dunedin Consort? I have their Messiah recording, the Dublin version, quite nice. Now I wish I had attened your Messiah with that contralto and all, but then again, John Holiday was an interesting experience.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

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    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Florestan View Post
    John Butt would be with the Dunedin Consort? I have their Messiah recording, the Dublin version, quite nice. Now I wish I had attended your Messiah with that contralto and all, but then again, John Holiday was an interesting experience.

    That's the guy, he's a guest conductor of The Hallé in Manchester. I've only ever seen Messiah in the Netherlands and there, the audience doesn't stand for the Hallelujah chorus. Most people stood last night but I didn't. If you're not singing, I think it's daft to stand.
    " … if you are interested in something, no matter what it is, go at it at full speed ahead. Embrace it with both arms, hug it, love it, and above all become passionate about it."
    Roald Dahl

  25. #29
    Senior Member Top Contributor Member Florestan's Avatar
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    Quote Originally Posted by Ann Lander (sospiro) View Post
    That's the guy, he's a guest conductor of The Hallé in Manchester. I've only ever seen Messiah in the Netherlands and there, the audience doesn't stand for the Hallelujah chorus. Most people stood last night but I didn't. If you're not singing, I think it's daft to stand.
    I don't like that standing thing either. There are some speculations on it, that the first time the King stood and so of course everyone else did. Worse is when everyone sings along. Thankfully, the section I was in, far up in the back corner of the balcony, was empty, so I did not have to listen to the cacophony of out-of-tune singers in the audience.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

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