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Thread: What opera are you currently listening to / watching? CD/DVD

  1. #14746
    Senior Member Itullian's Avatar
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    Going thru my Lucia's. An opera I truly love.
    This after the Damrau
    Opinion later.
    Last edited by Itullian; Jun-10-2021 at 20:45.
    When all else fails, listen to Thick as a Brick.

    "Life's a long song, but the tune ends too soon for us all." Ian Anderson lyric

    "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." Hamlet

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    Quote Originally Posted by SixFootScowl View Post
    ^ That one and the Fleming/Hvorostovsky set are my two favorites.
    As good as Kwiecen is, I wonder if I might prefer Hvorostovsky, I do love that voice and I think there's more of it, but I'm certain I prefer Netrebko. Her acting in the final scene when she works her way through rejecting him (and doing it hard) is one of the most convincing moments I've ever seen in opera. Of such is a diva made

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  5. #14748
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    Quote Originally Posted by Itullian View Post


    Going thru my Lucia's. An opera I truly love.
    This after the Damrau
    Opinion later.
    The only Damrau I know is the Puritani with Camarena DVD and she does not impress there.

    This Sills on the other hand, uses a glass harmonica, doesn't it?

  6. #14749
    Senior Member Itullian's Avatar
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    Quote Originally Posted by mparta View Post
    The only Damrau I know is the Puritani with Camarena DVD and she does not impress there.

    This Sills on the other hand, uses a glass harmonica, doesn't it?
    Yes, and it's note complete. It's a great recording with good timpani and bass to the sound. Bergonzi is great as usual. So is Bubbles.
    i got the Damrau because it was super cheap on ebay. It pales next to this one.
    Last edited by Itullian; Jun-10-2021 at 21:55.
    When all else fails, listen to Thick as a Brick.

    "Life's a long song, but the tune ends too soon for us all." Ian Anderson lyric

    "There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy." Hamlet

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  8. #14750
    Senior Member SixFootScowl's Avatar
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    Quote Originally Posted by mparta View Post
    As good as Kwiecen is, I wonder if I might prefer Hvorostovsky, I do love that voice and I think there's more of it, but I'm certain I prefer Netrebko. Her acting in the final scene when she works her way through rejecting him (and doing it hard) is one of the most convincing moments I've ever seen in opera. Of such is a diva made
    The Hvorostovsky set has weird and sparse staging but is very wonderful, and the final scene is totally awesome.

    Last edited by SixFootScowl; Jun-11-2021 at 00:14.
    “Then he will also say to those on the left, ‘Depart from me, you who are cursed, into the eternal fire prepared for the devil and his angels!'" Matthew 25:41 (Christian Standard Bible)

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    Senior Member Tsaraslondon's Avatar
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    It was a 1949 Cetra recording of Elvira's Mad Scene, which first introduced the wider world to the voice of Maria Callas and there is no doubt she breathes life into the character of Elvira in a way few have done before or since. This 1953 recording finds her in top form, the voice wonderfully limpid and responsive right up to the stunning top Eb she sings at the end of the Mad Scene.

    This time round I felt better disposed to her colleagues than I sometimes do, even if none of them is exactly ideal. There is a fuller review on my blog http://tsaraslondon.com/2017/01/09/i-puritani/
    "It's not enough to have a beautiful voice." Maria Callas

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  12. #14752
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    Quote Originally Posted by Tsaraslondon View Post


    It was a 1949 Cetra recording of Elvira's Mad Scene, which first introduced the wider world to the voice of Maria Callas and there is no doubt she breathes life into the character of Elvira in a way few have done before or since. This 1953 recording finds her in top form, the voice wonderfully limpid and responsive right up to the stunning top Eb she sings at the end of the Mad Scene.

    This time round I felt better disposed to her colleagues than I sometimes do, even if none of them is exactly ideal. There is a fuller review on my blog http://tsaraslondon.com/2017/01/09/i-puritani/
    Probaby mentioned this before, but there's a remastering (Pristine I think) that puts the whole thing in an entirely different focus. I think this work stands or falls on the baritone and bass, they have such a constant presence with music that is the equal of or surpasses that for the soprano and tenor. I think that sounds not entirely serious, but there are moments for the bass that caught my ear the first time I heard this and they still stand for me. So the remastering makes the men sound WONDERFUL, really, who knew? Rossi-Lemeni not wooly and woofy, but plangent. Both he and Panerai have quick vibratos, but it's a liquid and to me very Bel Canto style, not to be roared in the barn that is the Met but sung as they do in this recording.

    That Ludovic Tezier on the Damrau/Camarena DVD is the perfect example of what I DON'T want to hear, just monotonously loud and without color.

    I think Callas is wonderful, but I also think Sills is wonderful (live from Philadelphia with Pavarotti) and particularly apt for this part. Di Stefano will do, but for some reason (and not fixed by the remastering) he doesn't stand out, although he doesn't diminish my enjoyment of this performance. It may be the way the role sits, because the last scene of Lucia from the La Scala performances (later) in '54 and '55 find him in breathtaking voice. The last scene in that Lucia may be the most beautiful sustained tenor singing I know.

    Plus, for this recording, there is something about Serafin and style.

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  14. #14753
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    Handel Agrippina

    McVicar's production live from the Met - really superb.

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    Senior Member SixFootScowl's Avatar
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    Really liking this set.
    “Then he will also say to those on the left, ‘Depart from me, you who are cursed, into the eternal fire prepared for the devil and his angels!'" Matthew 25:41 (Christian Standard Bible)

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    Senior Member Rogerx's Avatar
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    Dvořák: Rusalka, Op. 114
    “Never argue with an idiot. They will drag you down to their level and beat you with experience.” ― Mark Twain

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    Senior Member Tsaraslondon's Avatar
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    March 5 1955 was the date that ushered in Callas's annus mirabilis when she made her debut as Amina in Visconti's production of La Sonnambula with Leonard Bernstein in the pit. If there were still any doubt in the matter, this was the night Callas was deinitively and definitely crowned Regina della Scala. Between them Callas, Visconti and Bernstein revealed Bellini's opera to have a great deal more dramatic impact than people had suspected. Alongside her, Cesare Valletti made the perfect Elvino and it is a great pity he didn't sing the role in the studio recording or any of the revival performances in 1957. Bernstein also gives us a lot more of the score than Votto.

    The Warner transfer of this recording is much better than EMI's earlier effort, though it still overloads and distorts at climaxes. Still, we are fortunate indeed that it was committed to disc as this was obviously a thrilling performance and the audience's excitement is palpable. Undoubtedly one of Callas's greatest nights in the theatre.

    https://tsaraslondon.com/2017/12/01/...la-scala-1955/
    Last edited by Tsaraslondon; Jun-12-2021 at 11:32.
    "It's not enough to have a beautiful voice." Maria Callas

  18. #14757
    Senior Member Celloman's Avatar
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    I must confess that this is my first time listening to this particular recording. The Schwarzkopf/Ludwig pairing with which I'm most familiar is the Der Rosenkavalier under Karajan, so my ears are looking forward to another red velvet cocktail.

    330789912027.jpg
    Last edited by Celloman; Jun-12-2021 at 16:08.
    More cowbell!
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  20. #14758
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    Quote Originally Posted by Celloman View Post
    I must confess that this is my first time listening to this particular recording. The Schwarzkopf/Ludwig pairing with which I'm most familiar is the Der Rosenkavalier under Karajan, so my ears are looking forward to another red velvet cocktail.

    330789912027.jpg
    The roughly contemporaneous von Karajan was my favorite for years, and somehow I was turned by Jacobs, who has a way with the Daponte operas.
    But the von Karajan has the single performance of anything in Cosi that I cherish the most, which is Simoneau. Liquid gold.
    And I have a bit of a thing for Davis and Caballe.
    The older recordings actually sound a bit-- old-- now. I do think Jacobs in particular has added a new light to Mozart performance for me.

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    Quote Originally Posted by Rogerx View Post





    Dvořák: Rusalka, Op. 114
    On my list, another I don't know, and I just recently learned that this is another Pushkin story, I think?

    Reading the texts of Eugene Onegin, Boris Godunov and Queen of Spades. Good grief, Pushkin is the fountain for these composers!!

  22. #14760
    Senior Member Tsaraslondon's Avatar
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    Quote Originally Posted by Celloman View Post
    I must confess that this is my first time listening to this particular recording. The Schwarzkopf/Ludwig pairing with which I'm most familiar is the Der Rosenkavalier under Karajan, so my ears are looking forward to another red velvet cocktail.

    330789912027.jpg
    I love this recording. It was my first Cosi and it remains my favourite. I haven't heard another performance that makes the wonderful Ferrando/Fiordiligi duet Fra gli'amplessi quite so erotic.

    I also enjoy the Davis with Caballé and Baker and a live Davis one from Covent Garden with Te Kanawa, Baltsa, Burrows and Allen, mostly, no doubt, because I saw it in the theatre and it was a very memorable occasion.
    "It's not enough to have a beautiful voice." Maria Callas

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