Yesterday I watched the Monnaie Jenůfa again with my grandmother, and then the Gheorghiu–Kaufmann–Terfel Tosca from the ROH. An emotionally exhausting afternoon (you see, I'm a bit less than the average viewer)
Yesterday I watched the Monnaie Jenůfa again with my grandmother, and then the Gheorghiu–Kaufmann–Terfel Tosca from the ROH. An emotionally exhausting afternoon (you see, I'm a bit less than the average viewer)
I just finished watching the Tarragate Rosenkavalier from Glyndebourne. All I can say is that the critics are idiots for not seeing that Erraught was an outstanding Octavian - young, a bit gauche, impetuous, full of ardour. Wonderful singing too. I liked the production, it made me giggle.
Last edited by Soave_Fanciulla; January 4th, 2018 at 08:47 PM.
Natalie
For a change from passionate Italian operas, I enjoyed the more conversational pace of Richard Strauss's Capriccio (Met 2011, available on Blu-ray and their online Opera on Demand) starring Renee Fleming. This opera really suits her bright personality.
I'm not sure I would buy the disc though. The first time seeing it is best. It's more interesting if you don't read a synopsis first, so the plot and the conversations gradually unfold and you wonder how it will end.
An opera about operas, it starts by portraying the usual tensions between librettist and composer, but I won't spoil it by telling you how it develops from that, in case you haven't seen Capriccio before.
It's good when you're in the mood for something interesting and amusing, rather than deeply moving.
For me, it becomes more moving with the awareness that this was Strauss's final opera, in many ways his loving farewell to the art form. Surrounded late in life by the barbarism of Nazi Germany, Strauss nostalgically returned to that ultra-refined eighteenth-century world he had evoked in Der Rosenkavalier some thiry years earlier.
AlexanderTsymbalyuk - what an amazing voice. My new favourite bass.
Also notable because directed by Calixto Bieito and THERE IS NO FULL FRONTAL NUDITY(a lot of people die though!)
![]()
Natalie
Werther from the Met, with Jonas Kaufmann and Sophie Koch. I really noticed the orchestral conducting and playing this time, which I thought was just perfect. I still prefer the other DVD version, appallingly capricious video direction or not.
![]()
Last edited by Soave_Fanciulla; June 23rd, 2014 at 10:23 AM.
Natalie
John Blow's Venus and Adonis - this is another one of those "authentic" performances with Jacobean costumes, candle lighting and so on, and is stunningly beautiful. I enjoyed it all except for the fact that they have employed what they presumably have researched as "contemporary" pronunciation which makes everyone sound like a cross between a Cockney cleaning lady and René from 'Allo allo". I suppose I could get used to it but it was unnecessarily distracting. Alma, the singer playing Venus isn't wearing an awful lot.
Salome - very powerful rendition, best and creepiest Herod I have ever seen, Salome very lithe and athletic and I loved her sulkiness and anger after the dance when she keeps insisting on getting what she wants. Alma, the singer playing Salome gets naked and she's pretty.
![]()
Natalie
Ok, I'm curious about something. If singers tend to sign contracts some years in advance of a performance - in some cases, before a director has been hired, what do they do when their given director tells them they have to get naked on stage? It seems to me that would not be many singers' preference.
Bookmarks