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#1650 - 06/16/10 11:56 AM Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
I'm back, with all thanks to Andrew for making it possible in the first place. He also took a picture of me, at my insistence, in my opera-going finery (while declining to be photographed himself).
Photobucket

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#1651 - 06/16/10 12:53 PM Re: Glyndebourne 2010
Anonymous
Unregistered


Hm, rather a blurred picture, too. Sorry about that.

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#1652 - 06/16/10 07:09 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
No apology needed -- you should see how many of my shots of the Cotswolds I messed up, one way or another. A mobile phone with a tiny screen just isn't optimum for quality photography, and I'm delighted to have any documentation of my presence at Glyndebourne -- it was such a dream combination of good food, good company, and near-ideal opera in perfect surroundings, I might think I dreamed it.

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#1653 - 06/16/10 07:22 PM Re: Glyndebourne 2010
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
As I said, on Facebook....I'm jealous...and while I have you attention, take a look at the Botticelli roster...
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Kay
Botticelli Moderator

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#1654 - 06/16/10 07:23 PM Re: Glyndebourne 2010
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
The profile picture on Facebook is sharper.
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#1655 - 06/16/10 07:48 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Just smaller, Kay -- which itself helps with focus.

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#1656 - 06/22/10 08:39 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Should I report something more? Both operas (Billy Budd, Cosi fan tutte) are among my very favorites, both were excellently produced and performed. Both in what might be described as variable unit sets, the former rather monochromatic in scheme, the latter extremely colorful. Appropriate, in both cases.

The casts were splendid, and in the Glyndebourne tradition cast with stars-of-the-future more than established stars (though there have always been a few of those too). The name I knew best was John Mark Ainsley as Captain Vere. And the justly revered Sir Charles Mackerras conducting this Cosi production for the first time.

Glyndebourne is definitely my favorite place in the world to see an opera, and I can't recommend it strongly enough. Beautiful site, beautiful exterior and interior of the house, PERFECT acoustics for all kinds of music, great sight lines from many parts of the house, ultra-high performance standard, great restaurants for the dinner intermission... I could go on and on. I haven't a single negative to offer.

Thank you again, Andrew!

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#1657 - 06/22/10 09:45 PM Re: Glyndebourne 2010
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
And when are you going to announce the hirsute news you just posted on Facebook?
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#1658 - 06/23/10 06:02 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
I can't imagine that anybody cares. Only two here have ever seen me in person. Besides, I may grow it back next week.

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#1659 - 06/23/10 09:33 PM Re: Glyndebourne 2010
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
That fast?

You know, it's funny but multiple years of back and forth on various message boards and you do KNOW people you've never "seen."

I find myself wondering what's become of some of the old GEnie regulars, who popped in here for a while and then disappeared.
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#1660 - 06/25/10 09:32 PM Re: Glyndebourne 2010
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Jon, get your picture taken before you start a new beard, hm?

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#1661 - 06/26/10 03:19 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
You asked for it, you got it!

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#1662 - 06/26/10 08:07 PM Re: Glyndebourne 2010
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Ah, thank you! THAT's the face I remember.

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#1663 - 06/26/10 08:26 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Barbara, you saw me with the beard! I've had it since 1976 without interruption. (That's why I decided to try a change this summer.)

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#1664 - 06/26/10 10:50 PM Re: Glyndebourne 2010
Lorna Offline
Member

Registered: 04/22/05
Posts: 2676
Loc: Dayton, Ohio
Here's the floating bed scene:

http://www.video4viet.com/watchvideo.html?id=4QAH_IpEG6o&title=Anna+Netrebko++Roberto+Alagna+%22va%2C+Je+T'ai+Pardonn%C3%A9%22+Romeo+Et+Juliette

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#1665 - 06/26/10 11:31 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Something I missed at Glyndebourne, evidently!

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#1666 - 06/27/10 11:23 AM Re: Glyndebourne 2010
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Hm, am I having a senior moment here? Jon, I do remember when Kay later posted a picture of you, I was surprised to see you had a beard.

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#1667 - 06/30/10 03:11 PM Re: Glyndebourne 2010
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
I've had the beard nonstop since 1976.

It's OK, I've done similar things. I greeted a musicologist colleague at a conference by saying I missed the beard he'd always had before, and he insisted (convincingly backed up by his wife and others) that he'd never had one.

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#1668 - 07/01/10 12:35 PM Re: Glyndebourne 2010
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
::sigh:: I must not have been wearing my glasses.

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#4112 - 11/28/11 01:58 PM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
By the way, I have now reviewed the DVD of that Billy Budd, and a CD recording of the Turn of the Screw Andrew & I saw on my first visit, in the pages of Opera News.

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#4114 - 11/28/11 03:18 PM Re: Glyndebourne 2010 [Re: Jon]
Christopher Offline
Member

Registered: 07/02/02
Posts: 3558

Turn of the Screw

I've heard this once...was it ever a Met Saturday broadcast? I'm afraid I don't remember it much.

Couldn't find Billy Budd.

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#4116 - 11/28/11 06:42 PM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
I think The Turn of the Screw was a Saturday broadcast a few years back; I seem to remember listening.

Jon, I know it's your profession, but I still get amazed at how much you know to watch for, to listen for. Tell me something about you and Britten: Was it love at first sound? For me, he's been one of those composers I had to work my way into.

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#4127 - 11/29/11 01:27 PM Re: Glyndebourne 2010 [Re: Barbara]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Originally Posted By: Barbara
I think The Turn of the Screw was a Saturday broadcast a few years back; I seem to remember listening.
A broadcast from where? Certainly it's not on the Metropolitan Opera Saturday broadcast schedule, as that company has never done the opera and never will -- not with a cast of 6 that almost never sings together and an orchestra of 13. But maybe a local station might have put a recording or broadcast of this opera in the Saturday-afternoon slot during the off-season; that happens a lot.
Originally Posted By: Barbara
Jon, I know it's your profession, but I still get amazed at how much you know to watch for, to listen for. Tell me something about you and Britten: Was it love at first sound? For me, he's been one of those composers I had to work my way into.

Yes, pretty much at first sound. Let me try to recall my first encounter with Britten....

I think I was just starting high school. I was interested in opera (without knowing many at all; I was first intrigued, believe it or not, by the stories) and my parents gave me a book of "stories of operas" for Christmas one year, the old Modern LIbrary volume. I saw The Turn of the Screw in there, and that piqued my interest because I had read the novella -- maybe for a class. So one time visiting the local library I saw that they had a recording of it, and I checked it out and listened to it, and I was immediately hooked. I found the music atmospheric and compelling, and I was hooked by the way it enhanced the story and suggested the mystery behind it.

In general, the first operas I liked (I tried recordings of several over a period of months around that time) were "non-aria" operas, the ones that got on with it and told the story without fuss. My first three loves, in fact, were Das Rheingold, La Bohème, and The Turn of the Screw, which all fit that description. Verdi and Mozart were much harder for me at first because of all the recitative and stopping for numbers that didn't try to advance the plot quickly (or, sometimes in Mozart, didn't try to be tuneful). I needed to see those in the theater to get the idea -- that happened when I got to Indiana U, which did 6 operas a year.

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#4131 - 11/30/11 12:38 AM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Story? You took to Britten immediately but balked at Mozart and Verdi because of interruptions to the story??? Oh, wow! But the aria-free opera is purer theater, yes, so that does make sense. You may be right that the broadcast of The Turn of the Screw I heard was a recording, but I've got it in my head it was live. Perhaps the Chicago Lyric? Or San Francisco? WTAE in Pittsburgh used to broadcast occasional performances by both companies, on an irregular basis.

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#4138 - 11/30/11 04:39 PM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
And my description of Boheme was imprecise; obviously it has arias! But they don't have repetitions of the lines of text, and the orchestra keeps moving on to new moods and thoughts (none of the pages of oom-pah-pah that can put a kid off Verdi at first). Even the Britten and Wagner have solo passages, for that matter. But the whole thing played in my mind as theater in a way that I understand.

Mind you, I came to love Mozart and Verdi inordinately! But I wasn't yet used to the musical conventions. (In Figaro, the first I tried, it's maybe 20 minutes before we get to the first real melodic solo moment as I then understood it (Se vuol ballare), and there's an awful lot of chattering-with-harpsichord on the way there that my young mind kept weighing against the more eventful in-between stuff from the other composers I knew.)

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#4140 - 11/30/11 09:29 PM Re: Glyndebourne 2010 [Re: Jon]
Rita Offline


Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Verdi isn't oom-pah-pah. He's thumpedy-thump.

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#4143 - 12/01/11 11:46 AM Re: Glyndebourne 2010 [Re: Jon]
Christopher Offline
Member

Registered: 07/02/02
Posts: 3558
Oom-pah-pah has to be German, but who? Obviously not Wagner.

I'm trying to remember what my first opera was, but I'm drawing a blank.

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#4144 - 12/01/11 12:45 PM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Rita, listen to almost any aria from Traviata or Trovatore or Rigoletto. Oom-pah-pah galore. (I love it NOW, but it cost me some effort and humility THEN.)

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#4151 - 12/02/11 05:52 PM Re: Glyndebourne 2010 [Re: Jon]
Rita Offline


Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Well, OK, yes, I can hear oom-pah-pah in "Sempre libera" and "La donna e mobile"...and even in "Di quella pira", with a little effort. And "Parigi o cara". Not "Questo e quella", though. It just seems to me so many of Verdi's numbers (or maybe scenes) end with thumpedy thumpedy thumpedy thumpedy thump THUMP thump THUMP thump. Thump. Thummmmmmmp. (Can you hear it?)

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#4152 - 12/02/11 07:31 PM Re: Glyndebourne 2010 [Re: Jon]
Austin
Unregistered


Well, dang! I can hear it.

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#4154 - 12/02/11 09:18 PM Re: Glyndebourne 2010 [Re: Jon]
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
Originally Posted By: Jon
And my description of Boheme was imprecise; obviously it has arias! But they don't have repetitions of the lines of text, and the orchestra keeps moving on to new moods and thoughts


It always bothers me when they stop for applause after "Che gelida manina"...Rodolfo and Mimi are kind of frozen and then she chimes in with "Si...." replying to his request to tell him about herself.
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#4155 - 12/03/11 10:40 AM Re: Glyndebourne 2010 [Re: Jon]
Jon Offline


Registered: 04/25/99
Posts: 6422
Loc: Newark, Delaware, USA
Yes, but on the other hand Puccini clearly put a full musical stop there, a completed musical cadence followed by silence -- pretty much inviting applause. It bothers me more (not a lot, but some) when people applaud after "Recondita armonia" or "Nessun dorma," because in both cases Puccini DIDN'T bring the music to a halt or invite applause in any way. Of course those moments will always be applauded anyway; as I said, I don't really mind terribly. But I recall a wonderful Trovatore at Covent Garden in which the conductor (Charles Mackerras) and the singers (Fiorenza Cossotto, Carlo Cossuta) played the long Azucena-Manrico scene so compellingly and meaningfully that none of us felt like applauding individual numbers until the curtain fell -- and then we let ourselves go in a big way.

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#4157 - 12/03/11 11:28 AM Re: Glyndebourne 2010 [Re: Jon]
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Applause in the middle of a scena is annoying. I imagine it doesn't happen too often, but when it does -- that really grates.

"The Anvil Chorus" doesn't fit into oom-pah-pah. It's missing one "pah".

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#4158 - 12/03/11 01:13 PM Re: Glyndebourne 2010 [Re: Jon]
Andrew Offline


Registered: 09/27/11
Posts: 425
Loc: York, England
My general rule is never to applaud anything except at the end of a scene or act. One exception is Zerbinetta's "Grossmaechtigen Prinzessin" in Ariadne auf Naxos. Another is "Ah, mes amis" in La Fille du Régiment.

I went to see Bellini's La Sonnambula (for the first time) at Covent Garden recently and don't feel like seeing it ever again, especially when conducted by Daniel Oren, whose tempi were really soporifica. And the audience couldn't understand that in bel canto many arias have a cavatina and then a cabaletta (with sometimes a tempo di mezzo in between), so there was applause practically all the time.

I've also noticed that in live radio broadcasts nowadays there are increasingly bouts of applause in between movements of orchestral works, mainly concertos.

Mr Grump

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#4162 - 12/04/11 10:27 AM Re: Glyndebourne 2010 [Re: Jon]
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
I recently attended a concert of Ferenc Liszt works--all single movement pieces, a lot of fireworks, very little music that I noticed. Anyway, applause after each piece, extended applause waiting for the encore.

I was asked by another attendee afterwards was this the same Liszt we always knew as "Franz Liszt"? I'm guessing that he is now considered Hungarian, not Austrian. Shouldn't it be
List Ferencz, then?
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#4164 - 12/04/11 04:45 PM Re: Glyndebourne 2010 [Re: Pete]
Rita Offline


Registered: 09/22/04
Posts: 3264
Loc: St. Paul, MN
Yep, according to Behind the Name :

"Hungarian names consist of a family name followed by a given name. This is unique in Europe, where the family name usually follows the given name."

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