This one was put me off. Before I knew what the opera was about I would see TC members post listening to this and I had this image of a shotgun wedding, so did not pursue this opera for a long time. Now it is among my favorite operas. Yet, I purchased half a dozen other recordings, including a different Janowitz recording, of it before this one, which frankly, I would not have purchased but that it was at my local music store on sale used.
Now I think it is one of my favorite Der Freischutz sets, this and the one with Behrens. But I still have reservations about the cover image. It is a cool image, but it seems to me they were not using shotguns in the opera but rifles. So, it is a total misrepresentation.
Ok, here is another one. This cover image is not even of Maria Stuarda, but of a someone not even associated with this opera. They must have had a trainee do the cover for this one.
Conductor Richard Bonynge - 1971(LI)
Orchestra - San Francisco Opera
Chorus - San Francisco Opera
Maria - Joan Sutherland
Elisabeta - Huguette Tourangeau
Leicester - Stuart Burrows
Talbot - Cornelius Opthof
Anna - Ariel Bybee
Cecil - Ara Berberian
There are two other Maria Stuardas with Sutherland and Toruangeau. This one is better sound:
Conductor Richard Bonynge - 1975(STU)
Orchestra - Teatro Comunale di Bologna
Chorus - Teatro Comunale di Bologna
Maria - Joan Sutherland
Elisabeta - Huguette Tourangeau
Leicester - Luciano Pavarotti
Talbot - Roger Soyer
Anna - Margreta Elkins
Cecil - James Morris
This one I have not heard, nor do I know if it can even be purchased on disk:
Conductor Richard Bonynge - 1977(LI)
Orchestra - Omroeporkest
Chorus - Nederlands Operakoor
Maria - Joan Sutherland
Elisabeta - Huguette Tourangeau
Leicester - Vittorio Terranova
Talbot - John Bröcheler
Anna - Tine van Grootel
Cecil - Glen Cunningham
Ok, here is another one. This cover image is not even of Maria Stuarda, but of a someone not even associated with this opera. They must have had a trainee do the cover for this one.
You are right that a shotgun doesn't make any sense, but neither does a rifle (fortunately we don't see any rifling). This is the 1640s in rural Bohemia in a rather traditional society. I find it difficult to believe that they'd be using true rifles (which really weren't common until the 1800s).
Now the double-barrel part, that I can see being a point of confusion. There were some double-barrel guns in the 1640s, but, again, they were not widespread. They were used for hunting - which would make sense for the villagers in the story - but I also suspect they would not be favored by marksmen (two barrels makes it a heavier gun, and each would aim slightly differently).
But I guess the double-barrel gun never really bothered me since this opera is not a naturalistic story about the minutiae of weaponry? This is a Faustian fantasy story and there are almost no details about guns.
I first heard this recording on the radio and fell in love with it straight away (it was my introduction to Janowitz and a huge part of the reason why I am a fan of hers).
It was one of the first opera sets I bought on CD and I didn't really think about the cover as the writing and the names of the wonderful cast always drew my eyes away from the image. Now you've forced me to reassess the image in the cold light of day I have to say I don't like it and agree with you. I find it really difficult to pick a front cover image I don't like, I will say that possibly my favourite packing is the EMI Callas edition with the black and blue sets. Whilst not perfect there is a timeless elegance about them.
This whole series by Sony is just plain ugly. Feverish color palette, dirty-looking font and background... And what are these - bloodstains?!? Terrible and highly unprofessional.
I was trying to think why I disliked some cd covers more than others. For me, it is less to do with the images used - although these can be a bit generic and stagey if there was no corresponding production and they are faked up in a studio e.g.
However, a problem I have with these examples and others are when image and text combine to make a singer or conductor seem much more important than the rest of the cast and even the composer. For instance, this example where absolutely everyone gets less attention than the tenor
Or this less obvious example where Pavarotti's name has crept up the billing not only above the rest of the cast but also the composer
These examples which I think look very nice might be useful for comparison...
These reissues enjoy a simple layout, the composer receives lots of attention, the cast members are treated more equally in terms of font size and spacing, they do not involve a lot of posing and staring into the middle distance
The ugliest cover in my collection is this 1972 stereophonized LP version of the (wonderful) Böhm 1955 Philips Figaro. I have never seen a more tasteless combination of fonts and the backside of the violet cover is orange.
The ugliest cover in my collection is this 1972 stereophonized LP version of the (wonderful) Böhm 1955 Philips Figaro. I have never seen a more tasteless combination of fonts and the backside of the violet cover is orange.
Never liked this cover as I think it goes beyond what Bellini had in mind. Seems I recall from the libretto (been a couple years since I read it) that Rodolfo never touched her. And while she was in a nightgown, I don't think he was stripped down to his skivvies. But I guess we would have to ask Bellini.
TBH I always found the story of the sleepwalking girl who walks directly to the Count's sofa extremely ridiculous and I think the cover captures the subtext of the story well .
Talking about ugly Figaro boxsets, this one is even more tasteless, especially for a 1990s release. But Julia Varady's Contessa is not to be missed!
Capriccio have reissued a series of operas at budget price where the covers have been 'babed' up - I for one prefer the plainer originals. Here are two examples:
I think I would have preferred a picture of the wardrobe!:lol:
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