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#4115 - 11/28/11 05:36 PM Re: Opera 4 [Re: Kay]
Christopher Offline
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Registered: 07/02/02
Posts: 3558
There are two more BEFORE Christmas -- the next two Saturdays, in fact (Rodelinda and Faust).

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#4121 - 11/29/11 09:17 AM Re: Opera 4 [Re: Barbara]
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
December 3 and 10...Renee Fleming is actually SINGING Saturday instead of wandering around with a microphone...
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#4133 - 11/30/11 08:25 AM Re: Opera 4 [Re: Barbara]
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
Barbara--what's the little icon on this topic? Seems to have a big black dot in the middle.
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#4166 - 12/04/11 05:20 PM Re: Opera 4 [Re: Pete]
Barbara Offline
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Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Where is that, Pete? On this page or on the list of topics page? I can't seem to find it.

Rodelinda yesterday, which I enjoyed far more than I had expected to. I went primarily because I'd never seen a countertenor in performance, and Rodelinda had two! It was a good production, with sets that were representative instead of symbolic (and quite a few of them). The singing was glorious, with one exception; Shenyang as Garibaldo got a bit slurry at times. But the high point of the opera came near the end of Act II. After nearly two full acts of aria after aria, Handel gave us a duet between Rodelinda and Bertardio that lifted the whole production up another notch. Renée Fleming's soprano and Andreas Scholl's countertenor blended in a sound so beautiful it left me open-mouthed. It was the kind of sound you go to the opera to hear.

Incidentally, I went straight from four and a half hours of Handel in a Sacramento theater to four hours of a bridge tournament in nearby Orangevale, where my partner and I finished third in our session. Yesterday was a good day.

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#4167 - 12/04/11 06:12 PM Re: Opera 4 [Re: Barbara]
Andrew Offline


Registered: 09/27/11
Posts: 425
Loc: York, England
I think Pete means the face with a wide-open mouth (a diva, perhaps?) that appears to the left of this Opera 4 topic when you choose the following from the menu at the very top of this page:

Barbara Paul Forums » Forums » General Discussion » Music, Music, Music !

Editing to say that it seems to be cry.gif


Edited by Andrew (12/04/11 06:14 PM)
Edit Reason: extra info

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#4168 - 12/04/11 11:55 PM Re: Opera 4 [Re: Barbara]
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Oh, yes, the crying icon. Closest thing to an opera singer we have. It's one of the smilies available when you use "Reply" instead of "Quick Reply".

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#4169 - 12/05/11 09:16 AM Re: Opera 4 [Re: Barbara]
Pete Offline


Registered: 01/10/02
Posts: 5177
Loc: Newport News, Virginia, USA
Aha. I now see it. Sorry for missing it. It does somehow resemble a diva. This post has what I think a baritone looks like singing "Largo al Factotum" ('d I get that right?).
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#4171 - 12/05/11 10:47 AM Re: Opera 4 [Re: Pete]
Lorna Offline
Member

Registered: 04/22/05
Posts: 2676
Loc: Dayton, Ohio
The duet in Rodelinda (the ONLY duet)...I don't think I've ever heard such a perfect blending of voices before. It was wonderful. But I have to admit that no matter how hard I tried, I could never get used to hearing a woman's voice coming from the mouth of so masculine a singer as Andreas Scholl. I tried and tried.

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#4176 - 12/05/11 09:35 PM Re: Opera 4 [Re: Barbara]
Kay Offline


Registered: 04/25/99
Posts: 17046
Loc: Roanoke, VA , USA
Once again, real life interfered and I had to miss this one....got a com;plete report from a friend yesterday that made me really sorry...pretty much what was said above.
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Kay
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#4225 - 12/11/11 08:48 PM Re: Opera 4 [Re: Kay]
Barbara Offline
Administrator

Registered: 04/24/99
Posts: 13033
Loc: Citrus Heights, CA , US
Strange Faust yesterday. The production was updated to sometime between the two world wars. That was a big obstacle for me; I missed the medievalness of the legend. But once I resigned myself to that near-contemporary setting, I have to admit it was one helluva production. Steel scaffolding framed the stage, with spiral staircases on both sides, and an enormous screen for the projections was hung upstage center. The screen was filled with stage-dominating images, frequently pictures of Marina Poplavskaya's face alone, even during intermissions. Very effective. Faust is now a scientist working on an atomic bomb, and his despair is caused by his conscience prodding him about all the people who will die because of what he's doing. The opera ends with the return of old-man Faust, who finally dies himself. So the whole opera was the hallucination of a dying man. That's rather daring.

René Pape was fantastic, an absolutely wonderful and spry Mephistopheles, clearly enjoying his devilish role. His Le veau d'or was a show-stopper, aided by some "possessed" writhing/dancing by the chorus. Jonas Kaufmann...ah, the word "stentorian" comes to mind. Big voice, and he's not afraid to use it. Poplavskaya wasn't quite up to the level of the two men, but she has a sweet voice and made Marguerite quite sympathetic. (Marguerite, IMO, is one of the great ninnies of the opera world.)

So in spite of the updating, I ended up enjoying this Faust . Familiar tunes, great singing...Faust as a nuclear physicist doesn't really matter.

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