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Thread: What opera have you been listening to, lately?

          
   
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  1. #2086
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Clayton View Post
    My wife now recognizes Lohengrin. However she was not impressed with the fact I ironed the hell out of her new blouse (I didn't know that it was supposed to be fashionably crinkly).

    Next one chosen as I am in a Jose Carreras phase at the moment and James Longstaffe from Presto Classical named this as an "extremely fine" recording in his news letter with special tribute to the Maestro this morning.
    (That and of course it is a superb opera/recording that I have not listened to for a while).

    Verdi: Simon Boccanegra
    Piero Cappuccilli (Boccanegra), Mirella Freni (Amelia/Maria), José van Dam (Paolo), Nicolai Ghiaurov (Jacopo Fiesco), José Carreras (Gabriele)
    La Scala Chorus & Orchestra,
    Claudio Abbado
    CTC Studio recording, Milan January 1977

    Prix Caecilia, Bruxelles 1977
    Edison 1978
    Grand Prix du Disque 1978
    International Record Critics Award, New York 1978
    Gran Premio del Disco "Ritmo" (Madrid) 1979

    Attachment 3481
    This recording was responsible for my deep and abiding love for this opera. When I first got it I played it over and over and over again.
    "The world calls them its singers and poets and artists and storytellers; but they are just people who have never forgotten the way to fairyland."
    Lucy Maud Montgomery

  2. #2087
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by sospiro View Post
    This recording was responsible for my deep and abiding love for this opera. When I first got it I played it over and over and over again.
    I understand.

    - - - Updated - - -

    I mean this is utterly attractive.

    - - - Updated - - -

    Bellissima!

  3. #2088
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Clayton View Post
    Go on, revive whatever thread. I was looking at this recording.
    "Looking" being the operative word for the thread I had in mind.

    - - - Updated - - -

    Quote Originally Posted by sospiro View Post
    This recording was responsible for my deep and abiding love for this opera. When I first got it I played it over and over and over again.
    A great recording. Rest in peace, Maestro.

  4. #2089
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Yesterday afternoon - I had forgotten what a wonderful opera this is:

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    Today, I started with an old favorite - I also had forgotten why it is a favorite:

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    and then, this afternoon, this really wonderful recording (and, I have to admit, I love Anja Silja as Senta):

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  5. #2090
    Senior Member Top Contributor Member Clayton's Avatar
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    I have builders next door. I promise, this is not me following Hoffmann's example this time; I have no control over this matter.
    Fortunately the houses are not connected so the noise is not too disturbing. However, today they are on the roof and I can hear their conversations.
    Almost one in four words is a swear word. It's so ridiculous, it's almost impressive how they can construct sentences so.
    Now some people complain how builders talk too much on their employer's time. If they were to stop swearing, I think immediately their conversation would be reduced by 25%. Furthermore they must be constructing their sentences to accomodate such swear words, so perhaps it would be reduced more.

    Anyway, an appointment with other evil forces today.

    Boito: Mefistofele
    (Mefistofele) Nicolai Ghiaurov, (Faust) Luciano Pavarotti, (Margherita) Mirella Freni, (Elena) Montserrat Caballé, (Marta) Nucci Condò & (Wagner) Piero de Palma
    London Opera Chorus/Trinity Boys’ Choir & National Philharmonic Orchestra,
    Oliviero de Fabritiis
    Recorded: Walthamstow Assembly Hall, London, August 1980 & January 1982

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    Walthamstow was a really happening place back in the late 70's/early 80's.

  6. #2091
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    That has to be a great recording, Clayton, but I think Samuel Ramey owns this role (tho' some would say it truly belongs to Norman Treigle...), courtesy of the late, great New York City Opera and the Tito Capobianco production of Mefistofele that was my third opera (ca. 1978, when NYCO was still touring to DC).

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  7. #2092
    Senior Member Top Contributor Member Clayton's Avatar
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    That is a GREAT cover (if I saw this in a record shop I would buy it immediately) and EVIL looking stage production. You showed us a picture of the costume from this production before and I had to drink heavily for a week to get over it.

  8. #2093
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    The way NYCO did the prelude was (at least for me), jaw-dropping: The Kennedy Center Opera House auditorium went totally dark - the only thing lit was the tip of Julius Rudel's baton; the answering trumpets (horns, anyway) were placed in the balconies. Made my hair stand on end. When the curtain went up - the above photo was the staging we were greeted with.

  9. #2094
    Senior Member Top Contributor Member Clayton's Avatar
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    Another great tale by Hoffmann. Thank you.



    All these years later; where is it in your ranking of favourites I wonder...

    I also wonder if NYCO will be resurrected soon. If only they could make a deal with a big bank...

  10. #2095
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Clayton View Post
    Another great tale by Hoffmann. Thank you.



    All these years later; where is it in your ranking of favourites I wonder...


    I also wonder if NYCO will be resurrected soon. If only they could make a deal with a big bank...
    I admit that I don't listen to Mefistofele very often any more. It seems to me to be a little too heavy-handed. I nearly put it on my recommended list in one of the 61 -70 slots, but it kind of got overtaken by the competition. If anything on my list makes it this time, I probably will list Mefistofele going into the next round.

    Alas, I'm afraid NYCO has totally imploded - the unfortunate victim of unbridled incompetent management.

    It's really a shame, as NYCO featured both a more adventurous repertory and production design. One of the NYCO operas I saw in the late 70s was Rimsky-Korsakov's Le Coq d'Or - from the President's Box at the Kennedy Center (sans President, naturally). A friend of mine worked for the White House in the Carter Administration, which had a policy of making tickets to the Box available to staff when it wasn't otherwise being used. Unfortunately, we ate and drank, um, too much before the performance, so I don't recall much about the opera....

  11. #2096
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    As usual with Parsifal I have no idea what is going on. I think this production would work better in the house with the lights down so you could get into a suitably Zen-like trance, although then I might have seen more of the female genitals in Act 2 and less of the albino boa constrictor ( I like snakes better than genitals). I'm going to have to watch it again after re-reading Andrew Richards' blog. Musically it was lovely, Andrew Richards did a good job and the orchestra gave a wonderful rich sound.

    Natalie

  12. #2097
    Senior Member Top Contributor Member Clayton's Avatar
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  13. #2098
    Senior Member Top Contributor Member Clayton's Avatar
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    Jules Massenet
    Le Jongleur de Notre-Dame
    Miracle en Trois Actes
    Poème de Maurice Léna


    Roberto Alagna, Stefano Antonucci & Francesco Ellero d’Artegna
    Orchestre National de Montpellier Languedoc Roussillon,
    Enrique Diemecke
    Live recording 4th February 2007

    "J'écris une pièce, une légende, un conte en musique, appelez-le
    comme vous voudrez, où il n'y a pas un seul rôle de femme!
    Pas un, entendez-vous, pas le plus petit rôle de femme...
    J'approche de la fin, et depuis quelques jours, je sens, je sais
    à comp sûr que Le Jongleur de Notre-Dame sera mon chef-d'œvre"


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    A very beautiful opera. I am having a VERY good run on new opera experiences. This IS my favourite Massenet piece. It is very short though. I had to do a time check. It is 1 hour 38 minutes. But it felt like forty-odd minutes.

    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    Probably subjective impression of time passing...
    peut-être...
    maybe I just got lost in the monastry, in the hospitality of the monks, the painter, the poet, the musician, the sculptor and Boniface's wonderful, wonderful cooking.
    Ahh! I could die here.
    Alagna is at home here. Antonucci cooks a great turkey. d'Artegna runs a divine monastry. The rest of the cast are all good too.
    Oh, and this has GOT to be an under rated/performed opera.
    9.3827/10

    A stone statue in Iceland could shed a tear listening to this...

    (I'm talking about the opera, not my post.)

  14. #2099
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Soave_Fanciulla View Post
    As usual with Parsifal I have no idea what is going on. I think this production would work better in the house with the lights down so you could get into a suitably Zen-like trance, although then I might have seen more of the female genitals in Act 2 and less of the albino boa constrictor ( I like snakes better than genitals). I'm going to have to watch it again after re-reading Andrew Richards' blog. Musically it was lovely, Andrew Richards did a good job and the orchestra gave a wonderful rich sound.

    Yikes.

  15. #2100
    Senior Member Top Contributor Member Clayton's Avatar
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    Not sure what tripped this trigger,
    h

    Verdi: Nabucco
    Elena Souliotis (Abigaille), Tito Gobbi (Nabucco), Carlo Cava (Zaccaria), Bruno Prevedi (Ismaele), Dora Carral (Fenena), Giovanni Foiani (Gran Sacerdote), Walter Kräutler (Abdallo), Anna d'Auria (Anna)
    Konzertvereinigung Wiener Staatsopernchor, Wiener Opernorchester,
    Lamberto Gardelli

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    but continue to be greatly excited listening to it.

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