music for weekend

super quiet afternoon in the office, life without imminent deadlines is so peaceful 🙂
appropriately, just found such a wonderful clip (think i heard this first on the vivaldi disc by Cecilia Bartoli, then on broadcast carnegie hall recital by JDD <— absolutely worth watching! i spent 3 hrs the other day looping twice, really great!):

and with that, naturally i went searching for the entire opera.. school doesn’t have, but happily spotify does!! so here we are. office door closed, speakers on :-).

——–
Edit: OOOF, look at the painting! and story-line! I confused of course because there’s a clip of Mingardo singing super nice tune but here on cd it belongs to Holofernes, the dude whose head got chopped off!!! ah ok, no no, it’s the triumphant music just before: “Nox in Umbra dum Surgi“, and now, wow, and it’s followed by SUPER gorgeous aria “Belligerae Meae Sorti”! best to sort out libretto, coz with SUCH GORGEOUS plucking of harp, i’m sure she’s up to something no good!! Whoever is singing Holofernes, voice is ALMOST IDENTICAL to Sara Mingardo, I’m quite sure she’s singing 2 roles here! both Holofernes and Juditha…

Ok, here’s libretto.. still in search for the cast..

Oh, oof, now Juditha is singing, and definitely not Mingardo but a soprano! ok, relief, Mingardo = Holofernes, she had her head chopped off, yikes!

So, here’s the content of that gorgeous aria, first triumphant, then to plucking string. BTW, i completely lost, coz she’s singing like about 3 roles AT LEAST, and there’s also link to her singing Juditha on the same cd.. need to get a cast list obviously. but how cares, GORGEOUS music!

HOLOFERNES
Nox in umbra dum surgit,
Radiante in mare sol lumine cadit;
Sed tu pulcra Juditha
Luminose mi sol in caeco orrore
Resurgis coram me vivido ardore.

Nox obscura tenebrosa
Per te ridet luminosa
Miro fulgida splendore [nitore].
Neque lucis novae Aurora
Tam superba tam decora
Victa tuo surget splendore.

Belligerae meae sorti,
Quaeso, o cara condona:
Haec numine conviva
Non sunt fercula digna.

Holofernes
Night in the shade when it is raised,
His shining the light of the sun falls into the sea;
But you beautiful Juditha
Bright sun in my blind orrore
Rises before me fervent heat.

Dark dark
Through you, bright smiles
Miro shining splendor [glare].
Nor the light of the new dawn
So proud of such beautiful
Overcome your splendor rise.

Belligerae my lot,
I pray, dear addest
This deity guest
There are dishes worthy.

Advertisements

About thả diều
writing-challenged opera-addict

19 Responses to music for weekend

  1. dehggial says:

    maybe they ran out of money and asked her really nicely to record all of it herself 😉

    Like

    • thả diều says:

      might be! of course i wouldn’t mind! but what really confuses me is that there are TWO singers singing the role Juditha! may be the range is too large and they got innovative with approach 😀 . Man, had to rush out of this to attend a “John Adam + Stravinsky” concert, what a gear change, brain totally locked up not managing.. now back to Vivaldi to wrap up the night.. alarm is of course set for 7.45am demain!

      Like

  2. thả diều says:

    welcome back to round 2 of Juditha! the task for today is to locate who is singing which gorgeous tune :-D. So, i figured out 1 thing at least: that Sara Mingardo was singing the role Holofernes (and not Holocene!) on the live performance BUT Juditha on the recording! as to why my ears failed and insisting that she sang both roles on disc (AND the 3rd role Vagaus), that will be on the list of things to investigate on this lovely and relaxed evening!
    But first, allow me to re-post this triumphant 1-2-3 tune, because it was the first that sent me looking for this opera actually.. (and hence confusion because it was nowhere to be found on disc…) I usually not a fan of phone-recording as they give splitting headache, but i really love the live-recording of Ms. Mingardo’s voice where you can hear the heft and warmth, something that sometimes is lost during smoothing of professional recording on disc.

    Also a few quick words about VK’s Cléopâtre this morning, which turned out was a re-recording of the concert back in 13.nov.2014: I thought the tempo was, stealing from Stray though i wasn’t sure what she meant by it, quite “square”, especially toward the end i can really trace out a very regular 1-2-3-4 in my head, as square as this (which can only be achieved when you make use of the middle line of the leaf)! VK was recorded very well, much more balance than in the Salzburg version. I’ve also a comment about the opening phrase of the piece, JE Gardiner’s take is VERY decisive, which i really like, it set the mood VERY well in the head. That, and his precise allocation of instruments to set the mood. It’s his interpretation because you can hear almost identical start+take to Salzburg in the version with Antonacci on youtube (also an opportunity to hear clear French pronunciation and how we interpret its relationship to musical phrasing). This version in Amsterdam (still avail for re-listening), it sounds much more like Cléopâtre was having a conversation/self-reflection to herself (which might be the text?) instead of the “determined” version i have in head w/ Salzburg. So there you have it. I might end up posting the version from Graz, now that i’ve got quite a few more under belt to perhaps be opened for more interpretation.

    Like

    • thả diều says:

      Progress:
      1. happy to report the ear passing with flying color at the *beginning* of the opera: Holofernes = a mezzo, Vauges = a soprano. Juditha = un-mistakenly dark contralto Mingardo, singing “Quo Cum Patriae Me Ducit Amore“…, and Abra = a mezzo. Actually Invernizzi might be Vagaus the soprano… yep, that’s the way she sings, that’s her. (she sometimes over-emotes which can be difficult to listen to (such as on live version). In fact one can hear her well after sitting through several round of SM’s Ottone to her … what’s her role.. in Poppea).
      2. Onto Juditha’s 2nd aria, to gorgeous solo violin: “Quanto Magis Generosa“, a 10-min version, lovely. no problem with voice recognization here..
      3. Onto Juditha’s 3rd aria “Agitata Infido Flatu“, super fast and angry, not mistake here. I’ll confess here that i really find her coloratura attractive!! 🙂 Before that was definitely Holofernes’ mezzo voice.
      4. VERYYYYYY nice aria of Invernizzi’s Vagaus to whichever that instrument is, some sort of string, sounds like harp or mandoline, to harpsichord, then Chorus joined in: “Chorus Militum”.
      5. Now to that gorgeous tune to, is that clarinet, that wind instrument in my first video? and lovely Juditha, i ❤ her :-).
      6. That’s the end of disc 1 methinks, nice chorus. onto disc2: whoever Ozias is, another mezzo.
      7. Nox in Umbra Dum Surgit, otherwise named “Nox Obscura” that SM sang up in live video up there, here definitely by a mezzo, no mistake there.

      8. MISTERY SOLVED!!! either the disc or whoever uploaded it to spotify mislabeled the track starting at this point!! so Sara MIngardo’s Juditha’s 5th aria (to lovely plucking string) titled “Transit Aetas” is put under “Holofernes”, and since it’s offset by 1 track every-step from here on out, you can see my confusion! so while we at it, here it is dear readers, plucking to contralto:

      9. WOW, dang, i can see why she switched from Holofernes to Juditha, the role has the BEST music. Here is the 6th aria to superb solo baroque violin, vivat in pace. You can really compare her take here to Invernizzi’s version live on youtube. damn, the violin solo is beautiful!
      10. Lovely version of “Umbrae Carae” by Invernizzi to baroque flutes. I think she sings very nicely in slow arias but inserts in these super-over-the-top emotion during anger..
      11. Onto Juditha’s 7th: “Summe Astrorum Creator“. what can i say, it’s the role that has all the glory and most featured. afterall, the opera is named after her! and highlight MS’s very well, of course i might not be very objective here.
      12. The task is completed! Juditha declares victoria! Abra is happy singing gloria to “Si Fulgida Per Te…” . Next up Vagaus get to sing 1 last aria “Armatae Face”, followed by Ozias’ last aria “Gaude Felix”, then closing Chorus!

      —————————————–
      Conclusion: HIGHLY RECOMMENDED!! This, and “L’incoronazione di Dario” are my 2 super recommended Vivaldi operas (I have sat through quite a few last 3 months.. not all of them big hit to my ears).

      I will add though that I’m not a fan of Invernizzi’s way of singing.. i noticed that first on Handel’s Il Trionfo del tempo e del disinganno, and now here on disc…

      Like

  3. thả diều says:

    And i’ve decided to explore further this opera, to the tune of an entire live performance featuring Karina Gauvin, Mary-Ellen Nessi, Romina Basso.. will have running commentary below video link.., already a pleasant surprise: ALL WOMEN! what’s not to like ;-).

    – goodness, Juditha, the first aria was lovely. by the 2nd, she’s vibrating you right off your seat! which I don’t understand, coz the first aria was just fine! at first i wondered if the music might be too low for her voice.. no idea. BUT, check out that fancy violin he’s playing solo to her aria (time-tag somewhere ~35min)
    – Mary-Ellen Nessi: she has a lovely tone, seems like a nice Holofernes.
    – ok, by 3rd aria, i convinced Juditha’s music is too low for.. Manuela Custer is her name. she’s butchering this angry aria quite a bit. either a bad day or wrong role altogether…
    – aaaahhh, THREE theobos to Karina Gauvin’s aria!! looove, pluck pluck pluck. her voice quite lustrous. ANNNND the chorus joining in!! (starting around min49)
    — OOOOHHHHH, check out that EXOTIC instrument around min53 to the original video of this entire post. I’m sorry to say this Juditha is just *not* doing justice to the aria. actually the tempo is also quite a bit fast. There’s a link somewhere Romina Basso also singing this. seems the role should be sung by a contralto to navigate those low notes.
    – 1hr08min: the true contralto has arrived! YES, she should have been Juditha! what wonderful sound!! *wow* . *wow*. BRAVA. the audience agreed.
    – so interesting to hear the organ, i kept thinking it’s Bach matthews passion 😀
    – here comes Nox Obscura, 1hr16min, to Mary-Ellen Nessi’s pleasant tone. Let me search for translation, coz after this she got killed.. so must be under heavy influence to sing such lovely tune… She has no problem with low notes..
    – HA, mandolin!! the plucking instrument, to “Transit Aetas”. and a HOST of small plucking instruments!! this is her best aria because the range is quite high so no problem navigating down…
    – triumphant horns + chorus have arrive, problem spelling doom to Holofernes..
    – now gorgeous violins to “vivat in pace” @ 1hr38min..
    – argh, more vibrating on low notes… argh argh
    – i so glad she’s done. now the mezzo Abra is pouting… argh..
    – ha! it’s great fun hearing Ms. Gauvin launching into the coloratura. her voice suits this aria VERY WELL. much much much better version than Invernizzi’s… and of course we learn it’s all about revenge because she’s the servant of Holofernes’… deserving applause from ALL singers + orchestra + audience!
    – aahhhhh, my contralto Romina Basso is back…. i really like her phrasing.. (~2hr12min), she gets the last aria of the opera
    – that’s a wrap. very very nice music! Juditha tested my patience though.. but made it to the end. And just off corner of eye i saw *another* full performance with Ann Hallenberg in the role of Juditha!! and Delphine Galou as Holofernes!! Will be on list for tomorrow. 1 Juditha per day is the limit.. (but i can return to beloved other Juditha all day :D)
    – ps for some reason this opera’s finale reminded quite a bit of Giulio Cesare’s finale! so much so i now have just this tune in the head..

    Like

  4. thả diều says:

    Welcome to the 4th round of Juditha, featuring Ann Hallenberg, Delphine Galou, and a host of mezzos + warm voice soprano + fuuuun barocking orchestra + all-female-chorus. Already sounding veeery nice. It’s great where you can listen to musical phrasing and interaction between voice and orchestra instead of vocal issues… they could really improve the color/lighting though, everything looks *so* dark 🙂

    – Ann Hallenberg’s Juditha: takes a first few seconds to get used to her way of singing… but it’s very nice that i’m again talking about music phrasing.. coz she can do whatever is needed in the music and much more 🙂
    – Vagaus’ interaction with the chorus is very nice. WAIT a minute, the chorus has male voice in as well! which actually works very nice.
    – i done sitting through the whole thing, singers are SUPERB. because i sat through the previous 2 shows, only thing about this one is the color of the orchestra, which i’m now guessing is muddled due to TV recording (remember this problem also with Wiener Alcina DVD vs radio?).. of course we shouldn’t be ever comparing with recording.. but i really like Fasolis’ reading on cd (of what sounded like a live recording??). Even the orchestra from show last night has much more character.. But not to complain really, just simply because if you sit through all 3, you can hear clear contrast :-). Ok, i might be done with Juditha for a while.. not sure, coz somehow i now have urge to go back to the first one :-).

    Like

  5. Eyesometric says:

    I am enjoying this last version – Galou! I cannot find the venue though.

    Like

    • thả diều says:

      good morning Eyes, yes, that’s how you should start an opera, with a contralto! it’s Beaune 2011, Basilique Notre-Dame, let me go digging the “source”, here, and here. Somewhere in between there must be a nice review by the cooking-scientist in the comment section.. but i can’t locate yet!

      Like

    • thả diều says:

      ps- while you’re over there, don’t forget to re-check out the post on 1/aug too…

      Like

    • thả diều says:

      And i’ve just sat through the 5th round, same one with Galou and Hallenberg, actually 2nd round of this is veeerry nice, one does have to get used to a completely different set of singers and orchestra.. i still think the orchestra could have been clearer if recorded using microphones instead of via the cameras.. but let’s enjoy the description a bit (from wiki):

      All characters, male and female, were interpreted by women of the Ospedale della Pietà. They are:
      Juditha, contralto, a young Bethulian widow
      Vagaus, soprano, eunuch, Holofernes’s squire
      Holofernes, contralto, Assyrian general
      Abra, soprano, Juditha’s handmaid
      Ozias, contralto, high priest of Bethulia
      An all-female choir sings the parts of the Assyrian soldiers and of the Bethulian women.

      The string orchestra is augmented by timpani, 2 trumpets, mandolin, 4 theorbos, 5 lyra viols (viols), 1 viola d’amore, 2 recorders, 2 chalumeaux (soprano), 2 oboes, organ.

      oh, ps, SNOW!! heavy snow! now i realized you said 7deg _and_ rain, not 7deg _of_ rain!

      Like

  6. Eyesometric says:

    Good afternoon Dr T. I observe you have 7 degrees and rain – similar here.
    1 August – which year?

    Like

    • thả diều says:

      1/aug/2011, sanviching between the links mentioned above… and since i’m in the mood, let’s also remember the link on 15/sep/2013 that Anik heard live, i’m *still* thinking about that!!!
      7-deg of rain? i still hiding inside the blanket… but vaguely remembering something about snow!

      Like

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: