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  1. #2086
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    According to a brief item in the latest issue of Opernwelt, James Levine will be returning to the podium in January to conduct performances of Berlioz’s La Damnation de Faust with Michael Spyres in the title role at the Maggio Musicale Fiorentino. Marianne Crebassa and Feruccio Furlanetto will sing Marguerite and Méphistophèlés, respectively. He’ll also conduct performances of Mozart’s last three symphonies and Brahms’ Ein Deutsches Requiem with Hanna-Elisabeth Müller and Thomas Hampson as soloists.

    https://www.maggiofiorentino.com/en/...-fiorentino-2/

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    Senior Member Top Contributor Member Florestan's Avatar
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    Not sure if this is news, but it is different. 2.5 minute trailer. Could not catch date at end because subscribe popup covered it, but it looks pretty recent.
    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Interesting -- though with COVID-19 cases surging again in a number of countries, I wonder that the DOB is going ahead with performances.

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    According to the latest issue of Das Opernglas, Gustavo Dudamel has been named the new Music Director of the Opéra national de Paris.

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    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    According to an item in the May issue of Opernwelt, Sir Tony Pappano will succeed Sir Simon Rattle as Music Director of the London Symphony Orchestra. Unfortunately, it also mentions that Sir Tony will be leaving his position as Music Director of the Royal Opera in 2024. He's been on the podium for so many wonderful productions at the ROH -- with recordings of many of them released -- that it's hard to imagine that opera house without him. Of course, this doesn't mean he'll no longer conduct opera performances, but I'm sure he'll be tremendously missed.

  7. #2091
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    This is really shocking stuff: soprano Pretty Yende was recently held and subjected to a strip search when she returned to France for performances of La Sonnambula. This sounds like something out of a nightmare, and she must have been scared out of her wits. I suspect some people are going to have a lot of explaining to do.

    https://operawire.com/pretty-yende-d...rench-airport/

  8. #2092
    Senior Member Top Contributor Member Florestan's Avatar
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    Beethoven: Fidelio

    Lise Davidsen (Leonore), Christian Elsner (Florestan), Georg Zeppenfeld (Rocco), Johannes Martin Kränzle (Don Pizarro), Christina Landshamer (Marzelline), Cornel Frey (Jaquino), Günther Groissböck (Don Fernando)

    Dresdner Philharmoniker, Marek Janowski

    Out July 9th
    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

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  10. #2093
    Senior Member Top Contributor Member Florestan's Avatar
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    I heard the Swarowsky Ring is on sale at JPC for $12 USD!

    Sample it here: https://www.allmusic.com/album/wagne...n-mw0002563854

    REVIEW:

    This was only the second complete Ring to be recorded in the stereo, and it's pretty damn good. Tenor Gerald McKee doubles Siegmund and Siegfried. He is better in the later role, singing with force in Act I and surprising tenderness in the forest scene. Details come out, like when Siegfried mocks Mime's cradle-song in Act II of Siegfried. Mr. McKee even navigates that nasty, tenor-killing octave drop in Act II of Götterdämmerung. Bass-baritone Rolf Polke is a forceful, authoritative Wotan, passionate in the Farewell and at his best in the Wanderer scenes from Siegfried.

    Naděžda Kniplová may not be a household Valkyrie name like Birgit Nilsson or Hildegard Behrens, but she is a competent, entertaining Brunnhilde, who sang the role for Herbert von Karajan at Salzburg in 1967. The Czech soprano brings it all to the table, with firm high notes and only a little vibrato. She finds the poetry in "Heil dir Sonne" and soars through the Immolation Scene. Better yet, the lady knows how to act and convey pitch-perfect emotion with her instrument. The Gods, Nibelungs and Gibichungs are stocked with solid talent from a roster of German and Czech singers.

    Swarowsky finds lyric poetry in Wagner's string tremolos and woodwind writing that so many other conductors miss. All the harmonic complexity of the Ride of the Valkyries comes out, with the bass trumpet and trombones forward in the mix, right next to the shrieking warrior maidens. He also knows how to control tempo and flow, urging the orchestra forward in the prelude to Act III of Siegfried, but slowing down to reflect in Wotan's Farewell, the Magic Fire music (played with great clarity) and Siegfried's Funeral Music.
    https://super-conductor.blogspot.com...oe-string.html



    The story behind this ring is enough to make it one to own:

    [Swarowsky's] “Ring” recording. This took place during the brief period of the “Prague Spring”, when the opening up of cheap recording facilities in Czechoslovakia enabled him to set down a complete recording of Wagner’s cycle. A pick-up orchestra contained some moonlighting members of the Czech Philharmonic and sessions took place bit by bit as funds permitted. The work was finished just in time, as the illusory Czech freedom was brutally cut short and the Soviet tanks rolled into Prague.
    http://www.musicweb-international.co..._forgotten.htm


    The artistic unity of the production was a factor of its tight recording schedule – but was nonetheless a small miracle. In August 1968, in the midst of the Nuremberg recording sessions, Soviet troops marched into Czechoslovakia. The borders were closed, and the musicians of the Czech Philharmonic were faced with the frightening prospect of not being able to return home. Heinz Schürer, production head, sound engineer, and director in one, recalls that orchestra members would fail to turn up at rehearsals and recording sessions whenever it was reported that the borders had been opened up for a short time. Thanks to the cooperation of members of the local Nuremberg orchestras, the gaps could always be filled on short notice. The ensemble that came about during this course of musical and political events was named the “Großes Symphonieorchester”.
    https://www.arkivmusic.com/products/...arowsky-257797
    "Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff

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