Random Thoughts While Listening to Lirico Spinto on France Musique

I wish I understood French. I don't even understand most of the singers' names in French. Even the French singers. 

Most of the time, I really dislike Maria Callas' voice (Sorry, everyone. I know that's a special kind of operatic heresy.) She made some truly dreadful sounds. (Gluck – see below)

Sometimes, I really like Maria Callas' voice. She made some absolutely lovely sounds (now and then)! (Bellini – see below)

Speaking of Bellini, almost everything he wrote sounds the same to me – even the bits that I already know. 

Almost everything Gluck wrote also sounds the same to me – even the bits from Orfeo/Orphee; although I definitely like Gluck better than Bellini.

Anna Moffo had a pretty spectacular voice (I know, that's not really news.) At least Bellini is really pretty when she sings it.

Véronique Gens also has a spectacular voice, especially when she’s singing in French.

James King sounded pretty darned good back in the early 60s – even singing Gluck in German.

Vesselina Kasarova has at least three voices, and she uses them all to great effect, especially in this Orphee excerpt in the Gluck program. (It's credited to an RCA CD, but I think it's the same performance as on this DVD.)

Richard Croft's voice is still god-like. (Also not news, but...oh my!)

Google Chrome continues to aggravate by automatically translating (or trying to translate) any page that's not in English. OTOH, it does provide a hearty giggle now and then. For example, this aria from I Capuleti e i Montecchi  entitled "O, fifty flip" (O, quante volte).  

The Bellini Program

 The Gluck Program

The Plot is Thicker than Water – La Sonnambula at Staatsoper Stuttgart

Act 1

We’ve already discussed the lack of drama inherent in this opera libretto (isn’t that nicer than calling it “stupid”?) and I think that any literal stage interpretation of La Sonnambula cannot be much more than a pretty evening of singing (provided the singers are good.)

It’s interesting how the directors have changed this from a fluffy plot to something quite tragic (though with comic elements) without changing or really being untrue to the text. In some scenes and arias, Amina’s happy lyrics come out as ironic, and in the end she is totally unhinged. Her wild coloratura makes a dramatic statement, with some of her brilliant outbursts coming out more as screams* (particularly at the end of the finale. It's a scream, but it's brilliant and musical.) 

Ana Durlovski is La Sonnambula

Amina sings of her joy (?), while Mom
makes some final alterations to her party dress.

The other day I made a comment on Earworm Opera's blog about the silliness of the plot of La Sonnambula.  I went back to double-check the reference before I started on this post, and noticed that Earworm had been talking about I Puritani! She was kind enough to respond to me without commenting on my error. Really, it was a comment on Bellini plots in general. Many of Bellini's opera plots are far-fetched, silly, and/or undramatic. 

Then I found this Stuttgart Staatsoper performance of La Sonnambula on Arte LiveWeb. Widely acclaimed (in Germany, anyway), it took me a whole year to find out about this production. Directors Jossi Wieler and Sergio Morabito update the setting and probe the background of the story and the possible interrelationships of the characters, particularly complicating the dynamic of Annina and Elvino and their arranged marriage. They add a whole lot of interest and intrigue to the story line that complement and contrast with the beautiful music. They also manage to add humor and just a bit of obligatory ickiness.