I wouldn't rush to buy Djamileh, although it's pleasant enough and well sung. It's a good illustration of the principle that you should not judge a composer by his or her first opera.Originally Posted by Hoffmann
The Atenaide is very good. Some great arias towards the end.
Natalie
A common approach to these projects is to start a thread first discussing the project and the approach. That way you can draw on the experience of other members who have taken part in these works before and they can help you make the most of your ideas. I think your project will be fun and helpful to the opera community.
life without Wagner is like a broken pencil...
explain?
pointless
and so...
Live recording [mono] Bayreuth 25-27, 29 July 1953
Rheingold
Wotan: Hans Hotter, Donner: Hermann Uhde, Froh: Gerhard Stolze, Loge: Erich Witte, Alberich: Gustav Neidlinger, Mime: Paul Kuen, Fasolt: Ludwig Weber, Fafner: Josef Greindl, Fricka: Ira Malaniuk, Freia Bruni: Falcon, Erda: Maria von Ilosvay, Woglinde: Erika Zimmermann, Wellgunde: Hetty Plümacher, Floßhilde: Gisela Litz
Walküre
Siegmund: Ramón Vinay, Sieglinde: Regina Resnik, Wotan: Hans Hotter, Brünnhilde: Martha Mödl, Hunding: Josef Greindl, Fricka: Ira Malaniuk, Gerhilde: Brünnhild Friedland, Ortlinde: Bruni Falcon, Waltraute: Lise Sorrell, Schwertleite: Maria von Ilosvay, Helmwige: Liselotte Thomamüller, Siegrune: Gisela Litz, Grimgerde: Sibylla Plate, Roßweiße: Erika Schubert
Siegfried
Siegfried: Wolfgang Windgassen, Mime: Paul Kuen, Brünnhilde: Martha Mödl, Wanderer: Hans Hotter, Alberich: Gustav Neidlinger, Fafner: Josef Greindl, Erda: Maria von Ilosvay, Waldvogel: Rita Streich
Götterdämmerung
Brünnhilde: Martha Mödl, Siegfried: Wolfgang Windgassen, Hagen: Josef Greindl, Alberich: Gustav Neidlinger, Gunther: Hermann Uhde, Gutrune: Natalie Hinsch-Gröndahl, Waltraute: Ira Malaniuk, Woglinde: Erika Zimmermann, Wellgunde: Hetty Plümacher, Floßhilde: Gisela Litz, 1. Norn: Maria von Ilosvay, 2. Norn: Ira Malaniuk, 3. Norn: Regina Resnik
Povero Buoso’s enthusiasm for Puccini’s operas made me remember this recording that I purchased more than a dozen years ago. The music is very appealing, and this is a fine cast from a 2002 concert performance broadcast by Radio France. (It was the first time I’d heard Ludovic Tézier.) The entire opera is only just a little more than an hour in length, and I suspect Ferdinando Fontana’s dramaturgically weak libretto has been a big part of the reason this work never became more popular. Key pieces of the plot are delivered by a narrator, including Roberto’s seduction by a courtesan in Mainz and Anna dying from loneliness and grief when he doesn’t return from his journey to that city. This really needed to be a drama in three acts, with the second act comprised of events related by the narrator. (Don’t tell us; show us!) One can only imagine what Puccini would have done with this material had it been fleshed out by a more competent librettist.
And kudos to Naïve for including a complete libretto, along with French and English translations.
Fontana might be one of the most important librettists in Italian Operatic history as he very nearly killed Puccini's career with his libretto for Edgar. Had Ricordi not given Puccini a reprieve after Edgar's failure (the libretto being a major component of that operas sad fate though its music is also Puccini's weakest in its original four act version) it might well be the case that the landscape of the most popular 10 operas in the world could take on a very different complexion. If Puccini hadn't been designated the "heir to Verdi" after the positive reaction by the public to Manon Lescaut then Italian operas history in the 20th century could have looked very different. I agree with Mauer that Le Villi would be a far better opera if the intermezzo recited part was actually an additional 30 minutes of music which reminds me I need to buy a copy of Le Villi for my Ipod...
Povero Buoso’s enthusiasm for Puccini’s operas made me remember this recording that I purchased more than a dozen years ago. The music is very appealing, and this is a fine cast from a 2002 concert performance broadcast by Radio France. (It was the first time I’d heard Ludovic Tézier.) The entire opera is only just a little more than an hour in length, and I suspect Ferdinando Fontana’s dramaturgically weak libretto has been a big part of the reason this work never became more popular. Key pieces of the plot are delivered by a narrator, including Roberto’s seduction by a courtesan in Mainz and Anna dying from loneliness and grief when he doesn’t return from his journey to that city. This really needed to be a drama in three acts, with the second act comprised of events related by the narrator. (Don’t tell us; show us!) One can only imagine what Puccini would have done with this material had it been fleshed out by a more competent librettist.
And kudos to Naïve for including a complete libretto, along with French and English translations.
"Non sono in vena" Rodolfo summing up P.B's feelings on his dissertation.
Natalie
O happy we, what joys I feel!
"Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).
O ruddier than the cherry,
O happy we, what joys I feel!
O sweeter than the berry,
O nymph more bright,
Than moonshine night,
Like kidlings blithe and merry.
How can you fail to be cheered up by that?
Natalie
"Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).
I like that recording. I also quite like the original cover (well, I prefer it to the CD cover now).
Agree. I used the original cover image for my MP3 player display.I like that recording. I also quite like the original cover (well, I prefer it to the CD cover now).
"Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).
"Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).
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