It's hard to beat that discussion on translating Wagner's words into English - I have my own version, but I decided it's just way too snarky for the Christmas season, so..
Today's listen is one of my latest purchases:
I hadn't heard Mariella Devia's singing before, so was intrigued by this first outing. Her voice is no where as big as Sutherland's in my favorite Puritani (Decca w/Bonynge, Sutherland, Pavarotti, Ghiaurov and Cappuccilli), but she certainly hits those high notes cleanly and seemingly without effort. Unfortunately, the guys aren't so great. Ghiaurov/Cappuccilli are one of the great pleasures on the Decca - Sutherland is otherwise along for the ride.
I also noticed that this CD set is on two discs, where two of the other sets I own (w/Sills and another w/Caballe) are on three discs. Callas, on EMI and Warner Classics Remastered also is on two. I am wondering about cuts, but can't really tell from listening if anything is missing.
Maestro Serafin and a lot of his contemporaries apparently always performed I puritani with cuts. The recording with Callas is no different, whole repetition sections of Son vergin vezzosa and Vien diletto are omitted.Originally Posted by Hoffmann
The Devia recording is 2h 31min long, more than 20 minutes shorter than the Sutherland/Pavarotti, Caballé/Kraus and Sills/Gedda ones. It doesn't seem the same typical cut from the 50s — the mad scene is intact — but it's certainly cut somewhere.
So Wagner's house essentially is called Nut-Free?
Natalie
The translation used in the Chandos sung-in-English performance is,
Fools! Fools! Everywhere fools.
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
Well, yeah, sure, you *could* do it that way. If you wanted to . . . like . . . you know . . . make sense.
Got a train journey today so dusted the cobwebs off this. The full title has got to be one of the longest.
The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
"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
Or Crazy Peace . . .
I love this recording sooooooooooooooooooooooooo much!Got a train journey today so dusted the cobwebs off this. The full title has got to be one of the longest.
The Legend of the Invisible City of Kitezh and the Maiden Fevroniya
Immediate change to Clayton playlist.
Yesterday's walk, which had to be cut short because of a cold, stiff breeze blowing in my face (only 6.4 miles). Had to finish listening at home:
This morning:
This is regarded as one of Callas' most famous roles. Regardless of Callas' presence, I didn't have much of a feeling for the opera one way or the other, really, except I did notice that Renata Scotto was in exceptionally good, even impressive, voice in those days (1957..).
Then, my eye caught sight of this opera I haven't listened to in about forever:
Lucrezia Borgia is a more beautiful opera than I remembered, and this recording from 1966 catches its principals in early and superb voice.
Last edited by Hoffmann; December 20th, 2015 at 01:12 PM.
...
This morning:
Lucrezia Borgia is a more beautiful opera than I remembered, and this recording from 1966 catches its principals in early and superb voice.
This is regarded as one of Callas' most famous roles. Regardless of Callas' presence, I didn't have much of a feeling for the opera one way or the other, really, except I did notice that Renata Scotto was in exceptionally good, even impressive, voice in those days (1957..).
Then, my eye caught sight of this opera I haven't listened to in about forever:
That was a bit confusing for a slightly dehydrated Clayton who, to be frank, isn't the brightest spark at the best of times...
but I think Hoffmann is saying *good* to the Perlea Lucrezia Borgia...
That was a bit confusing for a slightly dehydrated Clayton who, to be frank, isn't the brightest spark at the best of times...
but I think Hoffmann is saying *good* to the Perlea Lucrezia Borgia...
Sorry about that. I just re-read my posting and, embarrassed, went thru and did edits which should have been done at the time of the posting. Cut and paste is a mixed blessing, I think. Geez.
I'll try again and see if I can get it right this time.
For yesterday's walk, which was a beautiful - if somewhat chilly - day here in DC, I listened to yet another selection out of the endless depths of that box purchase:
Il Re Pastore (1775 and Mozart at about midway in his opera-composing career) is a charming opera with constantly interesting and pleasing music - though nothing presenting and ear-worm threat. Featuring Eva Mei under the baton of Nicolaus Harnoncourt, the singing is terrific. A really pleasant surprise.
Unfortunately, Pastore wasn't long enough to get me close to the end of my walk, so needed something to see me through, so selected this from the bottom of the ULP:
This was unexpectedly enjoyable (considering it's Russian..) though wanders off into orchestral interludes with some frequency. Had to finish listening at home.
Nice! I love Aleko.Unfortunately, Pastore wasn't long enough to get me close to the end of my walk, so needed something to see me through, so selected this from the bottom of the ULP:
This was unexpectedly enjoyable (considering it's Russian..) though wanders off into orchestral interludes with some frequency. Had to finish listening at home.
"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
Me too!
Natalie
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