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

          
   
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  1. #4756
    Opera Lively Moderator Top Contributor Member Festat's Avatar
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    Yes, I think the decision to make quite clear that the ghosts do exist is a great loss. I find the opera really tense until the confirmation, when Mrs. Grose tell her who Quint was I'm on the edge of my seat, then I think it dissipates a little, in spite of Britten's musical effort to make it as spooky as possible.

    I just noticed the post in the wrong thread, though. Should have been in the "listening to"!

  2. #4757
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    This is an opera I have a love-hate relationship with. Whilst I love Britten's operas and the atmosphere he creates with the music...the libretto is a simplistic adaptation of the original story focussed on an interpretation which I think was actually a little out of date even when the opera was being written.
    Quote Originally Posted by Festat View Post
    Yes, I think the decision to make quite clear that the ghosts do exist is a great loss. I find the opera really tense until the confirmation, when Mrs. Grose tell her who Quint was I'm on the edge of my seat, then I think it dissipates a little, in spite of Britten's musical effort to make it as spooky as possible...
    I'm just going to go with "spooky"

  3. #4758
    Senior Member Top Contributor Member Clayton's Avatar
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    Scarlatti, A: Carlo re d'Allemagna
    Romina Basso (King Lotario of Germany), Roberta Invernizzi (Queen Giuditta, dowager empress), Marina de Liso (Princess Gildippe, her daughter), Marianne Beate Kielland (Prince Adalgiso, son of Lotario), Carlo Vincenzo Allemano (Berardo, a knight), José Maria Lo Monaco (Asparando, a traitor), Damian Pinti (Amilla) & Roberto Abbondonza (Bleso)
    Stavanger Symphony Orchestra, Fabio Biondi

    Name:  Carlo Re d'Alemagne - Fabio Biondi 2014, Stavanger Symphony Orchestra.jpg
Views: 130
Size:  73.0 KB

  4. #4759
    Senior Member Involved Member Nekrotzar's Avatar
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    I have actually never heard Böhm's Wagner beyond Tristan und Isolde. Man, I was really missing out. I never really see this as the 'desert island Dutchman' but it's wonderful to listen to nevertheless.

    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  5. #4760
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Nekrotzar View Post
    I have actually never heard Böhm's Wagner beyond Tristan und Isolde. Man, I was really missing out. I never really see this as the 'desert island Dutchman' but it's wonderful to listen to nevertheless.


    If and whenever you have the chance, try to listen to this one - my favorite:



    Name:  DerFliegendeHolländerBrilliant.jpg
Views: 128
Size:  7.2 KB

    Gottlob Frick, Dietrich Fischer-Dieskau, Marianne Schech, Rudolf Schock and Fritz Wunderlich
    Franz Konzwitschny, Conductor


    also seen as:



    Name:  DerFliegendeHollanderKonwitschny.jpg
Views: 95
Size:  20.9 KB

  6. #4761
    Senior Member Top Contributor Member Clayton's Avatar
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    I do have my own listening pile but keep getting distracted by other people's listening


    Handel: Deidamia
    Simone Kermes (Deidamia), Dominique Labelle (Nerea), Anna Maria Panzarella (Achille), Anna Bonitatibus (Ulisse), Furio Zanasi (Fenice) & Antonio Abete (Licomede)
    Il Complesso Barocco, Alan Curtis

    Name:  Deidamia - Alan Curtis 2002, Furio Zanasi, Antonio Abete,Simone Kermes, Dominique Labelle, Anna .jpg
Views: 93
Size:  55.2 KB

    though I think I need to see/hear Sally Matthews' Deidamia again to move on properly

    Name:  Act 2 sc 2 Deidamia screen shot.jpg
Views: 111
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  7. #4762
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Quote Originally Posted by Clayton View Post
    Scarlatti, A: Carlo re d'Allemagna
    Romina Basso (King Lotario of Germany), Roberta Invernizzi (Queen Giuditta, dowager empress), Marina de Liso (Princess Gildippe, her daughter), Marianne Beate Kielland (Prince Adalgiso, son of Lotario), Carlo Vincenzo Allemano (Berardo, a knight), José Maria Lo Monaco (Asparando, a traitor), Damian Pinti (Amilla) & Roberto Abbondonza (Bleso)
    Stavanger Symphony Orchestra, Fabio Biondi

    Name:  Carlo Re d'Alemagne - Fabio Biondi 2014, Stavanger Symphony Orchestra.jpg
Views: 130
Size:  73.0 KB
    I thought this was fabulous. I'm now a daddy Scarlatti fan as well as a baby Scarlatti enthusiast.
    Natalie

  8. #4763
    Senior Member Top Contributor Member Clayton's Avatar
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    also following MAuer, I was aiming for the Abbado with Giacomo Aragall but missed...

    Bellini: I Capuleti e I Montecchi
    Anna Netrebko (Giulietta), Elina Garanca (Romeo), Joseph Calleja (Tebaldo), Robert Gleadow (Lorenzo) & Tiziano Bracci (Capellio)
    Wiener Singakademie & Wiener Symphoniker, Fabio Luisi

    Name:  I Capuleti e i Montecchi - Fabio Luisi 2008, Anna Netrebko, Elina Garanca, Joseph Calleja, Wiene.jpg
Views: 147
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  9. #4764
    Senior Member Top Contributor Member Clayton's Avatar
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    Gluck: La Clemenza di Tito
    Rainer Trost (Tito Vespasiano), Laura Aikin (Vitellia), Raffaella Milanesi (Sesto), Arantza Ezenarro (Servilia), Valer Sabadus (Annio) & Flavio Ferri-Benedetti (Publio)
    L'arte del mondo, Werner Ehrhardt
    2013

    Name:  La Clemenza di Tito - Werner Erhardt 2013, Rainer Trost, Laura Aiken, Raffaella Milanesi, Arantz.jpg
Views: 115
Size:  93.1 KB

    In the tea cabinet, Gluck is a fine stable of warhorses and this is one of the finer stallions. In fact if I was to choose three to go to battle with, this would be one of them. It is a fine specimen, good character(s), beautiful and fine classical form (well I can't say baroque form but that would be truer).

    Here the stable master (no more horse analogy please) Werner Ehrhardt has two countertenors for the roles where originally Gluck wrote for castrato (Sesto was Cafarelli) Annio and Publio. Both perform bel canto (as do all other cast) with power and control and despite this is exactly what Gluck was moving away from with his reform operas, this is a mark of Gluck mastery of the opera seria.

    An obvious question would be which one, Gluck or Mozart? This is despite the fact that there are maybe over fifty operas written to Metastasio's libretto first set to music by Caldara. I only know the two but asked to choose my answer would firstly be a simple "no". Pressed, I might suggest Gluck's interpretation...

    A very good value for money recording (GBP 14 at PC) it comes with a full libretto in Italian, English, German and French, I would recommend this for baroque, Gluck and Sabadus fans amongst others.

  10. #4765
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    Quote Originally Posted by Clayton View Post
    also following MAuer, I was aiming for the Abbado with Giacomo Aragall but missed...

    Bellini: I Capuleti e I Montecchi
    Anna Netrebko (Giulietta), Elina Garanca (Romeo), Joseph Calleja (Tebaldo), Robert Gleadow (Lorenzo) & Tiziano Bracci (Capellio)
    Wiener Singakademie & Wiener Symphoniker, Fabio Luisi

    Name:  I Capuleti e i Montecchi - Fabio Luisi 2008, Anna Netrebko, Elina Garanca, Joseph Calleja, Wiene.jpg
Views: 147
Size:  80.7 KB



    Comes nowhere near the Sills/ Baker recording.
    Perhaps for front cover lovers but that's about as far as it gets.

  11. #4766
    Senior Member Involved Member Nekrotzar's Avatar
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    Quote Originally Posted by Hoffmann View Post
    If and whenever you have the chance, try to listen to this one - my favorite:



    Name:  DerFliegendeHolländerBrilliant.jpg
Views: 128
Size:  7.2 KB

    Gottlob Frick, Dietrich Fischer-Dieskau, Marianne Schech, Rudolf Schock and Fritz Wunderlich
    Franz Konzwitschny, Conductor


    also seen as:



    Name:  DerFliegendeHollanderKonwitschny.jpg
Views: 95
Size:  20.9 KB
    Ah, I found this in spotify so I am listen to it now.

    Thoughts: it's much slower than the other two I've heard from what I've heard of this recording so far!
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  12. #4767
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Ah, I found this in spotify so I am listen to it now.

    Thoughts: it's much slower than the other two I've heard from what I've heard of this recording so far!

    Since I listen to it with some frequency, I've lost any point of reference as to tempo - so, it seems just right to me. I think it's really well sung, however, which is paramount.

    Maybe, though, I need to go and give the Böhm a listen and gain some perspective!

  13. #4768
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
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    Quote Originally Posted by Clayton View Post
    also following MAuer, I was aiming for the Abbado with Giacomo Aragall but missed...

    Bellini: I Capuleti e I Montecchi
    Anna Netrebko (Giulietta), Elina Garanca (Romeo), Joseph Calleja (Tebaldo), Robert Gleadow (Lorenzo) & Tiziano Bracci (Capellio)
    Wiener Singakademie & Wiener Symphoniker, Fabio Luisi

    Name:  I Capuleti e i Montecchi - Fabio Luisi 2008, Anna Netrebko, Elina Garanca, Joseph Calleja, Wiene.jpg
Views: 147
Size:  80.7 KB
    It's a shame the recording quality was so poor on that Opera d'Oro version, because Bellini's music is beautiful and the singing itself is wonderful. To me, Aragall just sounds right as Romeo -- though I can understand that people who love this opera as Bellini wrote it would likely disagree.

  14. #4769
    Senior Member Involved Member Nekrotzar's Avatar
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    Quote Originally Posted by Hoffmann View Post
    Since I listen to it with some frequency, I've lost any point of reference as to tempo - so, it seems just right to me. I think it's really well sung, however, which is paramount.

    Maybe, though, I need to go and give the Böhm a listen and gain some perspective!
    The Janowski recording is pretty quick as well.
    If you would seek salvation, remember this:
    a life in Hell can still aspire to BLISS.

  15. #4770
    Senior Member Top Contributor Member Clayton's Avatar
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    Quote Originally Posted by Adrian View Post
    Comes nowhere near the Sills/ Baker recording.
    Perhaps for front cover lovers but that's about as far as it gets.
    I like them both, maybe the more dramatic Patanè and maybe more tender Luisi

    - - - Updated - - -

    Quote Originally Posted by MAuer View Post
    It's a shame the recording quality was so poor on that Opera d'Oro version, because Bellini's music is beautiful and the singing itself is wonderful. To me, Aragall just sounds right as Romeo -- though I can understand that people who love this opera as Bellini wrote it would likely disagree.
    I like the Aragall Romeo too but I too wish the recording quality was better

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