My take on this:
Unlike other remakes/translations, Moïse et Pharaon qualifies as a different opera, given that Rossini's alterations affected every aspect of the work, from adding an act and a ballet, to changing the vocal writing. While in Naples he favored coloratura, in Paris he reduced the vocal ornamentation to clear melodic lines and greatly enhanced the role of the chorus, which gives the work a much more oratorio-like feel (Rossini did intend this work to be an oratorio). The libretto was also brand new in original French and not a direct translation of the previous Italian work, and some character names were changed. Also, Moïse et Pharaon unlike its predecessor is all Rossini, while the Italian work had parts by Carafa and another unnamed composer. Rossini for the Paris version got rid of all musical material that wasn't by him, and rewrote entirely the recitatives. The plot was also changed, with the plague of darkness covering Egypt no longer being at the opera's opening, but being instead moved to the second act. Various other elements were changed, including to accommodate the new ballet, which takes the form of ceremonial Egyptian dances before the temple of Isis.
Even though some critics praise this work as musically better than its predecessor, I thoroughly disagree, and find Mosè in Egitto with its coloratura, shorter running time, and less ponderous approach, a more enjoyable opera. But if you are into oratorios, then you'll like this a lot, and yes, there are gorgeous numbers.
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
AHA!! Distant torches.
Last night we watched that scintillatingly funny L'Italiana in Algerie, from the ROF. While I tend to prefer traditional staging, this one is so funny that I suspect Rossini, a total man of the theatre, would have loved it. Being a "ladies' man", he would have also enjoyed Anna Goryachova, who was ... attractively (if skimpily) costumed through much of the second half. I, myself, pay little attention to all that "cough cough" stuff ....
Alex Esposito as Mustafa and Yijie Shi as Lindoro were also first rate. As was the Blu ray pic and sound, which enabled a detailed orchestral sound.
The postman still hasn't knocked, so to get my Meistersinger fix I went to Medici
Wagner: Die Meistersinger von Nürnberg
Recorded live at Bayreuth Festspiele 2008
Franz Hawlata (Hans Sachs), Jack Nicholson (Sixtus Beckmesser), Michaela Kaune (Eva), Klaus Florian Vogt (Walther Von Stolzing), Norbert Ernst (David), Carola Guber (Magdalene), Artur Korn (Veit Pogner), Markus Eiche (Fritz Kothner), Friedemann Röhlig (Ein Nachtwächter), Charles Reid (Kunz Vogelgesang), Rainer Zaun (Konrad Nachtigall), Edward Randall (Balthasar Zorn), Hans-Jürgen Lazar (Ulrich Eisslinger), Stefan Heibach (Augustin Moser), Martin Snell (Hermann Ortel), Andreas Macco (Hans Schwarz), Iógenes Randes (Hans Foltzd)
Bayreuther Festspiele Chorus & Bayreuther Festspiele Orchestra, Sebastian Weigle (conductor) & Katharina Wagner (stage director)
I really enjoyed this
well the singing bit.
I did not understand the staging at all. It started a little bit odd then proceeded to dip in and out of shades of surreal and occasionally touching on deranged. Why would Sachs get a lap dance from a topless girl wearing a doll's head and a green tutu? Too difficult for me.
However, the singing completely made up for it, a beautiful KFV (he is a master), Michal Volle a brilliant Beckmesser and Hawlata close to my favourite Sachs. Actually, I would recommend this recording, even if you decide to turn the video off.
Last night, we went to the ROH (digitally) and enjoyed the 2009 La Boheme with Hilba Gerzmava (Mimi), Teodor Ilincai (Rodolfo), Gabriele Viviani (Marcello) and Inna Dukach ( Musetta). The staging by John Copley was traditional, the sets were lovely and the singing was superb. These younger singers bring a bit more credibility to their roles, by virtue of being under 40, but having heard superb Bohemes by singers over 40, its more of the visual than the audible.
The quality of the Opus Arte Blu ray was also excellent.
He does portray the character a bit more like that in this production; rather than a stuffy guardian of the old order with rightful heir, more of a... well, err... yes. Exactly that.
The Met's Butterfly DVD will arrive today, according to Amazon's tracking. We plan on watching it tonight while the State of the Union speech is airing.
This past weekend by husband and I watched Das Rheingold, the Met's Robert LePage production.
Bryn Terfel, Richard Croft, Eric Owens, Stephanie Blythe
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