Page 504 of 570 FirstFirst 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 LastLast
Results 7,546 to 7,560 of 8546

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

          
   
    Bookmark and Share
  1. #7546
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    Great recording I just got in yesterday's mail. My first Eugene on CD:
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  2. #7547
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
    Join Date
    Dec 2011
    Location
    Midwestern U.S.
    Posts
    3,222
    Post Thanks / Like


    Conductor/orchestra: Lamberto Gardelli; ORF (Austrian Broadcasting) Symphony Orchestra and Chorus
    Cast: Katia Ricciarelli, José Carreras, Matteo Manuguerra, Nicola Ghiuselev, Hannes Lichtenberger, Dimitri Kavrakos, Jonathan Summers, Franz Handlos, Ann Murray

    Verdi’s music and a terrific cast go a long way to compensate for Salvatore Cammarana’s not especially inspiring libretto. (This is the same individual responsible for the libretto to Il Trovatore.) Like a number of 19th century librettists, Cammarana wasn’t about to let historical fact get in the way of a good story, and has the hero Arrigo slay the Holy Roman Emperor Friedrich Barbarossa at the Battle of Legnano. The text is closely tied to the mid-century struggle for Italian independence, and the characters spend most of their time in a lot of patriotic posturing. There is a stereotypical love triangle between Arrigo, his best pal Rolando, and Rolando’s wife Lida, who was romantically involved with Arrigo earlier but, believing him to have been killed in battle, married Rolando at the behest of her dying father. Rossini’s Guillaume Tell also deals with a populace battling an oppressive foreign power, and yet the figures seem to have more depth to them than do the characters in La Battaglia di Legnano. I find myself caring much more about the former. Still, Verdi’s music is fabulous, and it’s a pleasure to listen to Carreras, Ricciarelli, and Manuguerra.

  3. #7548
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,584
    Post Thanks / Like
    House-bound again for a few days during another Arctic blast. I hadn't listened to this in ages and, being a fan of Edita Gruberova, wanted to hear her and Alfredo Kraus' version of Lucia (1983).

    Competent, but not really compelling - hard to beat Callas and Sills on this one, I think.

    Name:  Lucia.jpg
Views: 172
Size:  21.2 KB

  4. Likes Sonata, Ann Lander (sospiro) liked this post
  5. #7549
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    currently listening to this. Very good!
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  6. Likes Ann Lander (sospiro), MAuer, Amfortas liked this post
  7. #7550
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    Earlier this morning I listened to this, which is about 20% shorter than my other sets for this opera.



    I see that the tracks in the latter half of Act III don't seem to match up and an eight-minute ballet is missing. Sound quality is not the greatest either. But a nice set to have, especially at the price I paid ($3.19).

    Then I read the liner notes and find out that this is a revised version. From the booklet,

    For a performance in Parma in 1769, Gluck took his search for a rigid structure to even greater lengths. He combined the original three acts into one, thus further intensifying the drama of the piece. This was the basis for a performance by the Dutch Opera Foundation in 1975 [presumably this recording is of it], which took dramatic succinctness to even greater extremes. This version ended with Eurydice's "second death", in which the "lieto fino" was replaced by a recapitulation of the funeral music sung by the chorus to mourn Orpheus's deceased wife at the beginning of the opera.
    This is evident in the last three track titles (which are given in original language and English in the booklet):

    Orfeo: "Alas! What have I come to?"

    Orfeo: "What shall I do without Eurydice?"

    Chorus: "Ah, if around this tomb"
    Google translates this last track as: "ah! You enter this ugly urn"
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  8. Likes Clayton liked this post
  9. #7551
    Opera Lively Media Consultant Top Contributor Member Ann Lander (sospiro)'s Avatar
    Join Date
    Dec 2011
    Location
    UK
    Posts
    4,261
    Post Thanks / Like
    Quote Originally Posted by Florestan View Post
    Earlier this morning I listened to this, which is about 20% shorter than my other sets for this opera.



    I see that the tracks in the latter half of Act III don't seem to match up and an eight-minute ballet is missing. Sound quality is not the greatest either. But a nice set to have, especially at the price I paid ($3.19).

    Then I read the liner notes and find out that this is a revised version. From the booklet,



    This is evident in the last three track titles:

    Orfeo: "Alas! What have I come to?"

    Orfeo: "What shall I do without Eurydice?"

    Chorus: "Ah, if around this tomb"
    Google translates this last track as: "ah! You enter this ugly urn"
    Chorus: "Ah, if around this tomb"
    Google translates this last track as: "ah! You enter this ugly urn"

    "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

  10. Likes Florestan liked this post
  11. #7552
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  12. Likes Amfortas liked this post
  13. #7553
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    Walkure from this set:
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  14. #7554
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    I finally figured out what is wrong with all these sung-in-English operas. The music and singing can be wonderful, and so it is here, but the bare fact is that English is just not a beautiful sounding language. It is as simple as that. Oh, the translation can further damage it but mainly I think it is the language. German, Italian, Russian, French all sound beautiful, but what is it about English?

    EDIT: On second listen I am appreciating that I can make out most of the words and am actually following better than with the DVD since the DVD does usually have the entire libretto reproduced in the subtitles.

    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  15. Likes Ann Lander (sospiro) liked this post
  16. #7555
    Opera Lively News Coordinator Top Contributor Member MAuer's Avatar
    Join Date
    Dec 2011
    Location
    Midwestern U.S.
    Posts
    3,222
    Post Thanks / Like
    Could part of the problem be that native English speakers simply aren't accustomed to hearing operas sung in this language? There just aren't that many works in the mainstream repertoire that have original librettos in English. (Modern operas are a different story.) One of the few -- and it's not really mainstream -- is Weber's Oberon. To my ears, it sounds okay -- better, in fact, than the German translation that's often used. ('Course, it doesn't hurt that the recording I own has der Jonas in the role of Sir Huon.)


  17. Likes Hoffmann liked this post
  18. #7556
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    [QUOTE=MAuer;63342]Could part of the problem be that native English speakers simply aren't accustomed to hearing operas sung in this language? There just aren't that many works in the mainstream repertoire that have original librettos in English. (Modern operas are a different story.) One of the few -- and it's not really mainstream -- is Weber's Oberon. To my ears, it sounds okay -- better, in fact, than the German translation that's often used. ('Course, it doesn't hurt that the recording I own has der Jonas in the role of Sir Huon.)

    That example is not working for me in that I am not familiar with Oberon. However, it may be that the English sounds unmusical because of the translation. I need to listen to one of my operas that was originally written in English to see if they sound better. I have Britten's Gloriana and Balfe's Bohemian Girl.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  19. #7557
    Opera Lively Site Owner / Administrator / Chief Editor Top Contributor Member Luiz Gazzola (Almaviva)'s Avatar
    Join Date
    Dec 2011
    Location
    USA
    Posts
    10,000
    Post Thanks / Like
    [QUOTE=Florestan;63343]
    Quote Originally Posted by MAuer View Post
    Could part of the problem be that native English speakers simply aren't accustomed to hearing operas sung in this language? There just aren't that many works in the mainstream repertoire that have original librettos in English. (Modern operas are a different story.) One of the few -- and it's not really mainstream -- is Weber's Oberon. To my ears, it sounds okay -- better, in fact, than the German translation that's often used. ('Course, it doesn't hurt that the recording I own has der Jonas in the role of Sir Huon.)


    That example is not working for me in that I am not familiar with Oberon. However, it may be that the English sounds unmusical because of the translation. I need to listen to one of my operas that was originally written in English to see if they sound better. I have Britten's Gloriana and Balfe's Bohemian Girl.
    Not counting truly contemporary works, I think the top three operas in English are Peter Grimes, The Rake's Progress, and Porgy and Bess. Oh, we can add Dido and Aeneas to them. All four sound fine to me. I don't think the problems is with the English language. Think of all the beautiful songs in American and British musicals like Cats, Les Miserables, etc., including the classical ones like Showboat. The English language sounds just fine in these works.

    The problem is that when you translate, you bring in different phonemes, different stresses on syllables, and different word rhythm, and it all goes against what the composer initially aimed for. Remember, these are often operas that set to music an existing text so the composer takes into account the words, when he/she writes the music for them. You change the words, you change the whole structure.

    I like to turn it the other way around to give an example so that people get it more clearly. Think of an opera initially composed in English, like Porgy and Bess, and its iconic aria "Summertime."

    Think of the initial melody for the opening line, the first time the word appears:

    SUMMMeerrrTIIIIIIIIMe,,,

    Imagine if this thing is translated into French.

    Then it would be

    Étéééééééééééééééééééé

    Totally different, and the high-low-high-low melodic effect is completely ruined.

    That's why we should never sing opera in translation.

    I'm utterly and completely against the practice.

    Of course there are exceptions to the rule and some of these operas in translation sound good, when someone manages to work on the lines very sharply (the person needs to have a lot of talent to do that, not only poetic gift but also musical understanding) and the final result is decent, or sometimes composers themselves do a version of their operas in a different language and adapt the score a little. Fine. Or maybe some great singers manage to work around the hiccups and still sing the new libretto beautifully.

    But in my opinion, the majority of time, opera in translation is a bad, bad idea. We really shouldn't mess with these masterpieces.
    "J'ai dit qu'il ne suffisait pas d'entendre la musique, mais qu'il fallait encore la voir" (Stravinsky)

  20. Likes Florestan, Hoffmann, MAuer liked this post
  21. #7558
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    Now I am trying two originally composed for English language. I like both of these. The stories are wonderful. There is much great singing. But overall they do not keep my interest musically like Italian, German, and Russian opera do. May have to give Dido and Aeneas a try.



    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

  22. #7559
    Opera Lively Staff Member Top Contributor Member Hoffmann's Avatar
    Join Date
    Dec 2012
    Location
    Arlington, VA
    Posts
    3,584
    Post Thanks / Like
    Think of an opera initially composed in English, like Porgy and Bess, and its iconic aria "Summertime."
    Ella Fitzgerald sang a wonderful "Summertime", but I have to admit that Janis Joplin is the one who ruined it for me being sung by anyone else!

    I'd have posted a clip, but fear I might have ended up bounced from OL!

  23. Likes Florestan, Amfortas liked this post
  24. #7560
    Senior Member Top Contributor Member Florestan's Avatar
    Join Date
    Feb 2015
    Location
    Detroit MI
    Posts
    3,493
    Post Thanks / Like
    Quote Originally Posted by Luiz Gazzola (Almaviva) View Post
    But in my opinion, the majority of time, opera in translation is a bad, bad idea. We really shouldn't mess with these masterpieces.
    I think you are right, yet I have this compulsion towards these sung-in-English sets and I cannot say for sure why. Also, Wagner did want his Ring sung in the native language of the listeners. We see from Goodall that the results are mixed, but that is only a single production.
    "Ah,non credea mirarti si presto estinto, o fiore." --Bellini, La Sonnambula (also written on his tomb).

Page 504 of 570 FirstFirst 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143 144 145 146 147 148 149 150 151 152 153 154 155 156 157 158 159 160 161 162 163 164 165 166 167 168 169 170 171 172 173 174 175 176 177 178 179 180 181 182 183 184 185 186 187 188 189 190 191 192 193 194 195 196 197 198 199 200 201 202 203 204 205 206 207 208 209 210 211 212 213 214 215 216 217 218 219 220 221 222 223 224 225 226 227 228 229 230 231 232 233 234 235 236 237 238 239 240 241 242 243 244 245 246 247 248 249 250 251 252 253 254 255 256 257 258 259 260 261 262 263 264 265 266 267 268 269 270 271 272 273 274 275 276 277 278 279 280 281 282 283 284 285 286 287 288 289 290 291 292 293 294 295 296 297 298 299 300 301 302 303 304 305 306 307 308 309 310 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 LastLast

Similar Threads

  1. What vocal music have you been listening to, lately?
    By Hoffmann in forum Other Classical Vocal Music
    Replies: 814
    Last Post: Yesterday, 06:03 PM
  2. Current Symphonic Listening
    By Samurai in forum Non-Operatic, Non-Vocal Classical Music
    Replies: 36
    Last Post: February 29th, 2012, 04:44 PM

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •  


free html visitor counters
hit counter




Official Media Partners of Opera Carolina

Opera Lively is the Official Media Partner of Opera Carolina

Official Media Partners of NC Opera

Opera Lively is the Official Media Partner of North Carolina Opera

Official Media Partners of Greensboro Opera

Opera Lively is the Official Media Partner of Greensboro Opera

Official Media Partners of The A.J. Fletcher Opera Institute and Piedmont Opera

Opera Lively is the Official Media Partner of The A.J. Fletcher Opera Institute
of the University of North Carolina School of the Arts and Piedmont Opera

Official Media Partners of Asheville Lyric Opera

Opera Lively is the Official Media Partner of Asheville Lyric Opera

Official Media Partners of UNC Opera

Opera Lively is the Official Media Partner of UNC Opera
Dept. of Music, UNC-Chapel Hill College of Arts and Sciences

www.operalively.com

VISIT WWW.OPERALIVELY.COM FOR ALL YOUR OPERA NEEDS