Reply With QuoteNow that I have watched much of this one on DVD the sound recording has far more meaning.
of course I would recommend that Rinaldo...
Now that I have watched much of this one on DVD the sound recording has far more meaning.
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
Yes because the music evokes what is happening through the leitmotifs. And the more you watch and listen, the more you get it.Originally Posted by Florestan
Now that I have watched much of this one on DVD the sound recording has far more meaning.
Natalie
Yes because the music evokes what is happening through the leitmotifs. And the more you watch and listen, the more you get it.
Not to mention George London's Wotan!
The Hogwood/Bartoli/Daniels is good, but I like this one better:
And, all though I understand this set has suffered from a number of cuts, Marilyn Horne is remarkeable:
^ I definitely lean towards the Horne set and it appears to use few if any counter tenors, which is a plus in my book.
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
How did you enjoy Haydn's opera?
It is quite nice, very beautiful singing, but as I don't know the libertto I can't appreciate it like some operas where I have watched it on DVD.
A special feature is Bartoli having two parts. She sings both Euridice and the Genio. She notes that the Genio, in the sense favored by the ancient Romans constitutes a "second self" which accompanies a person through life. In that regard she sings the Genio, the second self of Orpheus, which takes on the voice of his beloved in his tortured state. For me, the advantage is more Bartoil, which is who led me to this opera in the first place. Alas, I would prefer Baroque but Bartoli's Baroque work is found mostly in aria compilations, not actual operas, but for Rinaldo where the counter tenors are too prominent for me.
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
after a brief visit to an enchanted island (needed to rescue some dozey geezer under a spell), I'm back to the Ring (look what Florestan's done to me)...
This time with Knappertsbusch in '56
Conductor/orchestra: Ferdinand Leitner, Cappella Coloniensis
Cast: Dame Joan Sutherland Alcina), Fritz Wunderlich (Ruggiero), Norma Procter (Bradamante), Jeannette Van Dijck (Morgana), Nicola Monti (Oronte), Thomas Hemsley (Melisso)
Been a while since I listened to this recording. It certainly won’t pass the historically informed test, but the young Dame Joan and Wunderlich are fabulous together (and the other cast members leave no cause for complaint, either).
It has been way too cold to walk since late last week. Today's high temp should hit 50F (10 C), so plan to get outside for quick walk around noon today.
Yesterday's listen was only intermittently satisfying. I think this recording of Anna Bolena (1970) caught Elena Suliotis past her prime. She exhibits a rather pronounced vibrato here, but still manages, along with Marilyn Horne, to deliver some lovely moments.
Try Gruberova or Sills Anna Bolena recordings. Those are my favorites.
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
"Music is enought for a whole lifetime--but a lifetime is not enough for music." --Sergei Vasilyevich Rachmaninoff
At long last, I finally was able to get outside for a walk on a nice afternoon. I remembered that I had intended to listen to this a week or so ago, but had neglected to charge the iPod Nano that contains the set. It's always a treat to listen to this, so:
Jess Thomas' riveting "In Fernem Land", magnificently paced, always stops me in my tracks and demands full attention. Chills down my spine, the whole bit.
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