Parade of awesomeness.
Interesting lieders by CPE Bach. An unknown part of his repertoire.
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Parade of awesomeness.
Weeping like a baby by the end of this. Meier was magnificent in all possible ways, and for once there was a Tristan who sounded good.
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Natalie
"J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)
Everybody needs to have this in their collection. Don't argue, just buy it. And if you have it in your UWP, go and watch it.
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Natalie
I have a 40-minute each way bus commute and spend that time with my noise-canceling headphones & iPod. My "heavy rotation" has a lot of "expected" works either burned from CDs or MP3 downloads (which could become an easy addiction but I limit myself to one a month for some reason). Last week I listened to my Carmen with Domingo/Berganza/Milnes/Cotrubas as well as one of my 2 Gluck Orfee et Eurydice, the JDF one, but I also enjoy the other one I have with Jean-Paul Fouchecourt, Catherine Dubosc, Suzie Le Blanc. What I'd have hoped for but will never have is a recording of the one we had a few months ago in Seattle with William Burden, Davinia Rodriguez and Julianne Gearheart, which I hope to give you a review of sorts in the appropriate thread soon.
Now due to a comment about Tancredi (and Ewa Podles) from a different thread, that's the one I will start tomorrow morning for this week.
St Matthew Passion:
It's nothing like the Guth Messiah. It's not staged, per se, but the singers, instrumental soloists and choir move around. Often a soloist and singer will be opposite each other, and play/sing to each other, to great effect (when I mean soloist I mean players like Albrecht Meyer). It feels like a real telling of a heart-rending story.
Mark Padmore is the main Evangelist, and this must be the performance of his life, but Lehtipuu sings some of the tenor parts. Every singer seems completely invested and absorbed by the story he or she is telling, and the story is entirely what is in the text, nothing extraneous.
This had a great emotional effect on me, and on the audience. At the end they were completely quiet for about 40 seconds, and then just erupted.
Natalie
"Every theatre is an insane asylum, but an opera theatre is the ward for the incurables."
FRANZ SCHALK, attributed, Losing the Plot in Opera: Myths and Secrets of the World's Great Operas
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