Saturday, July 23, 2016

Rameau's Les Indes Galantes – This Sunday on

As seen on Facebook:

Live and free of charge from Prinzregententheater: The festival premiere of Jean-Philippe Rameau's Les Indes Galantes!

With Anna Prohaska, Mathias Vidal, Lisette Oropesa, dancers of the Compagnie Eastman a.o. 

Don't miss our online broadcast on!

Note: By my calculation, it should be on at 12:00 PM Eastern time in the U.S. 
I’m sure it will be great, but it’ll be hard to live up to the visuals of Laura Scozzi’s production from Bordeaux (this is one of the safe-for-work images):

P.S: Next Sunday (July 31) is the new Die Meistersinger with none other than Jonas Kaufmann...and some other singers, probably. That will be an earlier start. Looks like I should have gotten a substitute organist.

Thursday, July 21, 2016

Hello, Ragazzi! (Part Two)

I just noticed that it's been about four months since my last post. I have been watching and listening to and thinking about opera...just not writing about it lately. So, I am trying to decide whether to spew all my thoughts out in this one post, or spread them out over a few days. I think I will spread them out.

So, last night I saw the Met in HD encore of the 2014 broadcast of Cosi Fan Tutte. This post is not about that. Seeing Cosi led me to binge-reading older Cosi posts on my own blog and at The Earworm. This post is not about what I learned during this late-night binge-read. 

This post also is not about the new high-end theater that hosts the Met transmissions (wine and cheese at intermission). This post is about is the other opera series—or what’s left of itat my local high-end cinema this year. There is one more opera in August. This post is about that opera. 

That opera is Puccini’s La fanciulla del west from La Scala. I am pretty sure I want to see that! But before I buy my tickets, I wanted to find out more. (The cinema website is not helpful about details. I guess they figure either you want to see it or you don’t.)

So, this is the Robert Carsen production—my curiosity is officially piqued­—with a typically Robert Carsen meta-theater concept, and what the Bachtrack review calls a “final, brilliant coup de théȃtre [that] brings us full circle.” It seems Mr. Carsen has taken the spaghetti western concept and really run with it. The opera begins and ends in a movie theater. OK, now I gotta go see it. But before I do, I research a little more. 

Sunday, March 6, 2016

In Memorium Nikolaus Harnoncourt

RIP Nikolaus Harnoncourt: cellist, conductor, musicologist, musician, artist. This man helped influence my love of Bach (through his chamber music recordings, the B-minor Mass, St. Matt Passion, the Gamba sonatas, and, especially his participation in the intrepid Bach cantata series on Telefunken). Later he taught me to listen to Mozart (and Beethoven and Schumann, and even Brahms and Verdi) in different ways. Fortunately, his expansive recorded legacy ensures that he will always be with us.

Speaking of Mozart, here is the finale from his quintessential 2003 La Clemenza di Tito.

Wednesday, January 27, 2016

Even More Mozart – from Dorothea Röschmann and Christian Gerhaher

And then there are these two fairly new discs, which I actually got a few weeks ago. 

The DR program is a known quantity from the radio broadcast of the concerts last year. It's remains a wonderful program; and I continue to wish someone would cast her as Vitellia again...soon...and somewhere I can hear her (and hopefully see her, too.) I also wonder, as her voice darkens wonderfully, if she (and any impresario) would consider taking on Dorabella. She’d be awesome in any variety of interpretations (insane, oversexed, neurotic, naïve, or any combination thereof.)

The GG program is completely new on my radar. Also, taken from live performances last year, this concert contains the usual suspects as far as arias go, but GG has made an effort to create a program with an overarching theme. While the DR concert had an entire Mozart piano concerto in the middle of it* (not included on the CD), GG's disperses the four movements of Symphony no. 36 throughout his program (and not in symphony order.) On paper it sounds messy and/or contrived; but in hearing, I think it works quite well. 

These discs (as well as the Clemenza I mentioned yesterday, plus both recently observed Zauberflöten) call for separate posts that are more review-like (vs. the wow! look what I found! type of post.)  

*I still think there was a missed opportunity here to program the concert aria (with piano), "Ch'io mi scordi di te? ... Non temer, amato bene;" but for some reason they didn't ask me when they were planning the concert.

Tuesday, January 26, 2016

Vesselina (and Véronique and Charles) in my Mailbox...

Mozart Week continues at my house! This arrived today:

I finally tracked down a copy of this 2006 recording. It's hard to believe I haven't tagged any posts with LCdT for almost a full year. A while back I featured Tito's three arias sung by Charles Castronovo, not realizing they were from this recording. A quick search did not reveal any other clips from this CD over at the Toob. In the next week or so, I will see what I can do to address this gap.

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