stream alert

now, orfeo ed euridyce on medici tv:

Edit: running commentary
* came in just at the end of “amour viens rendre a mon âme” (equiv in italian…)
* the hell scene was *great*!!
* now intermission.. my browser sooo old and messed up every time playing flash is a challenge.. now it’s working except can’t find mute button, so one gets to hear very nicely how a harpsichord is tuned 🙂 . oh, now the oboist is practicing some tune…, along with drum…
* I LOOOOOVE when the orchestra is tuning, sooo much suspension + anticipation, wonderfulness of “live” experience
* suuuuuper lovely flute.., annnnnnd greeeeeat strings accompanying!
* orchestra sound sooo gorgeous, ❤ ❤ ❤ , so many layers, small details
* NOW OBOE!!! “Quel nouveau ciel pare ces lieux” (Italian version..)
( oh no, someone knocking on office door…. go away.. do not disturb me during this scene!!!)
* gosh, i particularly looooove this whole section in the piece… waoooooooow it’s beautiful
* from now on, when i rave about orchestra, this is what i mean, let’s just make a copy of this whole scene… (at this point we ought to mention Laurence Equilbey? 🙂 )

how to play soft

how to play soft

* ok, i can’t get the tune out of head, and for me this opera is distinctively ingrained in brain in french for some reason, it just fits the music so much more natural! so, how about an audio of lovely section mentioned above, but with Stéphanie D’Oustrac, en français, naturellement.

About thả diều
writing-challenged opera-addict

27 Responses to stream alert

  1. Eyesometric says:

    Late to the party but tuning in now. Do they archive?

  2. dehggial says:

    Probably Franco’s fans will record it 😉

    • thả diều says:

      was waaaay too busy with orchestra to notice him :p (until i got disturbed, grrrr, just when Hartelius appeared too… at least had peace through that scène tranquille)

      • dehggial says:

        You didn’t notice him in Amour viens rendre? Task, task. I didn’t listen, but I’m pretty sure it’ll surface.

        • thả diều says:

          actually i missed the whole 1st half, tuned in *just* as he finished the last phrase. I did notice him during “che puro ciel”, but then LE was very distracting.. 😉 as well as the ENTIRE orchestra, took ALL my attention…
          (isn’t this what Gluck wanted, that we also notice orchestra instead of just singers? 😀 )

          ps- WOW, i back now to la monnaie with Stéphanie D’Oustrac, now the self-talk during Act 1, super love that performance too..

          • dehggial says:

            I wasn’t that impressed with SdO as Orphee…

          • thả diều says:

            i like her tone. and simply that it “fits” in with the orchestral music so well. one could say i *love* the work on the orchestra side (after seeing them live at NEC in Jordan Hall 2 yrs ago). if we take the same aria “amour, viens rendre..” for example, i don’t think she carried the emotion across in particular. so on the whole, if viewed in big-picture “self-reflecting” sort of way (Orphee lamented a lot alone in the country-side no?) i like the fitting of her tone a lot, esp. during tranquil scene i put here and at the beginning. elsewhere (in particular the 2 main arias) i don’t think the emotion was carried out strongly.

          • thả diều says:

            a bit more elaboration:
            La Monnaie was done with a very particular staging where “we” saw that euridice is in a different world (perhaps) and whatever Orphee was saying is almost self-talk (or at least how my brain digested it). in that sense, the entire performance was almost a monologue. i have not seen SdO in another Orphee fully staged differently so i can’t tell whether what she did here was intentional for this staging or this is how she sings in all cases… so, for this particular setting, i have image in head of Orphee walking alone in the wood kicking drying leaves gently and self-mumbling reciting instead of fully (actively) engaging.. and that’s what i meant by “fit”.

          • dehggial says:

            I guess you could see it that way. I’d still prefer it if singers were not sacrificied for the general purpose of the production.

  3. thả diều says:

    done listening to 1st Act, and we’re gonna remain different when it comes to CT…

    * slowly making my way through 2nd Act, after a couple of rewind for orchestra + flute + oboe: wow, super sensitive and touching “Che faro senza Euridice”, heart-breaking.. and the lamentation following, heart-breaking..
    * i running this without watching.. to get a better impression of flow… and not quite feeling it yet from Malin.. may be 3rd round 🙂
    * ballet music: SUPER NIIIICE violins on a bed of harpsichord..
    * and that’s a wrap for round 1.5, will come back tomorrow with another run to let the music sink in 🙂 (like very much the chorus also)

  4. I was doing the same thing last night, only on Twitter and between 8pm and midnight, while also drinking and chatting with people from all over. Very hungover all day today, causes multiple.

  5. Loved this interview too.

    • thả diều says:

      you know i almost never understand her because she speaks sooo fast!! perhaps you could summarize?

      Edit: unless there’s subtitle on the video that i don’t see? i don’t run flash.. just html4 player or whatever the hell it is, doesn’t show anything fancy, but at least play video

      • With pleasure.

        – Why this important opera? O&E a milestone opera in the music history – announcing the reform of the genre; it simplifies the vocal lines, abandons the pyrotechnics of the previous era, makes the words understandable.

        – She loves the first, original version a lot since it’s the first appearance of the work, but she doesn’t mind adding a hit or two from the later versions, the Dance of the Furies, for example, or the famous flute solo, which all flutists have to work on sooner and later, herself included (she used to play the flute + the piano as a young person).

        – There are also some interesting period instruments involved, like the harpsichord, the cornet, a thunder board… There’s quite a lively instrumentarium. And the music was written for precisely the instruments this kind of period orchestra has; the balance within the orchestra is easily restored [unlike with modern brass, for ex] and the ‘sound calligraphy’, the sculpting of the sound, more amenable. The strings are also period strings, bows are different… It all creates a certain sound malleability that allows for more subtlety with this kind of music.

        – Has a soft spot for O&E because it was one of the first operas she discovered as a student at the Sorbonne, at the time when she herself sang in a choir.

        • thả diều says:

          oh how nice, many thanks!! great to learn a bit of her background too :-). i can understand bits and pieces of N.Stutzmann’s interview but got lost in LE’s every time.. i wonder what she thinks of the “french” version, the music is a bit different no? (at least the duet..)

      • No subtitles, alas. The thing was made for the French TV.

  6. Pingback: Orfeo ed Euridice by Laurence Equilbey streaming on demand | Definitely the Opera

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