After a couple of days more of listening, let me try to articulate a bit my primary “complaint” in the previous post regarding the conducting.. with some figures of windspeed for illustration : constant .

That’s the plot of both volume, speed, and direction of the orchestra (particularly violins): regular (rigidly) in tempo and uniform in volume.

Add to it the harpsichord going at same speed with its own volume. They plow through, violin smoothly, harpsichord “tum-ta-rum, tum-ta-rum”, regardless of “obstacles” <– singers, phrasings, content of arias.  The opening chorus was particularly “smooth” (hence my comment about the women of Bethulia snoozing).  That was the impression for the duration of the entire first quarter of the work until a “fast” aria by Vagaus arrived.  Then magically it switched to FAST (2-gear mode).  Sitting through, i thought he took the fun/energy/jolt right out of the music, giving it the precise definition of “boring, smooth, soothing, lovely” that some associated with “early music”. At intermission one of my friends said the exact same thing, how lovely and smooth and soothing it was (she didn’t know the story), until we noted there should be tension, presence of an army general, and soon a beheaded scene..  So, for purpose of illustration, what i was desperate to hear (that Sardelli provided readily in the clip in previous post) were: (from random figures i downloaded from net):
channeling + accommodating singers:
and equally important: add excitement to compliment the singers + bring out the stories! 🙂

About thả diều
writing-challenged opera-addict

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