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Thread: Live from the Met: Turandot with Christine Goerke, Yusif Eyvazov, Eleonora Buratto

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    Senior Member Barelytenor's Avatar
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    Quote Originally Posted by nina foresti View Post
    Very gratifying to come home from a glorious weekend away in leaf-changing territory (Vermont) to hear all the positive praise for Turandot and its wonderful principals.
    I shall have the privilege of seeing the Encore of this production on Wednesday evening when we take our Shake Shack dinners* to a 6:30 pm almost-empty theater showing in HD with other friends.

    *nothing noisy, just hamburgers and milkshakes!
    You are so lucky! Our local theater is very prissy about bringing in "outside food and drink." I even have to smuggle in my water bottle and grapes/nuts! I thought PP&P were great despite one reviewer dissing them. You know what they say about critics!

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    Quote Originally Posted by Barelytenor View Post
    You are so lucky! Our local theater is very prissy about bringing in "outside food and drink." I even have to smuggle in my water bottle and grapes/nuts! I thought PP&P were great despite one reviewer dissing them. You know what they say about critics!
    I should mention that I would not bring in such a display of food from a fast food place nearby during the Saturday afternoon packed HD's. But this theater has less than 20 people in it during the Encore performances, so we all can get away with much less restrictions.

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    Senior Member DavidA's Avatar
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    Quote Originally Posted by Barelytenor View Post
    You are so lucky! Our local theater is very prissy about bringing in "outside food and drink." I even have to smuggle in my water bottle and grapes/nuts! I thought PP&P were great despite one reviewer dissing them. You know what they say about critics!
    I take sandwiches and a flask of tea! PP&P were good. Let's face it, the miseries have to diss something!

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    Senior Member Barelytenor's Avatar
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    Wink Biirgit Nilsson and Jussi Björling: Conclusion of Turandot, Act II "In questa reggia"

    Just for comparison purposes

    I admire any tenor that has the stones to go up against Nilsson in this role, but I slightly favor Björling over Corelli in these measures. Even though Corelli has more brute force, I like Björling's tone quality. And even though he has high notes for days, he seems to be pushing in places to keep up.

    Your mileage may differ. And that's OK.
    Enjoy!

    Kind regards,

    George


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  6. #35
    Senior Member Barbebleu's Avatar
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    Quote Originally Posted by Seattleoperafan View Post
    Goerke is better in Wagner where the top notes are not so important. She often goes flat in the stratosphere. It is interesting that in the clip of her on Youtube in In Questa Regia, it cuts out before the high notes. Maybe for good reason. She was often flat 15 years ago in Norma in Seattle before the voice got so gargantuan.
    The top notes are not so important in Wagner? What heresy is this of which you speak? Seattle, you do surprise me!
    Friends come and go. Enemies accumulate!

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  8. #36
    Senior Member Woodduck's Avatar
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    Quote Originally Posted by Barbebleu View Post
    The top notes are not so important in Wagner? What heresy is this of which you speak? Seattle, you do surprise me!
    Brunnhilde's part in Walkure lies a bit lower than the other Ring operas, but Siegfried and Gotterdammerung certainly require a powerful top, as does Isolde. It's certainly true, though, that other composers keep the soprano higher longer. With Wagner it's usually just isolated notes above A, much as with his tenor roles.

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    Senior Member Seattleoperafan's Avatar
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    Quote Originally Posted by Barbebleu View Post
    The top notes are not so important in Wagner? What heresy is this of which you speak? Seattle, you do surprise me!
    I should have been more specific. Yes you need a strong top for Wagner, but in most of the Wagner operas B's and C's are rare. Helen Traubel, Kirsten Flagstad and Eileen Farrell all, after the bloom of youth, transposed all the high notes. Jessye Norman in a concert version of The Immolation Scene transposed ALL the notes above G to a harmonic lower. I would say anyone today who was a serious Wagner fan would pay great money if they could go back in time to the 30's to 60's to hear any of these greats singing even with altered high notes. Of course in the hands of a freak like Nilsson or Jones, the high C's of Siegfried can be electrifying as well as the climax of the Dawn Duet of Siegfried and Siegmund. Still, a lot of Wagner can be sung successfully with the range of a mezzo soprano, but with stamina in the F 5 to A5 territory. I don't believe the taxing Immolation Scene ever goes above an A or A#. Correct me if I am mistaken.
    Last edited by Seattleoperafan; Oct-25-2019 at 11:20.

  10. #38
    Senior Member Woodduck's Avatar
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    Quote Originally Posted by Seattleoperafan View Post
    I don't believe the taxing Immolation Scene ever goes above an A or A#. Correct me if I am mistaken.
    A single B-natural at "die lachende Lohe," otherwise nothing above Bb.
    Last edited by Woodduck; Oct-25-2019 at 16:21.

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  12. #39
    Senior Member DavidA's Avatar
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    Quote Originally Posted by Barelytenor View Post
    Just for comparison purposes

    I admire any tenor that has the stones to go up against Nilsson in this role, but I slightly favor Björling over Corelli in these measures. Even though Corelli has more brute force, I like Björling's tone quality. And even though he has high notes for days, he seems to be pushing in places to keep up.

    Your mileage may differ. And that's OK.
    Enjoy!

    Kind regards,

    George

    Yes great! Thanks for this.

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