music for sandy

i’ve gone underground again thanks to meeting, but did have a very nice time listening to bells on tower, even got to ring the “back-stroke” of it! took some very nice photos too, may be after meeting (if i can get there…) will put up pix somewhere. so while producing slides and listening to winds (and tracking whose flights are/were canceled…) i’ve gone through quite a few very nice full concerts/operas listed on YT. highly recommend is this fantastic piccolo (is it?) concerto:

Also gone through a full version with Manca di Nissa, really like her voice, but that orchestra is a little bit too smooth (too romantique?). currently onto this one, Magdalena Kozena has a realllly nice voice, though i most of the time looking away from screen (in recital above) to not get distracted by her facial expression… and speaking of expression, what is the director asking the singers to do here?? they sort of look like in those mime shows…


About thả diều
writing-challenged opera-addict

10 Responses to music for sandy

  1. operasmorg says:

    These have got to be much better listening than storm howl! Hope you’re safe and sound, Dr T!

  2. Eyesometric says:

    I also hope that all is well in your area!
    That is amazing recorder playing. The term flute in baroque music can be confusing as “flute” usually meant recorder and the “transverse flute” was what we would recognise as a real flute.
    And flautino could be recorder or piccolo!
    That’s certainly an interesting Gluck production! what’s with the floating cube at the end?

  3. yvette says:

    I keep thinking about you in your office by the ocean when I watch apocalyptic reports from NY. I will follow your YT. Very nice choice. (I was on the move and came back, it seems we also have tempests but not as fierce as the ones on your coast)

  4. stray says:

    It’s a Robert Wilson production, so it’s all of a piece with everything else he’s done in the last twenty years or so (Lohengrin, Woyzeck, Peer Gynt, Quartett, Dreigroschenoper, Pelleas, etc., etc…).

  5. Tove S says:

    I can’t listen to Kozena after Kasarova, esp not Amour viens rendre… I agree she’s hard to watch too – I don’t mind the expressionist silent horror movie evil elf look per se but I don’t get what it’s doing in Orphee et Eurydice. Speaking of weird dance moves, I am just now (multitasking) watching this to see what Karolina Blixt is up to these days. I enjoyed the excerpts from Hippolyte et Aricie but lost interest in Pygmalion after the aerialist stunts.

    • Tove S says:

      Let me clarify that I normally enjoy Kozena’s singing. Her Amour viens rendre is just so totally devoid of sexiness (like von Otter’s I think – all cold precision and not enough chest notes). The only one who can compare to Kasarova is Podles. This bravura aria needs to be sexy, it’s all about being worked up by love!

      • thả diều says:

        Actually i was amazed how similar her (vocal) version of “Amour viens rendre” was to VK’s. As stray mentioned, it’s Wilson’s production, which i know nothing of yet… she has a very nice voice.
        unrelatedly, i so glad to hear your account of live capuleti. there’s something about the live atmosphere and perhaps perception of VK’s sound: somehow her voice seems to cover the 3d hall more than what’s recorded. 🙂

        • Tove S says:

          Fascinating. Now I have to re-listen with my eyes closed – the first time around I couldn’t even get through the whole song.

          • Tove S says:

            Ok I relistened and I don’t hear the resemblance. Kozena has a nice voice but “crystalline” (crystalline with a dark timbre, if that makes sense?) I find her singing as “detached” as her acting here – it doesn’t sound like she’s singing from her body, her guts, her sex even. She sounds like a nightingale, not the greatest butch lover in history. Though I liked the a cappella bit at the end better – it had more life to it. Anyway, I’m sure her way of performing the aria is in line with the director’s vision and that she’s doing a fine job, but this is a very different take on Orpheus than Kasarova’s, vocally as well as visually. But it’s fascinating that we hear such different things in it!

          • thả diều says:

            I think you have this bit of music down the same way i have romeo :-). I must admit not paying very close attention except for the notes themselves (and variations) which sounds very similar to my ears (of course it’s from the same sheet of music, but somehow i found the two take surprisingly similar…) somehow i haven’t made it back to see the rest of the opera yet… but i did somehow find more photos on the net of VK’s romeo take in Oslo here and here

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