I thought that DavidA had ceased posting - at least in the guise of DavidA! Who knows though, he may well be lurking under a new name.
He has ceased to post in all incarnations, as far as I can tell. Member "Handelian" was banned permanently, and apparently the other members of the trinity (or quadrinity, or whatever) have decided to keep him company.I thought that DavidA had ceased posting - at least in the guise of DavidA! Who knows though, he may well be lurking under a new name.
Try Spontini's La Vestale (a sort of junior Norma).Not a big Wagner fan so far, but I feel this sentiment. Where to move on from Bellini ? Superficially, he is in the same box with Verdi, Donizetti and Rossini, so it should be easy. But it doesn't work quite as well as I have imagined.
I like Norma best, but it is sort of on the top of other things that were great already. Before I got to Norma, I found myself actually crying at I Capuleti e i Montecchi. Il Pirata and La Sonnambula are also great. Beatrice di Tenda or La Straniera in certain mood. (I still owe I Puritani more attention, but Elvira is so annoying !).Try Spontini's La Vestale (a sort of junior Norma).
Are you familiar with Mozart's main operas?
Which is your favourite of Bellini's operas and why?
That's very true. Wagner's work is like river that just keeps flowing along. He wants to say everything. You have to sit and listen to a complete opera and know the libretto pretty well or have it on hand. Just as I can't imagine not listening to Bach or Beethoven, I can't imagine not listening to Wagner.This is a problem. After one listens to Wagner for a long time, all the other composers' operas seem to be way too short.
That's actually sort of my experience. The first Wagner I ever heard as a wee child was the Meistersinger prelude. It was used as the theme for some program on the local classical station, and I loved it. Later on I tried my hand at piano reductions of selections from Tristan and Parsifal and then when I was older I listened to those in full, and then the Ring. I was hooked.I guess 3 people spoke, how they fell in love with Wagner simply by listening to the prelude of Meistersinger.
If you'll listen to Die Meistersinger you'll find that it's really not continually in an "exalted" style. There are conversational recitative-like passages. In the Ring a lot of dialogue and soliloquies are rather quiet, and also really perceptive in characterization...almost Shakespearean. But...when Wagner wants an exalted style he can pour it on like no other, that's for sure. Well, except for Bach.The exalted style sometimes made me tired.
Isn't it scary to think we're still under his influence? There are Wagner threads said to be "temporarily closed for repairs". For example, this one, from 2014, still remains closed-I thought that DavidA had ceased posting
Try Lohengrin (I suggest the Abbado recording for a great cast in wonderful modern sound.)I even think of giving Wagner a serious chance. He liked Bellini a lot and always stayed away from criticism of him, so I am in a favourable mood. But now, I am in a lecture group about Meistersinger. I guess 3 people spoke, how they fell in love with Wagner simply by listening to the prelude of Meistersinger. I had it on the CD mixed with different stuff (a similar situation to one of my classmates), used to listen to it a lot and nothing happened !
I also used to listen to Tannhauser, Der Fliegende Hollaender and the mix of Wagner choruses. Some Wagner fans don't really count this stuff as Wagner I liked those operas, but not in the fanatic way. The exalted style sometimes made me tired.