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Thread: What opera have you been listening to, lately?

          
   
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  1. #7471
    Opera Lively Moderator Top Contributor Member Amfortas's Avatar
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    Quote Originally Posted by Clayton View Post
    Yes! Get, get, get I say!

    Well, maybe only one get is required.

    I'm looking into that now.
    We'll see. After listening to Act II (I have to admit, not as attentively as I did the first act), I felt my enthusiasm a bit dampened. At least on a first hearing, Melchior sounded less engaged this act. And Flagstad, while producing beautiful sound, also seemed somewhat placid throughout.

    The Walküre I own from the following year, 1941, features Helen Traubel as Brünnhilde and Astrid Varnay as Sieglinde, both making their Met debuts in those roles (it was the twenty-three-year-old Varnay's first stage appearance ever). Both singers clearly give it their all throughout the evening, culminating in a white-hot scene together at the beginning of Act III. I'm not sure the 1940 recording I'm auditioning now can duplicate that electricity.

    Still, the earlier recording has its advantages, including infinitely better sound (thanks to Pristine), a chance to hear Flagstad and Lawrence at their peak (whatever the strengths and weaknesses of their interpretations), and a younger, more vocally palatable Wotan. It would certainly complement my other recordings nicely; now it's just a question of how strongly I end up feeling about the performance.

    So it's on to Act III. Thank you, YouTube!
    Last edited by Amfortas; December 22nd, 2017 at 01:34 PM.

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  3. #7472
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Homework!

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    I want to be word perfect by April.
    "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

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  5. #7473
    Senior Member Involved Member
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    Donizetti- La Fille Du Regiment, with Sutherland and Pavarotti


    My first couple listens to this opera when I first got it a couple years ago didn't leave much of an impression on me, but this time around it seems to have clicked. It's fun and charming.

  6. #7474
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    Verdi: Luisa Miller
    Moffo, Bergonzi,Verrett, MacNeil,Tozzi,Flagello
    Conducted by Fausto Cleva

    I just love Carlo Bergonzi

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  8. #7475
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
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    Quote Originally Posted by Sonata View Post


    Donizetti: Lucia Di Lammermoor
    With Carlo Bergonzi & Beverly Sills, conducted by Thomas Schippers

    Here's the thing with Donizetti: I don't listen to him often but I think I'm going to really grow to love him as a composer. I consistently enjoy most of what I hear by him, and it's a bonus that his style is similar to early Verdi. I was blown away both times I heard fragments of Lucia, and I'm glad to finally be listening to this album completely. It may become a favorite for me!
    Not only is it a wonderful performance, it includes a rare deployment of Donizetti's initial call for the glass harmonica at the beginning of Lucia's mad scene (now typically uses flute for the duration).

  9. #7476
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    Quote Originally Posted by Hoffmann View Post
    Not only is it a wonderful performance, it includes a rare deployment of Donizetti's initial call for the glass harmonica at the beginning of Lucia's mad scene (now typically uses flute for the duration).
    YES! I'm so glad they used the glass harmonica. What a cool sound that adds to the performance!
    I'll be back to more Beverly Sills performing Donizetti in a couple of days with Maria Stuarda. Today though: Verdi (of course)


    Verdi: Aida, Pappano conducting
    With Jonas Kaufmann & Anja Harteros

    I have four Aida recordings and would not want to part with a single one. In particular here, I find Harteros articulation during Ritorna Vincitor to be quite good, which is helpful in such a dramatic aria

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  11. #7477
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
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    I once talked to the instrumentalist who was playing the glass harmonica in one of the Written on Skin live performances I attended, and I asked him why so many productions of Lucia use the flute instead. He said, no kidding, that there are only about 12 classically trained glass harmonica players in the entire world, no exaggeration. He said some people can play it in street fairs for pop song demonstrations and all, but playing it with an orchestra in an opera is a totally different matter and requires lots of training, which is very hard to get because there aren't many teachers who can teach it either, so conductors use flutes because they can't get someone to play the glass harmonica for them. Such a pity, because it is one of the most beautiful instruments, with its ethereal sound.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  12. #7478
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    I once talked to the instrumentalist who was playing the glass harmonica in one of the Written on Skin live performances I attended, and I asked him why so many productions of Lucia use the flute instead. He said, no kidding, that there are only about 12 classically trained glass harmonica players in the entire world, no exaggeration. He said some people can play it in street fairs for pop song demonstrations and all, but playing it with an orchestra in an opera is a totally different matter and requires lots of training, which is very hard to get because there aren't many teachers who can teach it either, so conductors use flutes because they can't get someone to play the glass harmonica for them. Such a pity, because it is one of the most beautiful instruments, with its ethereal sound.
    That's really interesting, never knew that!
    "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

  13. #7479
    Senior Member Top Contributor Member Clayton's Avatar
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    It didn't come up as an option in music class at my school

  14. #7480
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Dipped my toe into my new big Italian box, this is "Verismo occasionally channels Wagner".

    Marinuzzi: Jacquerie
    Miro Solman, Antonio Salvadori, Llaria Galgani, Martine Surais
    Coro del Teatro Massimo 'Bellini' Catania, Orchestra del E.A.R. Teatro Bellini, Andrea Licata

    Natalie

  15. #7481
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    Verdi- Don Carlo, conducted by Guilini

    My favorite opera yesterday (Aida) and my second favorite today...

  16. #7482
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Cimarosa: Il Matrimonio Segreto
    Enzo Dara, Valeria Baiano, Daniela Mazzucato-Meneghini, Bruno De Simone; Conductor: Angelo Cavallaro; Marchigiana Philharmonic Orchestra

    Natalie

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  18. #7483
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
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    Very cold and icy here this morning so it was a case of Yaktrax on and some good marching music to get the circulation going.

    "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

  19. #7484
    Senior Member Involved Member Itullian's Avatar
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    Very good Meister.
    Impeccable sound.
    Good Sachs.
    And I absolutely LOVE that Act 1 is COMPLETE on the first disc.
    YAYYY!!

  20. #7485
    Opera Lively Moderator Top Contributor Member Soave_Fanciulla's Avatar
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    Michael Spyres was simply born to sing Énée. And everyone else is fantastic too.

    Berlioz: Les Troyens
    Joyce DiDonato (Didon), Michael Spyres (Énée), Marie-Nicole Lemieux (Cassandre), Orchestre et Choeur philharmonique de Strasbourg, Badischer Staatsopernchor, Choeur de l’Opéra du Rhin, John Nelson

    Natalie

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