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652938 Posts in 26089 Topics by 3718 Members - Latest Member: CarlWilsonfan101 December 13, 2019, 04:47:59 PM
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Author Topic: Opera, anybody?  (Read 6076 times)
ForHerCryingSoul
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« Reply #100 on: November 24, 2019, 08:41:52 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.
I'm trying to get my hands on some recordings of the shows I have done in my time here, it might be a little bit, but I will see what I can get. So sorry that you missed it... MSU is getting a new building which will be pretty sweet when it's all done.
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« Reply #101 on: November 26, 2019, 05:58:39 AM »

I saw Akhnaten on Saturday thanks to the Metropolitan opera broadcasts live in theaters.
The opera is scheduled to be broadcast on radio in a couple of weeks . I don't know how well that would go over, as the visual in this is very important.
It's VERY much steeped in ritual, which I am very used to and understand (helps to have gone to those long Catholic Easter eve services as a kid lol). Some of the audience around me didn't get it , why everything went very slowly.
The guy playing Akhnaten was interviewed during the second Intermission . He had to have his entire body waxed to remove all hair from his body (ouch). He also had to get in shape so that he could effectively make those very slow movements.
A hallmark of the production is all the juggling taking place throughout . The jugglers have to make sure to stay in time with the music, the tempo switching from 5 to 7.
The highlight is the Hymn to the Sun which is sung during the latter part of Act II. A beautiful hymn praising the Sun and all creation.
A rebroadcast of this opera will take place in a lot of theaters tomorrow . Didn't realize that these operas can be seen in 70 countries .
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« Reply #102 on: November 26, 2019, 08:06:55 AM »

The live broadcasts are the best--and responsible for Opera being the love of my life, too.

Sorry it doesn't look like I'll get to either the rebroadcast, or see it in the house.  Sad
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« Reply #103 on: November 26, 2019, 02:56:47 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.
I'm trying to get my hands on some recordings of the shows I have done in my time here, it might be a little bit, but I will see what I can get. So sorry that you missed it... MSU is getting a new building which will be pretty sweet when it's all done.

Yes, please do, I'd enjoy hearing you sing!
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JK
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« Reply #104 on: November 27, 2019, 02:37:03 AM »

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!

I never got round to answering this at the time. (Pity about the Glass opera. Sad)

So Bellini is the man for the high tenor stuff. Now you have to tell the more operatically challenged among us what of Bellini's high tenor rep we should be listening to!

Actually, I just checked and discovered we'd seen La Sonnambula in the Teatro Massimo di Palermo on October 25th, 2000, during a mini tour of Sicily. I even managed to locate the programme notes for that season. Regrettably the google "translation" is too long to post here but it's a revealing read. This string will get you there: "'Questa Sonnambula č un canto sublime' al massimo". Wink
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« Reply #105 on: November 27, 2019, 12:35:44 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!

I never got round to answering this at the time. (Pity about the Glass opera. Sad)

So Bellini is the man for the high tenor stuff. Now you have to tell the more operatically challenged among us what of Bellini's high tenor rep we should be listening to!

Actually, I just checked and discovered we'd seen La Sonnambula in the Teatro Massimo di Palermo on October 25th, 2000, during a mini tour of Sicily. I even managed to locate the programme notes for that season. Regrettably the google "translation" is too long to post here but it's a revealing read. This string will get you there: "'Questa Sonnambula č un canto sublime' al massimo". Wink

Well the stupid high stuff, my favourite, includes Arturo in I Puritani, and Fernando from Bianca e Fernando.  I love Nicolai Gedda's recordings of Puritani (and in general; what a pro he was) and for Fernando I enjoy Greg Kunde's high Fs. 

This is not a great recording but here he is:

https://www.youtube.com/watch?v=e1nA19TvH9I
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JK
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« Reply #106 on: November 27, 2019, 01:16:45 PM »

Well the stupid high stuff, my favourite, includes Arturo in I Puritani, and Fernando from Bianca e Fernando.  I love Nicolai Gedda's recordings of Puritani (and in general; what a pro he was) and for Fernando I enjoy Greg Kunde's high Fs. 

This is not a great recording but here he is:

https://www.youtube.com/watch?v=e1nA19TvH9I

Ye gods! That high F at 8:00!! Shocked

Interestingly, I had a cursory look round this morning and bumped into Nicolai G several times (I'm familiar with the name but not the voice) but thought I'd wait for your verdict.

I shall look out for his Arturo on YouTube. Thanks!
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« Reply #107 on: November 29, 2019, 05:48:30 AM »

Here are Nicolai Gedda and Beverly Sills in "Credeasi, misera". NG supplies another one of those high F's--what a thrilling sound. I see I Puritani was Bellini's last work during his short life.

So JK's listening to opera these days... In this case I'm sure the personal connection helps, having visited Catania (and Naples and Paris)--I just needed a nudge, I suppose. Grin

https://www.youtube.com/watch?v=9w_TTK7UP1c

https://en.wikipedia.org/wiki/I_puritani
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"Ik bun moar een eenvoudige boerenlul en doar schoam ik mien niet veur" (Normaal, 1978)
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« Reply #108 on: November 29, 2019, 11:07:57 AM »

I love Gedda so much.  He seemed like such a nice man,besides being a great singer.  Have you got to he and Sutherland’s live recording of “vieni fra queste braccie” where they both sing a high D simultaneously.  Idda peed my pants if I were in the opera house for that.
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JK
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« Reply #109 on: November 29, 2019, 04:34:05 PM »

I love Gedda so much.  He seemed like such a nice man,besides being a great singer.  Have you got to he and Sutherland’s live recording of “vieni fra queste braccie” where they both sing a high D simultaneously.  Idda peed my pants if I were in the opera house for that.

It's late (well past one a.m.) but I got there!

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

That unisono passage just after 2:50 beggars belief. As you say (using other imagery), just imagine hearing that live! I like the uploader's comment that "Gedda's top register was the most glorious sound that ever came from a man's throat". I take it you agree. Smiley

I've always equated Joan Sutherland with the admittedly wondrous likes of Strauss's Four Last Songs. This puts her in an entirely different light.

There are lots of interviews with Gedda on YouTube. I'll check out some of them tomorrow. Wink
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« Reply #110 on: December 04, 2019, 01:06:04 PM »

Here's a dilemma:

My Mother has asked to go to an opera at the Met with me when she and my father visit me here in NYC for Christmas.  (As has been our custom, even before I lived here...)

The dilemma is:  The two options are Wozzeck with Peter Mattei, which under normal circumstances would be a slam dunk, especially since Yannick Nezet-Seguin is conducting.

But the other option is Rosenkavalier, which I have never seen in an house, and which the Met orchestra interprets so movingly, AND the cast might feature Magdalena Kožená OR Matthew Polenzani, neither of whom I've heard in person, the former of which's reading of the mezzo arias in Bach's cantata Mein Herz Swimmt im Blut never cease to make me weep, the latter of which has been such a consistently satisfying tenor over the years for me that I really owe it to myself to hear him live.

On the other hand...Peter Mattei is glorious, and it's Wozzeck...
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« Reply #111 on: December 04, 2019, 02:24:12 PM »

Here's a dilemma:

My Mother has asked to go to an opera at the Met with me when she and my father visit me here in NYC for Christmas.  (As has been our custom, even before I lived here...)

The dilemma is:  The two options are Wozzeck with Peter Mattei, which under normal circumstances would be a slam dunk, especially since Yannick Nezet-Seguin is conducting.

But the other option is Rosenkavalier, which I have never seen in an opera house, and which the Met orchestra interprets so movingly, AND the cast might feature Magdalena Kožená OR Matthew Polenzani, neither of whom I've heard in person, the former of which's reading of the mezzo arias in Bach's cantata Mein Herz Swimmt im Blut never cease to make me weep, the latter of which has been such a consistently satisfying tenor over the years for me that I really owe it to myself to hear him live.

On the other hand...Peter Mattei is glorious, and it's Wozzeck...

Dear me, JH, this isn't going to be easy. I assume you've checked that tickets are still available for both. And you're familiar with the work of the costume and stage set designers in both cases. I'm almost tempted to ask which one you think your mother would prefer but that's hardly the point!

Assuming you've seen Wozzeck before, that's the one factor (bar extenuating circumstances such as a change in the cast) that could break the dilemma and tip the scales in favour of the Strauss.

It's something for you to consider. It may help you to make up your mind one way or the other.

I'll check out your other recent posts tomorrow. Wink
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« Reply #112 on: December 06, 2019, 10:11:39 AM »

Here's a dilemma:

My Mother has asked to go to an opera at the Met with me when she and my father visit me here in NYC for Christmas.  (As has been our custom, even before I lived here...)

The dilemma is:  The two options are Wozzeck with Peter Mattei, which under normal circumstances would be a slam dunk, especially since Yannick Nezet-Seguin is conducting.

But the other option is Rosenkavalier, which I have never seen in an house, and which the Met orchestra interprets so movingly, AND the cast might feature Magdalena Kožená OR Matthew Polenzani, neither of whom I've heard in person, the former of which's reading of the mezzo arias in Bach's cantata Mein Herz Swimmt im Blut never cease to make me weep, the latter of which has been such a consistently satisfying tenor over the years for me that I really owe it to myself to hear him live.

On the other hand...Peter Mattei is glorious, and it's Wozzeck...

Well, JH, have you decided yet? Time is running out, you know. It would be terrible if you missed out on both of them...

And (to save you diving into the Sandbox again)... any joy with your Kansas City research errand?
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"Ik bun moar een eenvoudige boerenlul en doar schoam ik mien niet veur" (Normaal, 1978)
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« Reply #113 on: December 06, 2019, 06:24:28 PM »

I've not decided!

No joy with KC.  Might have to go myself sometime in the medium range future.
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JK
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« Reply #114 on: December 07, 2019, 02:12:12 AM »

I've not decided!

No joy with KC.  Might have to go myself sometime in the medium range future.

Taking your remark at the top of page 3 into consideration, I'll put my money on Wozzeck. Wink

Pity about the KC (non-)connection...
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« Reply #115 on: December 08, 2019, 07:36:59 AM »

Got out of the house yesterday afternoon and caught an abbreviated version of The Magic Flute at the movie theater, an earlier production by the Met. It was advertised as kid friendly. Didn't see any little kids but there was a fair sized group of teenagers there which was nice.
There were lots of puppets and flying birds. Great escapism.
I'm not an opera expert by any means. Don t know who did the "definitive " version of a certain character. Anyway, after the Queen of the Night's first aria (not the famous one, that came later) someone in the crowd shouted "Awful!" Didn't think she was awful, but what do I know? He made some further comments that were met by twitters from the audience. After it ended and as everyone was leaving the guy said, "Makes you appreciate (Maria) Callas." I thought it was hilarious. : -)
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"No White Flags." - Team Gleason

"(Brian) got into this really touching music with songs like 'In My Room', and 'Good Vibrations' was amazing. The melodies are so beautiful, almost perfect. I began to realize he was one of the most gifted writers of our generation." - Paul Simon

 "The best thing you can be 'like' in music is yourself." Dr. John
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« Reply #116 on: December 08, 2019, 02:10:17 PM »

someone in the crowd shouted "Awful!" Didn't think she was awful, but what do I know?

You know what sounds good to you!

There's a very distinct kind of opera fan whose enjoyment of opera seems to come in the form of hating 99% of the people who sing it, not really caring about the actual music, composers, dramaturgy, etc, and judging people who like what they themselves hate.  It seems to me to be a decidedly joy-free way to care about something, but there it is.  I am of course always happy to hear a great singer, but I'm a composer person, not a singer person.  If a mediocre singer sings a piece of music I love, I still love the piece of music.
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JK
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« Reply #117 on: December 08, 2019, 02:13:22 PM »

Got out of the house yesterday afternoon and caught an abbreviated version of The Magic Flute at the movie theater, an earlier production by the Met. It was advertised as kid friendly. Didn't see any little kids but there was a fair sized group of teenagers there which was nice.
There were lots of puppets and flying birds. Great escapism.
I'm not an opera expert by any means. Don t know who did the "definitive " version of a certain character. Anyway, after the Queen of the Night's first aria (not the famous one, that came later) someone in the crowd shouted "Awful!" Didn't think she was awful, but what do I know? He made some further comments that were met by twitters from the audience. After it ended and as everyone was leaving the guy said, "Makes you appreciate (Maria) Callas." I thought it was hilarious. : -)

Glad you had fun, E. The "definitive" interpreter of the Queen of the Night? Found a bunch of names on a website and the most mentioned were those of Lucia Popp, Edda Moser, Diana Damrau, Natalie Dessay, Ana Dulovski and Cristina Deutekom. I'm far less of an opera expert than you! I was about to say aeijtzsche is the person you need--and there she was!

Anyway, this is La Deutekom demonstrating her considerable vocal chops (gotta support the Dutch candidate):

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

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I'm Grass and You're a Power Mower: A Beach Boys Orchestration Web Series
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