What opera have you been listening to, lately?

[Schigolch]

[Jephtha]

[Itullian]

i really like this opera. i have the Te Kanawa recording on Decca but have always been intrigued by this one.
how is the sound on the Sawallisch?
i know its mono, but the quality of mono can vary somewhat.
the cast is ideal.

[Jephtha]

i really like this opera. i have the Te Kanawa recording on Decca but have always been intrigued by this one.
how is the sound on the Sawallisch?
i know its mono, but the quality of mono can vary somewhat.
the cast is ideal.

Frankly, it's not the greatest mono I have ever heard, but the cast is top-notch and Schwarzkopf is out of this world. I have not heard the Decca but I saw te Kanawa as Madeleine in San Francisco some years ago and she was quite good. It's odd how this opera has garnered a reputation as being 'tuneless' and 'only for connoisseurs'. I will grant that it is somewhat talky, but if you follow the dialogue it is (as you already know! )a fascinating meditation on the importance of words vs. music. I have converted more friends to opera through this work than I care to count. BTW, the Karl Böhm set on DG is also great. Hermann Prey is a nice contrast to Fischer-Dieskau, and Janowitz, while not digging into word-meaning quite as much as ES, does surpass her in beauty of tone and just plain gorgeous singing. One nice point in favor of the Sawallisch: Hotter created the role of La Roche at the opera's premiere fifteen or so years before the EMI recording was made.

[Itullian]

Frankly, it's not the greatest mono I have ever heard, but the cast is top-notch and Schwarzkopf is out of this world. I have not heard the Decca but I saw te Kanawa as Madeleine in San Francisco some years ago and she was quite good. It's odd how this opera has garnered a reputation as being 'tuneless' and 'only for connoisseurs'. I will grant that it is somewhat talky, but if you follow the dialogue it is (as you already know! )a fascinating meditation on the importance of words vs. music. I have converted more friends to opera through this work than I care to count. BTW, the Karl Böhm set on DG is also great. Hermann Prey is a nice contrast to Fischer-Dieskau, and Janowitz, while not digging into word-meaning quite as much as ES, does surpass her in beauty of tone and just plain gorgeous singing. One nice point in favor of the Sawallisch: Hotter created the role of La Roche at the opera's premiere fifteen or so years before the EMI recording was made.

there's just something about the relaxing atmosphere i get while listening to this opera.
i just put it on, sit back and let it flow by.
btw, the TeKanawa recording is excellent. the sound is excellent digital. full and rich, and Kiri is wonderful.
i'll probably try the Bohm next as i am a big Janowitz fan.

[brianwalker]

slowpoke.jpg

I've finally hit my stride, as it were, in my Mozart listening. I'll listen to probably nothing but various recordings of the Da Ponte works for the next few months.

[Jephtha]

there's just something about the relaxing atmosphere i get while listening to this opera.
i just put it on, sit back and let it flow by.
btw, the TeKanawa recording is excellent. the sound is excellent digital. full and rich, and Kiri is wonderful.
i'll probably try the Bohm next as i am a big Janowitz fan.

Have you heard her Empress in the live Vienna Die Frau ohne Schatten? Just about the best singing I ever heard her do. I can't imagine why she didn't keep the Empress in her repertoire; she was much more suited to it than to Fidelio, for instance.

[Itullian]

Have you heard her Empress in the live Vienna Die Frau ohne Schatten? Just about the best singing I ever heard her do. I can't imagine why she didn't keep the Empress in her repertoire; she was much more suited to it than to Fidelio, for instance.

no, i havent heard that, thank you.
will have to check that out.

[Itullian]

slowpoke.jpg

I've finally hit my stride, as it were, in my Mozart listening. I'll listen to probably nothing but various recordings of the Da Ponte works for the next few months.

highly recommended. you wont hear singing like this any more.

http://www.amazon.com/Mozart-Operas-...zart+klemperer

[Soave_Fanciulla]

Frankly, it's not the greatest mono I have ever heard, but the cast is top-notch and Schwarzkopf is out of this world. I have not heard the Decca but I saw te Kanawa as Madeleine in San Francisco some years ago and she was quite good. It's odd how this opera has garnered a reputation as being 'tuneless' and 'only for connoisseurs'. I will grant that it is somewhat talky, but if you follow the dialogue it is (as you already know! )a fascinating meditation on the importance of words vs. music. I have converted more friends to opera through this work than I care to count. BTW, the Karl Böhm set on DG is also great. Hermann Prey is a nice contrast to Fischer-Dieskau, and Janowitz, while not digging into word-meaning quite as much as ES, does surpass her in beauty of tone and just plain gorgeous singing. One nice point in favor of the Sawallisch: Hotter created the role of La Roche at the opera's premiere fifteen or so years before the EMI recording was made.

Ok. I've always had trouble with this opera. I'll give it another go.

[Jephtha]

Ok. I've always had trouble with this opera. I'll give it another go.

Maybe start with the final scene, Nat, from Madeleine's cry of 'Morgen Mittag um elf!' That is probably the most accessible part of the score. It moved me to tears just the other day. Of course, I am moved to tears reading the back of the cereal carton at breakfast. I'm just a big old cry-baby!

[Soave_Fanciulla]

Maybe start with the final scene, Nat, from Madeleine's cry of 'Morgen Mittag um elf!' That is probably the most accessible part of the score. It moved me to tears just the other day.

Yes, I have listened with pleasure to that particular scene. It's the rest that seems a little over-long. But then I'm not all that keen on Strauss at the best of times. Anyway I will give it a go, maybe rewatch the DVD with Te Kanawa because it has a lovely young Simon Keenlyside to help me along.

Of course, I am moved to tears reading the back of the cereal carton at breakfast. I'm just a big old cry-baby!

S'awright. I've just emerged from a lovely self-indulgent weep at Va Pensiero from the latest La Scala Nabucco.

[Jephtha]

Yes, I have listened with pleasure to that particular scene. It's the rest that seems a little over-long. But then I'm not all that keen on Strauss at the best of times. Anyway I will give it a go, maybe rewatch the DVD with Te Kanawa because it has a lovely young Simon Keenlyside to help me along.



S'awright. I've just emerged from a lovely self-indulgent weep at Va Pensiero from the latest La Scala Nabucco.

Oh drat. I forgot to include 'Va, pensiero' on my list of things that get my waterworks going. Another one is that great hymn-tune that Holst dropped smack into the middle of the 'Jupiter' movement of The Planets. Even the neighbors look at me strangely when I play that one, I cry so loudly!

[Soave_Fanciulla]

I've just finished watching that Nabucco. Not only did I weep during Va pensiero, but also during Abigaille's dying aria - a new source of tears for me. I think Liudmila Monastirska was excellent in this, although she needs to find other ways to act "angry and determined" than just clenching her fists.

So glad I bowed to peer pressure and got this. Gorgeous. Loved the orchestration. And Robert Murray.



Some fantastic arias in this:

[Schigolch]