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Rucinski is totally superb but so, my dear, is Nadine Sierra. Lord she has a beautiful voice and knows how to use it. I have always liked Camerena's voice. It is such a wonderful gift to listen to these beautiful voices sans il sangue.
Camarena is fine - he and Rucinski impress me most - but I can do without Sierra. I don't find her timbre especially beautiful or distinctive, and she sings with little nuance. I get no sense of a character from her, no suggestion of a girl who would lose her mind and commit murder. In fact everybody in this production is rather relentlessly loud. Is it because they're in the American rust belt that they all think they have to belt?
 

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Discussion Starter · #102 · (Edited)
I thoroughly enjoyed it. Donizetti's masterpiece in full.
A more dramatic voice for Edgardo would be nice.
I loved Frita's conducting of it.
Never rushed and brought out many nuances of the brilliant score.
Thanks Met!
 
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I'm a bit easier. I loved every doggone minute of it and I thought Sierra was superb in an extremely difficult and exhausting role. I refuse to try to compare her to some of the past superb Lucias. She is what we have now and I think the choice was an excellent one. I cannot mourn for what we don't have. I need to celebrate for what we have.
My glass is half full.
 

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Discussion Starter · #104 ·
I'm a bit easier. I loved every doggone minute of it and I thought Sierra was superb in an extremely difficult and exhausting role. I refuse to try to compare her to some of the past superb Lucias. She is what we have now and I think the choice was an excellent one. I cannot mourn for what we don't have. I need to celebrate for what we have.
My glass is half full.
I loved it too. :)
 

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I'm a bit easier. I loved every doggone minute of it and I thought Sierra was superb in an extremely difficult and exhausting role. I refuse to try to compare her to some of the past superb Lucias. She is what we have now and I think the choice was an excellent one. I cannot mourn for what we don't have. I need to celebrate for what we have.
My glass is half full.
I enjoyed it too, despite my reservations, largely because the score wasn't the Reader's Digest Condensed Opera version I grew up with. My estimation of Donizetti as a musical dramatist has risen over the years, and I appreciate the respect for his musical vision. Fortunately I was only listening and not seeing the disrespectful part of the production (though once you've seen photos you can't unsee them).
 

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Discussion Starter · #107 ·
I enjoyed it too, despite my reservations, largely because the score wasn't the Reader's Digest Condensed Opera version I grew up with. My estimation of Donizetti as a musical dramatist has risen over the years, and I appreciate the respect for his musical vision. Fortunately I was only listening and not seeing the disrespectful part of the production (though once you've seen photos you can't unsee them).
Hearing the WHOLE score makes such a difference.
I too am glad i didnt see it. :(
 

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Discussion Starter · #108 ·
Anyone interested to hear Akhenaten? :rolleyes:
 

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Discussion Starter · #112 ·
Next up...........

May 28, 2022
Glass’s Akhnaten

Karen Kamensek; Anthony Roth Costanzo (Akhnaten), Rihab Chaieb (Nefertiti), Zachary James (Amenhotep III), Disella Lárusdóttir (Queen Tye), Aaron Blake (High Priest of Amon), Richard Bernstein (Aye), Will Liverman (Horemhab)
 

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Discussion Starter · #113 ·
^^^^^Reminder
 

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Discussion Starter · #114 ·
15 minutes to curtain
 

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Discussion Starter · #115 ·
omg, the utter monotony of this thing was making me actually physically ill.
The silences were a relief! Off it goes.
 

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Discussion Starter · #117 ·
I know that there are many people who love Philip Glass, but I can't imagine sitting through three hours of Akhenaten.
I couldn't!
 
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