Reply With QuoteWhen I first heard this opera on the radio years ago and seeing pictures from the production, my first impression was that it certainly did suggest homosexuality.Originally Posted by Festat
I made it back home after my visit to Vermont with only a minor mishap on the highway. Other than that, I spent a lovely afternoon with Met Opera Radio and a recording of Luisa Miller from 1983 that was terrifically well sung (mostly cast with singers I am unfamiliar with). This is an opera I didn't know at all, so came away impressed.
When I first heard this opera on the radio years ago and seeing pictures from the production, my first impression was that it certainly did suggest homosexuality.
If you would seek salvation, remember this:
a life in Hell can still aspire to BLISS.
A lot of depictions of David and Jonathan in art range from mildly ambiguous to highly suggestive. They're kinda like the biblical version of Achilles and Patroclus. Both the laments of David and Achilles over the friend's death are often subject of paintings and poetry — David's is in Handel's Saul, for instance:
Great was the pleasure I enjoy'd in thee,
And more than woman's love thy wondrous love to me!
Last edited by Festat; August 25th, 2015 at 04:48 AM. Reason: add the text :)
I never thought I'd ever be doing this, but I feel compelled to listen to a number of Verdi operas to become more familiar with them for the Verdi game....
And what a good choice you made
I'm actually listening to it again today because nothing clicked with me when I first listened to it.And what a good choice you made
If you would seek salvation, remember this:
a life in Hell can still aspire to BLISS.
got this record yesterday... I always loved Tosca, and I find Callas great in this role. I only have problem with first act, like can it be shorter? It's so boring... Like skip the crap and let's go to the second act where the real drama starts, and then to amazing third act
That talk earlier about David et Jonathas prompts me to listen to it again....
If you would seek salvation, remember this:
a life in Hell can still aspire to BLISS.
Just finished La Boheme with M. Callas, G. di Stefano, R. Panerai, A. Moffo... Still had to say how do I feel about this recording... Generally I like Boheme, but did I love it after this, not really... Callas was nice, Moffo unrecognizable.
How come? Tosca is already so compact! AND THE FIRST ACT FINALE!!!
It's just that I know that Vissi d'arte and E lucevan le stelle (in fact whole music of the final act is just heaven on earth) are just around the corner, so I'm like anxious, like skip the talk Scarpia, Tosca save the drama for the next act, let us just go there already lol
Yes but TE DEUM!
Natalie
A good mix of well-known and lesser known buffo baritone arias, ably interpreted by Bordogna. Perhaps not the most beautiful voice but he knows his stuff and can do the patter as only a real Italian can.
Paolo Bordogna: Tutto Buffo
Cimarosa:Udite, tutti, udite (from Il Matrimonio Segreto)
Donizetti:Lazzarune, scauzacane! (from Le Convenienze e le Inconvenienze Teatrali)
Udite, udite, o rustici (from L'elisir d'amore)
Son nov'ore (from Don Pasquale)
Bella siccome un angelo (from Don Pasquale)
Un foco insolito, mi sento addosso (from Don Pasquale)
Mascagni:Quella e una stra-stra-strada (from Le Maschere)
Mozart:Madamina, il catalogo è questo (from Don Giovanni)
Puccini:Era eguale la voce? (from Gianni Schicchi)
Rossini:A un dottor della mia sorte (from Il barbiere di Siviglia)
Se ho da dirla avrei molto piacere (from Il Turco in Italia)
Sia qualunque delle figlie (from La Cenerentola)
Rota, N:É una cosa incredible! (from Il Cappello di paglia di Firenze)
Verdi:Ehi! Paggio! ... L'onore! Ladri! (from Falstaff)
Natalie
I know, I know. Sutherland. I bought it for Marilyn Horne's Adalgisa. This was recorded in 1964 and both Horne and Sutherland are heartbreakingly beautiful. The guys weren't so well cast, IMO. John Alexander's Pollione sounds forced and Richard Cross' Oroveso much too light (besides, who's Richard Cross?).
If it's hard for anyone to get past Joan Sutherland, this recording is worth it just for Marilyn Horne.
And, of course, it is Bellini...
I say I don't really like Sutherland (which is true) but I have all of her Normas.
So, do you have this one? What do you think? Maybe time for a refresher listen!I say I don't really like Sutherland (which is true) but I have all of her Normas.
Posting Permissions
Bookmarks