What opera have you been listening to, lately?

[Ann Lander (sospiro)]

UGH, All this bore-oque.

I'll be back after some Wagner, Strauss, Mozart and Mefistofele.

I'll be back to 'normal' after September!

[Clayton]

stuck on

Tchaikovsky: Iolanta
Anna Netrebko (Iolanta), Sergey Skorokhodov (Vaudémont), Alexey Markov (Robert), Monika Bohinec (Martha), Junho You (Almerik), Lucas Meachem (Ibn-Hakia), Vitalij Kowaljow (King René), Luka Debevec Mayer (Bertrand), Nuška Rojko (Laura), Theresa Plut (Brigitte)
Slovenian Philharmonic Orchestra, Emmanuel Villaume
Recorded November 2012 live at Philharmonie Essen



If anyone asks me about Anna Netrebko, I will point them to this recording (also the Stabat Mater with Marianna Pizzolato and Pappano). This is a wonderful opera but this performance is astounding. I record this performance in my memory as the one that explained "colour" in a voice to me. I'm probably confusing a little of the drama here to the musical term but the colour in her (Netrebko) voice paints this picture of the emotion of a small but dramatic journey of Iolanta so richly, it is not possible for me to imagine a more perfect portrayal. I have read the text translation twice, once with and once without the music. I am not reading the text recently, there is so much content in the voice and the music that I understand this translation better.
Russian, romantic or Netrebko fans, I would urge to listen to this. Full Clayton guarantee applies (if you do not like it, I will buy you a pint the next time you are in Berko).

[Soave_Fanciulla]

Rossini: Otello
José Carreras (Tenor), Frederica von Stade (Mezzo-Soprano), Gian-Franco Pastine (Tenor), Samuel Ramey (Bass), Ambrosian Opera Chorus (Chorus), Salvatore Fisichella (Tenor), Alfonso Leoz (Tenor), Nucci Condò (Soprano), Keith Lewis (Tenor)
Philharmonia Orchestra, Jesús López-Cobos



One of my favourite recordings - not only an astounding pair of lovers in Carreras and Von Stade but a flawless supporting cast, with some lovely Rossini tenors making a good contrast to Carreras. I actually prefer this "willow song" to Verdi's version. Highly recommended.

[Soave_Fanciulla]

This is pretty wonderful as well:

Rossini: La Cenerentola
Joyce DiDonato (Cenerentola), Jose Manuel Zapata (Don Ramiro), Paolo Bordogna (Dandini), Bruno Pratico (Don Magnifico),Patrizia Cigna (Clorinda), Martina Borst (Tisbe), Luca Pisaroni (Alidoro)
Prague Chamber Choir & SWR Radio Orchestra Kaiserslautern, Alberto Zedda

[Clayton]

(nothing to do with my age , your remark is hilarious)

THIS is a funny post

even if it did take me about twenty-four hours to figure out

[Clayton]

Oh the effect of Itullian's visit to the forum...

Wagner: Die Meistersinger von Nürnberg
Norman Bailey (Hans Sachs), Bernd Weikl (Beckmesser), René Kollo (Walther von Stolzing), Hannelore Bode (Eva), Adolf Dallapozza (David), Magdalene (Julia Hamari (Magdalene), Kurt Moll (Pogner)
Wiener Staatsopernchor & Wiener Philharmoniker, Sir Georg Solti
Recorded October 1975 Sofiensaal Vienna



I like this recording very much though I read on the PC site that Gramophone and Penguin Classics hail Norman Bailey's Hans Sachs as the stonger point of this production. I am not that keen and would go the other way and say that this is my least favourite part. I think there is a (small) lack of charismatic power that just takes it away from my ideal Hans Sachs. I do like the cast though and it makes it one of my preferred recordings. Of course there is the Vienna Philharmonic under Solti's direction that is joyful; I smile listening to it.

[Itullian]

Oh the effect of Itullian's visit to the forum...

Wagner: Die Meistersinger von Nürnberg
Norman Bailey (Hans Sachs), Bernd Weikl (Beckmesser), René Kollo (Walther von Stolzing), Hannelore Bode (Eva), Adolf Dallapozza (David), Magdalene (Julia Hamari (Magdalene), Kurt Moll (Pogner)
Wiener Staatsopernchor & Wiener Philharmoniker, Sir Georg Solti
Recorded October 1975 Sofiensaal Vienna



I like this recording very much though I read on the PC site that Gramophone and Penguin Classics hail Norman Bailey's Hans Sachs as the stonger point of this production. I am not that keen and would go the other way and say that this is my least favourite part. I think there is a (small) lack of charismatic power that just takes it away from my ideal Hans Sachs. I do like the cast though and it makes it one of my preferred recordings. Of course there is the Vienna Philharmonic under Solti's direction that is joyful; I smile listening to it.

You mean the Chicago?

[Clayton]

You mean the Chicago?

Well, that's the problem I find with Die Meistersinger von Nürnberg; once is rarely enough for me. I've just started with the Chicago recording but I prefer the Vienna. Even though by his own words he approached it with a lighter direction in the later Chicago, I think the earlier one is the lighter and more gay.

Wagner: Die Meistersinger von Nürnberg
José van Dam (Hans Sachs), Ben Heppner (Walther von Stolzing), Karita Mattila (Eva), Alan Opie (Beckmesser), Iris Vermillion (Magdalena), Herbert Lippert (David), René Pape (Pogner), Albert Dohmen (Kothner), Kelly Anderson (Nachtwächter)
Chicago Symphony Orchestra & Chorus, Georg Solti
1995

[Itullian]

Well, that's the problem I find with Die Meistersinger von Nürnberg; once is rarely enough for me. I've just started with the Chicago recording but I prefer the Vienna. Even though by his own words he approached it with a lighter direction in the later Chicago, I think the earlier one is the lighter and more gay.

Wagner: Die Meistersinger von Nürnberg
José van Dam (Hans Sachs), Ben Heppner (Walther von Stolzing), Karita Mattila (Eva), Alan Opie (Beckmesser), Iris Vermillion (Magdalena), Herbert Lippert (David), René Pape (Pogner), Albert Dohmen (Kothner), Kelly Anderson (Nachtwächter)
Chicago Symphony Orchestra & Chorus, Georg Solti
1995

Oh, I misunderstood. thanks

[Hoffmann]

I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

I'll give it another go next week when WNO stages LC.

[Soave_Fanciulla]

I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

I'll give it another go next week when WNO stages LC.

I'm seeing it soon at NZ Opera. Would not be my first choice but beggars can't be choosers.

[Itullian]

If you folks don't have this, I strongly recommend you get it.
It's absolutely beautiful.

[Luiz Gazzola (Almaviva)]

I tend to forget that I have this. It's very well sung, but I have to admit that, as much of a Rossini fan as I am (and, I am), La Cenerentola is kind of lost on me. For some reason, because opera houses and opera fans believe that Rossini is a comic genius, his comedies have survived. Even if they aren't so good, I guess they're still charming. Even staged at the expense of his opera seria, some of which are flat out amazing.

I'll give it another go next week when WNO stages LC.

I think that there is no doubt that the best serious operas by Rossini are far superior to La Cenerentola, and also, there is no doubt that Il Barbiere is better. I even think that L'Italiana in Algeri is a better comedy. This said, there is some charming music in La Cenerentola, some raucous pater songs, some beautiful coloratura especially in the final scene, and the character herself is charming. There are funny moments with the two sisters, and it is interesting to see this treatment of a fairy tale without the magical elements (it was a wise decision in terms of theatricality) so overall I find it to be rather pleasant and successful. Now, when we get the extremely beautiful Elina Garanca singing the title role in one of my favorite DVDs of it, as well as the fabulous Frederica von Stade in another great DVD, the opera grows even more in what it can deliver.

Again, I'd insist that opera needs to be seen, not just heard, especially a comedy, which needs comedic timing, stage presence, and good theatrical pace in the stage direction. So, you're gauging it from a CD and as much as the singing must be great, it's still not ideal especially in comedic opera. I'd recommend either a live performance as long as they get the comedy right and there is a compelling singer for the title role, or one of these spectacular DVDs:

[Florestan]

A neat thing about the Abbado CD and Abbado DVD of Cenerentola is that Don Magnifico and his two daughters, Chlorinda and Tisbe are sung by the same people in both of these. For me it makes the CD much more pleasing since the DVD is my favorite rendition. And I would say that Berganza is as excellent a voice as Von Stade.

[Luiz Gazzola (Almaviva)]

A neat thing about the Abbado CD and Abbado DVD of Cenerentola is that Don Magnifico and his two daughters, Chlorinda and Tisbe are sung by the same people in both of these. For me it makes the CD much more pleasing since the DVD is my favorite rendition. And I would say that Berganza is as excellent a voice as Von Stade.

I don't doubt it. It's just that it is harder to enjoy a comedy as much by just listening to it, since acting, body language, comedic timing, chemistry between leads, and all, are so important in comedy. A scene can be very funny when seen, and "meh" when just heard (even though we can still admire the quality of the voices). Given that Hoffmann is a CD kind of guy who only recently started directing some of his attention to opera on DVD (and when he travels to see opera live he tends to privilege the heavy stuff such as Wagner), I was just wondering if he's seen La Cenerentola live or on DVD, and if he hasn't, maybe it can explain why he feels at a loss regarding this opera.