What opera have you been listening to, lately?

[Clayton]

Werther
Roberto Alagna, Angela Gheorghiu, Thomas Hampson, Patricia Petibon
Antonio Pappano



Something not quite working here, not sure what. I read the synopsis first, might be irritating story.
Again I'm not sure how I arrived here but I liked Petibon.

[Clayton]

...Something not quite working here, not sure what. I read the synopsis first, might be irritating story...

Yes, I think this was it. Removed head and left to soak overnight in cricket. Much better now.

[Clayton]

La Clemenza di Tito
Mark Padmore, Alexandrina Pendatchanska, Bernarda Fink, Marie-Claude Chappuis, Sunhae Im
Renee Jacobs

This is my favourite Mozart so far.

I think.

[Dark_Angel]

Callas Medea.....
This is a very good sound stereo studio recording, there are 3-4 live versions available also which most people think have better vocals and stronger cast, but if you only have one this is it because of superior sound

Medea is italian language version which is most often recorded (compared to original french Medee) perfect fit for Callas style as unfaithful husband Jason (golden fleece) betrays Medea with another woman thus provoking the vengeful wrath of La Callas

[Soave_Fanciulla]

So I watched a YouTube of I Puritani from Palermo, with Désirée Rancatore and José Bros, and I'm afraid this opera has gone down again in my estimation. Elvira is way way more annoying than Werther and I honestly want to slap her around in her mad scene. Gonna stick to listening without worrying about the plot from now on.

[Ann Lander (sospiro)]

So I watched a YouTube of I Puritani from Palermo, with Désirée Rancatore and José Bros, and I'm afraid this opera has gone down again in my estimation. Elvira is way way more annoying than Werther and I honestly want to slap her around in her mad scene.

Elvira is rather a stupid character anyway

Gonna stick to listening without worrying about the plot from now on.

Sensible strategy for lots of operas

[Soave_Fanciulla]

Elvira is rather a stupid character anyway

Arturo isn't the sharpest knife in the picnic set either. Couldn't he have left a note?

[Festat]

It would also be nice if Elvira's lyrics went any further than ARTURO ARTURO AHIME ARTURO

[Hoffmann]

I can't believe all you guys are hating on Puritani so much!

Let Bellini be Bellini! Forget the DVD and the sound will heal all wounds - it's glorious!

[Dark_Angel]

Arturo isn't the sharpest knife in the picnic set either. Couldn't he have left a note?

You guys are being too literal with your expectations of opera plots, they are usually not meant to make perfect sense or be logical, they set scences for singing to place and set the general mood as well as tell a "general" story line.

The mad scence is a clever way composer tells us to completely suspend logical evaluation of events while some extreme singing takes place that defies belief.....a fantasy section to set off some vocal fireworks

[Hoffmann]

This is a live recording from 1972, so has only middling sound - singers all seem to be singing from the rear of the set. Turning it up a couple of notches helped.

I have to say that I am amazed by Martina Arroyo's voice. Her voice isn't particularly large, but is indeed beautiful and she handles the role of Aida with great expression and without difficulty. Although I've seen the opera staged a number of times, I really only know the recording with Leontyne Price and Jon Vickers and have to say that I prefer Arroyo in the role over La Price. An early Domingo sings Radames beautifully and without stress - can it really be that Domingo is still singing after more than 40 years? Who can do that? I suppose singers like Domingo and Gruberova are considered superstars for a reason.

In any case, this morning's Aida outing helped refresh my memory that Aida is a wonderful opera and what a shame it is that it is so frequently dismissed as a washed up old warhorse. Funny how that works in opera. Who ever suggested that Rembrandt - or Picasso - should be dismissed as old over-the-hill warhorses? Top of the line painters seem to be able to avoid such knee-jerk dismissals that do such a disservice to the operatic repertory. Except Carmen, that is.

[Dark_Angel]

In any case, this morning's Aida outing helped refresh my memory that Aida is a wonderful opera and what a shame it is that it is so frequently dismissed as a washed up old warhorse. Funny how that works in opera. Who ever suggested that Rembrandt - or Picasso - should be dismissed as old over-the-hill warhorses? Top of the line painters seem to be able to avoid such knee-jerk dismissals that do such a disservice to the operatic repertory. Except Carmen, that is.

I have that live Aida and love the opera in general, although things slow down noticeably in last 1/3 of opera, the triumphal procession is an opera tour de force visually and music is so memorable. If you want to hear a wonderful live Aida with really great sound try this gem, very cheap at Amazon USA and you will love it (I promise)......

[Hoffmann]

I have that live Aida and love the opera in general, although things slow down noticeably in last 1/3 of opera, the triumphal procession is an opera tour de force visually and music is so memorable. If you want to hear a wonderful live Aida with really great sound try this gem, very cheap at Amazon USA and you will love it (I promise)......

I'll look for it DA - you've never led me wrong!

[Soave_Fanciulla]

You guys are being too literal with your expectations of opera plots, they are usually not meant to make perfect sense or be logical, they set scences for singing to place and set the general mood as well as tell a "general" story line.

The mad scence is a clever way composer tells us to completely suspend logical evaluation of events while some extreme singing takes place that defies belief.....a fantasy section to set off some vocal fireworks

I know, I know. The problem is that soprano vocal fireworks don't do it for me, so I'm patiently waiting for the tenor or bass get a turn, thinking all the while - "this girl is a total ditz and my, does she bang on". No wonder Arturo hightailed it at the first possible opportunity.

[Amfortas]

You guys are being too literal with your expectations of opera plots, they are usually not meant to make perfect sense or be logical, they set scences for singing to place and set the general mood as well as tell a "general" story line.

People don't all look at opera with the same expectations--as demonstrated by our current poll of favorites.