Reply With QuoteThat the rude sea grew civil at her song
And certain stars shot madly from their spheres,
To hear the sea-maid's music.
That the rude sea grew civil at her song
And certain stars shot madly from their spheres,
To hear the sea-maid's music.
Really glad I decided to got this Elisir D;amore. Anna was adorable, Matthew did a great job of making Nemorino into a real person as opposed to a bumbling half-wit, and Kwiecień was lovely eye candy.
Last edited by Soave_Fanciulla; January 5th, 2018 at 08:03 AM.
Natalie
No doubt we will soon see a blu ray release of this performance, I can add to her earlier Elixir DVD with VillazonOriginally Posted by Soave_Fanciulla
Glad to see Netrebko and Kwiecien team still working together, really liked thier recent MET Don Pasquale and others
Last edited by Soave_Fanciulla; January 5th, 2018 at 08:03 AM.
WhatMatthew did a great job of making Nemorino into a real person as opposed to a bumbling half-wit
So bumbling half-wit isn't real person
I'd say they are as real as it gets
I'm officially cursing this production. DA mentioned Don Pasquale and it's curious, because this Elisir is the second time it happens: they just had better cast including Flórez before but they decide to promote the worse one with Polenzani more. In case of Don Pasquale they replaced both title character and the tenor for worse and then released in on DVD, this time they put similiarly inferior performance to Met HD wile our tears after not seeing Flórez/Damrau one are still fresh.
"I ask myself what goes on in the heads of the delicious Mirella Freni and the ever so talented Renata Scotto - she sang an enchanting Walter, a trouser role, with me in La Wally at La Scala in 1954 - who are both lyric sopranos, with voiccs infinitely smaller than mine. The first one. sings not only Elisabetta di Valois at La Scala but Aida in the big auditorium in Salzburg. And the second appears not only in I vespri siciliani, II Trovatore, Un ballo in maschera, Don Carlo, and Norma, but in La Gioconda, Macbeth, Nabucco, and goodness knows what else. And I, a spinto, recorded Don Carlo, Ballo, and Trovarore, but never dared sing them in a theatre, for these operas are written for dramatic sopranos and only they can really honor the scores. Mirella is intelligent, and she comes out of Don Carlo passably. Ma chi glie lo fa fare? [But who makes her do it?] She is totally out of her element, while she is incomparable as Susanna and the Gounod Juliette, to mention two of the parts that truly suit her. And Scotto can only force her instrument out of all proportion. Serafin begged me to take six months off and prepare Norma with him. And I replied, 'But there is Callas, who does it so well.' 'It does not matter,' he answered. You will sing it with your voice. It will be your Norma, and I can guarantee you it will be a huge success.' But not even Serafin, whose judgment about voices was unsurpassed, made me budge from my decision."
Finally!
Currently watching this as research for a paper I'm writing. And I'm absolutely loving it!
Barbara Bonney is gorgeous and amazing. And the choreography is fascinating. Although it is an updated version, I think it perfectly captures the spirit of tragédie lyrique.
Yes, this is definitely a keeper for me too. I love the bit where the Boreades pick all the flowers!
Last edited by Soave_Fanciulla; November 6th, 2012 at 08:18 PM.
Natalie
Me too! And when the followers of Apollo interrupt the act II ballet. And just act III in general.
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