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652938 Posts in 26089 Topics by 3718 Members - Latest Member: CarlWilsonfan101 December 13, 2019, 04:15:06 PM
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Author Topic: Opera, anybody?  (Read 6073 times)
JK
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« Reply #75 on: November 06, 2019, 04:19:31 AM »

I also love instrumental music in operas. Carmen is particularly great.

E, this overture is a desperate attempt to coax you back into the fold before the opera topic closes down yet again. Help!

https://www.youtube.com/watch?v=pmuFOuh3QHs

(My grandson sang in the "Children's Chorus" in a local concertante production of Carmen a couple of years ago.)
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« Reply #76 on: November 06, 2019, 06:00:28 AM »

JK: I mentioned this briefly in the movie thread, but I'll mention here too as it's on topic. If you like Opera, you really need to watch the movie Philadelphia. There is a scene with Tom Hanks playing an opera for Densel Washington. I won't spoil it, but it's an intensely emotional and compelling scene. If nothing else, so a search for the scene on youtube.
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« Reply #77 on: November 06, 2019, 12:37:48 PM »

JK: I mentioned this briefly in the movie thread, but I'll mention here too as it's on topic. If you like Opera, you really need to watch the movie Philadelphia. There is a scene with Tom Hanks playing an opera for Densel Washington. I won't spoil it, but it's an intensely emotional and compelling scene. If nothing else, so a search for the scene on youtube.

https://www.youtube.com/watch?v=DwRHwKZSu-w

"I am life!" I must see that film. What a moving scene. No wonder Hanks got himself an Oscar.

I have a love-hate relationship with opera. There's this UK TV detective series where the protagonist is often seen late at night alone in his home, going over the day's case with a glass of whiskey and an aria from an opera blasting out (sometimes accompanied by the thumps and shouts of irate neighbours). It always seems so idyllic to me and makes me wish I appreciated opera more! Recent conversations with two wonderful people in this and related topics may eventually convert me completely. We'll see. Wink

Thanks, Jay. Smiley
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« Reply #78 on: November 06, 2019, 06:37:37 PM »

It's hard for me to concentrate to post much right now. My youngest sister took ill a couple of days ago and will have major surgery tomorrow. Shocked all of us. After things settle down a bit I will try to post more.
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« Reply #79 on: November 07, 2019, 04:01:59 AM »

It's hard for me to concentrate to post much right now. My youngest sister took ill a couple of days ago and will have major surgery tomorrow. Shocked all of us. After things settle down a bit I will try to post more.

So sorry to hear that, E. You and yours are in my thoughts right now.

ForHerCryingSoul once mentioned La Scala di Seta in this topic (and then disappeared). Maybe an aria from that opera will help keep your spirits up at this difficult time.

https://www.youtube.com/watch?v=qMEYRbXHkUo
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"Ik bun moar een eenvoudige boerenlul en doar schoam ik mien niet veur" (Normaal, 1978)
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« Reply #80 on: November 08, 2019, 04:11:43 AM »

In addition to the overtures I'm doing, I'm also recording the entirety of Handel's Rodelinda, and hoping to sing a lot of it, or get helpers for the lower and higher voices, to sing it in a less classical and more pop way--not to dilute, but to present in a different way, so that I might proselytize on behalf of the music that I love the most--and ultimately the music itself is more important that how it's done (as long as it's done well.)

Next time you're around, JH, perhaps you could recommend a decent version of Rodelinda out of the CDs listed below. They are all available from my local record-lending library. In each case I've listed the lead soprano (where indicated), ensemble and conductor.

- Simone Kermes/Il Complesso Barocco/Alan Curtis
- Barbara Schlick/Stagione/Michael Schneider
- Sophie Daneman/Raglan Baroque Players/Nicholas Kraemer
- Joan Sutherland/Philomusica of London/Charles Farncombe
- Joan Sutherland/Orchestra of the Welsh National Opera/Richard Bonynge
- Orchester des Reichssenders Stuttgart/Carl Leinhardt
- Sonia Ganassi/Orchestra Internazionale d'Italia/Diego Fasolis

« Last Edit: November 08, 2019, 05:18:50 AM by JK » Logged

"Ik bun moar een eenvoudige boerenlul en doar schoam ik mien niet veur" (Normaal, 1978)
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« Reply #81 on: November 10, 2019, 06:37:33 PM »

In addition to the overtures I'm doing, I'm also recording the entirety of Handel's Rodelinda, and hoping to sing a lot of it, or get helpers for the lower and higher voices, to sing it in a less classical and more pop way--not to dilute, but to present in a different way, so that I might proselytize on behalf of the music that I love the most--and ultimately the music itself is more important that how it's done (as long as it's done well.)

Next time you're around, JH, perhaps you could recommend a decent version of Rodelinda out of the CDs listed below. They are all available from my local record-lending library. In each case I've listed the lead soprano (where indicated), ensemble and conductor.

- Simone Kermes/Il Complesso Barocco/Alan Curtis
- Barbara Schlick/Stagione/Michael Schneider
- Sophie Daneman/Raglan Baroque Players/Nicholas Kraemer
- Joan Sutherland/Philomusica of London/Charles Farncombe
- Joan Sutherland/Orchestra of the Welsh National Opera/Richard Bonynge
- Orchester des Reichssenders Stuttgart/Carl Leinhardt
- Sonia Ganassi/Orchestra Internazionale d'Italia/Diego Fasolis




Oh dear, I could write a doctoral thesis on this.

It is tricky--I have not really...loved any Rodelinda on CD.  I'm not sure why, but the right cast has never come together for me.

That said, if you have to choose one, I'd go with the Kraemer.  It feels a little more...heartfelt.  The tempos are sort of old-fashioned, as it were, at times, but the band is historically informed enough.  This one wins for me because I really like Robin Blaze as Unulfo, who is one of my favourite characters in Handel's operas.  His voice is not for everyone, but I find it touching.

As a contralto myself, I always seek out recordings of Sonia Prina, who sings Eduige on the Curtis recording.  I love her unique, flexible but weighty voice.  I have modeled my technique after her.  Also a really interesting, three dimensional character in the opera.
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« Reply #82 on: November 11, 2019, 04:32:18 AM »

Next time you're around, JH, perhaps you could recommend a decent version of Rodelinda out of the CDs listed below. They are all available from my local record-lending library. In each case I've listed the lead soprano (where indicated), ensemble and conductor.

- Simone Kermes/Il Complesso Barocco/Alan Curtis
- Barbara Schlick/Stagione/Michael Schneider
- Sophie Daneman/Raglan Baroque Players/Nicholas Kraemer
- Joan Sutherland/Philomusica of London/Charles Farncombe
- Joan Sutherland/Orchestra of the Welsh National Opera/Richard Bonynge
- Orchester des Reichssenders Stuttgart/Carl Leinhardt
- Sonia Ganassi/Orchestra Internazionale d'Italia/Diego Fasolis

Oh dear, I could write a doctoral thesis on this.

It is tricky--I have not really...loved any Rodelinda on CD.  I'm not sure why, but the right cast has never come together for me.

That said, if you have to choose one, I'd go with the Kraemer.  It feels a little more...heartfelt.  The tempos are sort of old-fashioned, as it were, at times, but the band is historically informed enough.  This one wins for me because I really like Robin Blaze as Unulfo, who is one of my favourite characters in Handel's operas.  His voice is not for everyone, but I find it touching.

As a contralto myself, I always seek out recordings of Sonia Prina, who sings Eduige on the Curtis recording.  I love her unique, flexible but weighty voice.  I have modeled my technique after her.  Also a really interesting, three dimensional character in the opera.

Thank you for taking the time to explain! So it's the Kraemer then. It's just so that I can get acquainted with the opera in connection with your Rodelinda project. Although there's clearly no rush.

Here's Sonia Prina as Eduige, just to get into the spirit of things:

https://www.youtube.com/watch?v=o5CZvw_6kGk
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« Reply #83 on: November 12, 2019, 02:42:37 PM »

I just had to seek out this non-BB/'60s example from Joshilyn H's "Grass/Power Mower" introductory video. "Quel torrente, che cade dal monte", sung by the hero in Handel's Giulio Cesare, in this version features the French contralto Delphine Galou:

https://www.youtube.com/watch?v=9ZtBm3ByMS4

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"Ik bun moar een eenvoudige boerenlul en doar schoam ik mien niet veur" (Normaal, 1978)
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« Reply #84 on: November 12, 2019, 06:41:03 PM »

I like her; that's a nice reading of it.  I love that aria--I'm a sucker for the brisk ones with very long melismatic expressions.
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« Reply #85 on: November 13, 2019, 03:18:31 AM »

I like her; that's a nice reading of it.  I love that aria--I'm a sucker for the brisk ones with very long melismatic expressions.

That's an aspect of Baroque I still have to work on! That said, the Buxtehude harpsichord album I'm listening to these days can get pretty florid at times--and I seem to have survived. Smokin

Which brings me to another problem area I appear to have overcome thanks to you--music for solo harpsichord! Who would have thought it?
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« Reply #86 on: November 13, 2019, 09:41:00 AM »

I had a job interview where one of the questions asked of me was "What is your favorite opera?"

I answered "The Magic Flute" and I am pretty sure that is why I didn't get the job.  Cry LOL
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« Reply #87 on: November 13, 2019, 01:05:59 PM »

I had a job interview where one of the questions asked of me was "What is your favorite opera?"

I answered "The Magic Flute" and I am pretty sure that is why I didn't get the job.  Cry LOL

On my last resume (I'm also job hunting...) I put "Especial interest in the use of natural and valved trumpets, and cornets in French opera, 1855-1905".

That's probably why I didn't get the job.
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« Reply #88 on: November 14, 2019, 02:05:25 AM »

I like her; that's a nice reading of it.  I love that aria--I'm a sucker for the brisk ones with very long melismatic expressions.

Well then this should appeal to you! Today my wife saw Nathalie Stutzmann in her role as conductor during a lunchtime rehearsal, putting the local orchestra and the solo hornist through their paces in Mozart's fourth concerto for that instrument. Needless to say, she sang all the parts that needed correcting! Here she is in her role of contralto in a Handel aria that must be rather familiar to you:

https://www.youtube.com/watch?v=Aa90IML1VEo
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« Reply #89 on: November 14, 2019, 03:31:34 PM »

I like her; that's a nice reading of it.  I love that aria--I'm a sucker for the brisk ones with very long melismatic expressions.

That's an aspect of Baroque I still have to work on! That said, the Buxtehude harpsichord album I'm listening to these days can get pretty florid at times--and I seem to have survived. Smokin

Which brings me to another problem area I appear to have overcome thanks to you--music for solo harpsichord! Who would have thought it?


I would heartily recommend seeking out recordings by the sensational French harpsichordist Pierre Hantaï.  He gets the baroque thing without going over the top, and is a very sensitive, methodical player.  I love his interpretations of Couperin, but he is also an excellent Bachist.
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« Reply #90 on: November 14, 2019, 03:33:44 PM »

I like her; that's a nice reading of it.  I love that aria--I'm a sucker for the brisk ones with very long melismatic expressions.

Well then this should appeal to you! Today my wife saw Nathalie Stutzmann in her role as conductor during a lunchtime rehearsal, putting the local orchestra and the solo hornist through their paces in Mozart's fourth concerto for that instrument. Needless to say, she sang all the parts that needed correcting! Here she is in her role of contralto in a Handel aria that must be rather familiar to you:

https://www.youtube.com/watch?v=Aa90IML1VEo

I love Nathalie!  Another one I try to emulate.  "Furibondo" is a classic aria from a rare Handel comedy! (Partenope)

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« Reply #91 on: November 15, 2019, 03:46:15 AM »

I love Nathalie!  Another one I try to emulate.  "Furibondo" is a classic aria from a rare Handel comedy! (Partenope)

Here you go (I have it bookmarked for later):

https://www.youtube.com/watch?v=Aa90IML1VEo

I see Nathalie sings the part of Arsace, Prince of Corinth. I'll be a Handelian yet.

https://en.wikipedia.org/wiki/Partenope
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« Reply #92 on: November 15, 2019, 04:15:32 AM »

I would heartily recommend seeking out recordings by the sensational French harpsichordist Pierre Hantaï.  He gets the baroque thing without going over the top, and is a very sensitive, methodical player.  I love his interpretations of Couperin, but he is also an excellent Bachist.

Thanks for the recommendation. Smiley I see there are several videos of PH playing Couperin on YouTube. I have this one lined up for later:

https://www.youtube.com/watch?v=odp9MevcPNQ

Well. If I like what I hear (I once slept through a concert of harpsichord music that included Couperin!), I really am home and dry. Then it's just country & western but perhaps I'll give that a miss. LOL

I really don't think I could match what you've done for me, JH, but I'll try whenever I can. Here's a great favourite of mine by Francis Poulenc, his kaleidoscopic Concerto for Organ, Strings and Timpani, in what for me is the definitive 1961 recording, warts and all, with Maurice Duruflé playing the solo part: 

https://www.youtube.com/watch?v=RduLr1Cp9Ls
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« Reply #93 on: November 18, 2019, 03:09:50 AM »

Back to topic! LOL (I'll shoulder the blame.)

There's this feature every Monday morning on Dutch "classical" radio where they discuss a world-famous aria. Today it was the turn of "Der Hölle Rache" from Mozart's The Magic Flute, sung by their soprano of choice, fellow countrywoman Cristina Deutekom. In the feature it was pointed out that in her hands the high F sounded every bit as effortless as the high C. There's no sense at all of having to reach for it--unlike in the case of F. F. Jenkins, who always seems to get a mention whenever this aria is brought up. Tongue     

https://www.youtube.com/watch?v=3qmyWC38HVI

https://en.wikipedia.org/wiki/Cristina_Deutekom



If you read this, JH, I was wondering whether you'd decided to see Akhnaten. Smokin
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« Reply #94 on: November 18, 2019, 08:06:12 PM »

Well at this point it's a matter of being able to afford Akhnaten--so it's looking unlikely.

I've always envied those high sopranos who can sing those Queen of the Night Fs.  And indeed, I've always envied the sopranos who can hit Bbs!

I also love the Tenor rep that reaches up to F and beyond, which, of course is mainly limited to Bellini, God Bless him!
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« Reply #95 on: November 18, 2019, 09:16:06 PM »

This Wednesday my school is performing Orpheus in the Underworld by Jacques Offenbach. It's been translated into English by Buck Ross from the Moore's School of Music in Houston, Texas. I personally think the translation offers a more modern take on the humor, while not impacting too much of the music. It uses the longer 1874 version as a template. I'll be playing the part of Pluto, and we open this Wednesday! If there is a livestream link would people like to see it?
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« Reply #96 on: November 19, 2019, 01:25:19 AM »

This Wednesday my school is performing Orpheus in the Underworld by Jacques Offenbach. It's been translated into English by Buck Ross from the Moore's School of Music in Houston, Texas. I personally think the translation offers a more modern take on the humor, while not impacting too much of the music. It uses the longer 1874 version as a template. I'll be playing the part of Pluto, and we open this Wednesday! If there is a livestream link would people like to see it?

Ooohh! Yes, FHCS, please do. I know I'm not alone in this. I hope I catch it (or at least some of it) in NL, time zones being what they are. (It will also be a great opportunity for me to work on my high kicks.)

Whether there's a livestream or not, the very best of luck with your role, sir. And thanks for letting us know. Smiley

And, to get us in the mood, here's an extract from the Buck Ross version:

https://www.youtube.com/watch?v=BcpyInst1Mg

https://en.wikipedia.org/wiki/Orpheus_in_the_Underworld
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« Reply #97 on: November 19, 2019, 04:33:28 AM »

This Wednesday my school is performing Orpheus in the Underworld by Jacques Offenbach. It's been translated into English by Buck Ross from the Moore's School of Music in Houston, Texas. I personally think the translation offers a more modern take on the humor, while not impacting too much of the music. It uses the longer 1874 version as a template. I'll be playing the part of Pluto, and we open this Wednesday! If there is a livestream link would people like to see it?

Yes!!!  That's really cool -- I'd love to see Offenbach get his day in the sun.  Although like we've discussed, sometimes prolific composers' work suffers, Offenbach wrote a lot of great stuff besides Hoffman and Orphée!  And so much of it is so fun and funny.

Are you at MSU?  (I'm a Michigander...)
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« Reply #98 on: November 23, 2019, 12:59:36 PM »

https://livestream.com/musicmsu/11232019Orpheus

Here is the live stream link! Yes I am a Michigander if you peak closely at the URL! The show starts at 7pm EST! It should be a fun time!
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« Reply #99 on: November 24, 2019, 04:49:20 PM »

https://livestream.com/musicmsu/11232019Orpheus

Here is the live stream link! Yes I am a Michigander if you peak closely at the URL! The show starts at 7pm EST! It should be a fun time!

Shoot, I totally missed it.  Will it be available to listen to on demand?  I sure hope so!

That's cool that you're at MSU.  I have pretty deep connections in the Michigan vocal world, and I like to keep up with what the schools are doing.
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