Classical Music & Opera Forums

lulu · by **lulu** on 01 Nov 2009, 08:43

I'll check to see if it's on Rhapsody. In the meanwhile I cannot order it because I don't have a charge/debit card and can't notify amazon, netflix, rhapsody, all of which I use my cards.

I'm steaming. :evil:

The two days of pouring rain here is getting on my nerves. Lord help anyone who gets in my way now. :lol:

dementeddavo · by **dementeddavo** on 01 Nov 2009, 08:59

Lulul-
I'm crazy about Rameau - what a futuristic genius he was. I don't think he gets the credit he deserves for all his weird harmonies and amazing "special effects." When you can, get a disc that DG put out a couple of years ago called "Une Symphonie Imaginaire" conducted by Marc Minkowski. It is a suite MInkowski concocted using some of Rameau's most revolutionary music from various operas. Very cool.

lulu · by **lulu** on 01 Nov 2009, 09:32

That wind music was extraordinary.

Found Macbeth on Rhapsody (Abbado/Verrett) but the channel would only let me play certain arias. But from what I heard of Verrett she sounded wonderful so as soon as I can I will order it.

calvert · by **calvert** on 01 Nov 2009, 18:49

lulu:

Macbeth is, in fact, widely known and figures frequently in the repertoires of many opera companies. I wouldn't call it part of the "core" repertoire, but it is certainly not a novelty. As far as I can tell, it is performed about as often as Ballo, Forza, and Simon Boccanegra.

The Abbado recording is the one to get, far and away the best over all with no real weaknesses in any department. Callas' Lady Macbeth in the live performance from La Scala is impressive as well, but she is sabotaged in a big way by De Sabata's ridiculously fast tempo in the Sleepwalking Scene which ruins the entire scene. And a Lady Macbeth without a Sleepwalking Scene is lacking! Also, the rest of the cast in that La Scala performance is not anywhere near Callas' level. Verrett's Lady Macbeth is, IMO, every bit as good as Callas', and of course recorded in much better sound with a splendid supporting cast and equally splendid conducting.

mogliettina · by **mogliettina** on 01 Nov 2009, 20:40

Cal:
How can a singer with the integrity of Callas handle a Maestro that is clearly messing up tempos and a cast that just doesn't come up to her?
If she said no to the likes of Menotti for "The Consul" (and I am sure others) why would she accept this role and have to go through "labor pains"? Or has she no choice?

calvert · by **calvert** on 01 Nov 2009, 22:10

Callas was new at La Scala - and she was there over Ghiringelli's objections - so she was hardly in a position to throw her weight around or dictate casting. And by the lights of the times the cast was not undistinguished. Enzo Mascherini, the baritone, was a leading La Scala singer, as was Italo Tajo. To my ears, neither one rises above the level of so-so, but they would not have been considered undistinguished company at that time. They are nowhere near as good as Cappuccilli and Ghiaurov on the Abbado recording.

As for the conductor, it was the great Victor de Sabata, and his conducting is superb throughout, EXCEPT for that horrendous tempo misjudgment in the Sleepwalking Scene. You can hear Callas trying to slow things down whenever the singer has the lead, but then de Sabata kicks the tempo back up whenever the orchestra comes in. If Callas did not like de Sabata's tempo (and one senses she did not), she might have asked him to slow it down a bit, but if he did not want to she would not have argued with a conductor of de Sabata's stature. In Italy, he was just a notch or so below Toscanini in esteem. Like most singers of that generation, Callas had great respect for The Maestro, whoever he was. And in any event, in 1952 she was not yet The Great Maria Callas, but just a new and exciting singer.

mogliettina · by **mogliettina** on 01 Nov 2009, 22:45

calvert wrote:Callas was new at La Scala - and she was there over Ghiringelli's objections - so she was hardly in a position to throw her weight around or dictate casting. And by the lights of the times the cast was not undistinguished. Enzo Mascherini, the baritone, was a leading La Scala singer, as was Italo Tajo. To my ears, neither one rises above the level of so-so, but they would not have been considered undistinguished company at that time. They are nowhere near as good as Cappuccilli and Ghiaurov on the Abbado recording.

As for the conductor, it was the great Victor de Sabata, and his conducting is superb throughout, EXCEPT for that horrendous tempo misjudgment in the Sleepwalking Scene. You can hear Callas trying to slow things down whenever the singer has the lead, but then de Sabata kicks the tempo back up whenever the orchestra comes in. If Callas did not like de Sabata's tempo (and one senses she did not), she might have asked him to slow it down a bit, but if he did not want to she would not have argued with a conductor of de Sabata's stature. In Italy, he was just a notch or so below Toscanini in esteem. Like most singers of that generation, Callas had great respect for The Maestro, whoever he was. And in any event, in 1952 she was not yet The Great Maria Callas, but just a new and exciting singer.

Thanks. I knew I could depend on you, Guru mio.

mogliettina · by **mogliettina** on 02 Nov 2009, 10:31

In case anyone missed it on Saturday, here is a streaming of that talked-about wonderful production of Tristan & Isolde which is playing for 5 more days.

http://www.bbc.co.uk/programmes/b00nkwzk

manh1948 · by **manh1948** on 02 Nov 2009, 11:12

T und I

Mogliettina

Thanks for the link( I'm listening now) but,except for an hour or so, I don't have the time to listen to all of it today. Maybe, later this week. Besides, since it usually takes a few hours to return to this world after Wagnerian mesmerizing,it'll be difficult going from a Gesamtkunstwerk this morning to a Gesamtworldseriessieg tonight

mogliettina · by **mogliettina** on 03 Nov 2009, 12:43

Jamie:
Any way of finding out if the singers were miked at the recent Houston Lohengrin?

dargom3 · by **dargom3** on 03 Nov 2009, 13:34

This from Harald Henrysson, former curator of the Bjoerling Museum (in English!); Baez is a great JB fan, and an honorary adviser of the Bjoerling Society:

Joan Baez, who will sing in Stockholm tonight, took the train to Borlänge
yesterday and visited Jussi’s grave and museum. I am glad that I could
attend and meet this charming artist, who is no doubt very dedicated to
Jussi’s memory. A local TV station was there and today (I suppose until
18:00 NY time) you will be able to see an interview with her (ending with
her giving Jussi’s bust a kiss), on the following link. Walking with her
downstairs are the new museum curator Jan-Olof Damberg and Joan’s assistant
James Stewart. I am seen for a few seconds giving the Swedish title of her
favorite song “Tonerna” (she asked me especially about the pronunciation).

http://svtplay.se/v/1755278/joan_baez_f ... i_borlange

calvert · by **calvert** on 03 Nov 2009, 14:30

mogliettina wrote:Jamie:
Any way of finding out if the singers were miked at the recent Houston Lohengrin?

My sources at HGO (in the chorus) have assured me on many occasions that HGO does not mike its performances. Given that the Wortham Theater, notwithstanding its drab, depressing appearance, has excellent acoustics for singers (and a semi-sunken orchestra pit that keeps the brass from overpowering the stage), thereby rendering amplification unnecessary, I am willing to take these assurances at face value until I have hard evidence to the contrary.

Why do you ask?

calvert · by **calvert** on 03 Nov 2009, 14:41

I would add that Pieczonka, Goerke and Fink all have big voices, so miking them in a relatively small, singer-friendly house like the Wortham would be quite unnecessary.

lulu · by **lulu** on 03 Nov 2009, 17:46

There is another reason why I have loved Baez for decades, since she first appeared at Newport.

mogliettina · by **mogliettina** on 03 Nov 2009, 17:53

calvert wrote:I would add that Pieczonka, Goerke and Fink all have big voices, so miking them in a relatively small, singer-friendly house like the Wortham would be quite unnecessary.

This (and much more on the subject), from Opera-L:

"David Spence reports that there was miking of the principles at the Houston Lohengrin. Is
this true? Does anyone else have information about this?"

(David Spence, as you probably already know, has a tendency toward verbal diarrhea.)

lulu · by **lulu** on 03 Nov 2009, 17:56

dargom:

Many thanks for that link to Baez in Sweden. I agree with her opinion about Bjorling's voice; everytime I hear him sing he brings tears to my eyes with the voice.

And isn't Baez still beautiful??

pczipott · by **pczipott** on 03 Nov 2009, 21:36

David Spence reports that there was miking of the principles at the Houston Lohengrin.

Well, if there were, it would be much less audible than miking of the principals.

<Carrying on Maestrissimo's fight for orthography... 8-)

>

mogliettina · by **mogliettina** on 03 Nov 2009, 23:14

pczipott wrote:
David Spence reports that there was miking of the principles at the Houston Lohengrin.

Well, if there were, it would be much less audible than miking of the principals.

<Carrying on Maestrissimo's fight for orthography... >

'Twarn't me that spelled it that way. I simply quoted the guy. I've got my principles you know!

calvert · by **calvert** on 03 Nov 2009, 23:49

mogliettina wrote:
calvert wrote:I would add that Pieczonka, Goerke and Fink all have big voices, so miking them in a relatively small, singer-friendly house like the Wortham would be quite unnecessary.

This (and much more on the subject), from Opera-L:

"David Spence reports that there was miking of the principles at the Houston Lohengrin. Is
this true? Does anyone else have information about this?"

(David Spence, as you probably already know, has a tendency toward verbal diarrhea.)

From personal experience, I can tell you that I would not trust David Spence's opinion on miking or anything else.

Also, YHM.

dementeddavo · by **dementeddavo** on 04 Nov 2009, 06:34

As Mogs can attest, my opinion of Mr. Spence's writing is low. As someone who has written musical criticism professionally, I cannot believe anyone can follow his twisted and obfuscated syntax! Maybe I'm just dense and he is the Joyce or e.e. cummings of operatic cyberspace.

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