screencaps for the weekend

I was doing some chrono-charting in head at 4am this morning the evolution of my opera interest and how I arrive at watching this opera. It’s safe to say for now a screencap like this would fully catch my attention on several levels (through the evolution).

Anna Caterina Antonacci as Medea, Sara Mingardo as Neris, in Cherubini ”Medea”, 2008, Turin

The charting of S.Mingardo is much easier, i “heard” mentions of her singing many times on Anik’s blog but didn’t know the repertoire.. until 2 years ago when first “discovering” her on the 2006 Barcelona’s Ariodante, followed by intro via Brahms’ alto rhapsody and Händel’s “Il trionfo del tempo e del disinganno”.. and before long it was heavy-duty “obsession” with everything Mingardo-related on/off tube.. Naturally one arrives at “solo un pianto” with the gorgeous bassoon. And while busy “listening” ACA suddenly emerged from below the sinking ship..

"snap out of it!!"

“snap out of it!!”

The charting of ACA is much more winding, and dated back to true-WS-infancy when Purity posted a fun snip of a mature lady entering a bath (with the fun accompanied “interview“).. Given my history of liking Berlioz’ “La damnation de Faust”, followed by love for Roméo and Vitellia and Händel, it’s inevitable. In fact my very first post on her “D’Amour l’ardente flamme” was on “how strange” the tone was but after re-arranging brain to adjust it became and exploration of “phrasing”. Even then, it was not that easy to follow her for some reason. My 2nd exposure was actually the other Berlioz, Les Troyens, from London, with heightened discussions on Eyes’ + Anik’s blogs. Put it down as perhaps not quite the right time yet?

"an appreciation of hands, and intensity"

“an appreciation of hands, eyes, and intensity”

Around the same time of Cassandra was the discovery of her Vitellia. Then, thanks to the live “Agrippina” with BLO (Boston Lyric Opera) in 2011 (a live one is a great way to finally have a full feel for the flow of an opera!), it was the discovery (on tube) of her Agrippina and Rodelinda. How to say it, it’s not really “full” obsession per-se, but her characterizations, i’d say, is so intuitive in body language and matching phrasing that it (minus the flailing) works right out of the box for me most of the time. (I’m guessing biased-ly i simply ignore the ones which i don’t get).

content of Medea's suitcase!!!

the content of Medea’s suitcase!!!

I saw this Medea already exactly 1 year ago, and remember instantly liking it.. but perhaps not as deep as now. Generally speaking, deadlines are great for obsession-building projects, as i would be working 14-20hr for 2+ weeks with repeated music as “background” to get a “feel” for it. This year’s obsession time-slot coincided with Dehggi’s report from Wigmore Hall live concert with ACA. This was the right trigger, the same way S.Mingardo’s Brahm Alto Rhapsody was: something completely different from the usual repetoire I listen to.. and yet one way or another I’m motivated to listen; that is how one (I) get properly introduced: one’s mind is fresh for new ideas with nothing to “compare” to. The *very*-late-to-the-party discovery of her Monteverdi is then the icing on the cake (I’m using this to comply with its general meaning… though if up to me i’d say it’s the cake! because i always scrape out and throw away the icing and enjoy the fluffy american cake instead–the texture is interesting and it’s got much less sugar 😀 )..

The French repetoire is still quite a foreign concept though.. and it might still need some more time, as it’s not out-of-the-box working like Händel, Vivaldi or Monteverdi. Haven’t seen Les Troyens from Châtelet 2003, and as much as I’m obsessed with her Nerone, it is in this production of Medea I feel one can truly appreciate ACA the compelling/magnetic-singing-actress. The entire 3rd Act with both her and S.Mingardo. I was struck by how spontaneous they can be, very intense, you feel nervous every time Medea is alone with her own thoughts.. but before that, you already feel on edge as she laughed hysterically while Neris *sprang* to feet violently grabbing her head to try to knock some senses into her.

So, this is a long winded post of appreciation for ACA. I would have come to every single performance of this run, every time she sang it (she debuted in 2005, and finally this was taped in 2008). The production also benefited greatly from Evelino Pidò’s very brisk and accentuated conducting. Not knowing much, one usually can only get a feeling from what one has at hand. This one, on its own, is quite a rare production for the intensity ACA provided both vocally and through acting. While watching I was processing some thoughts that it would not be easy to find someone else who can do this better. There seems to be 2 camps, one with those who attended the performances live, and one who clings to Maria Callas (i’m guessing if you’re in the latter camp everyone else’s “attempt” (on anything M.Callas ever sang) is trash?). There was some comment on the staging.. It didn’t bother me at all, ACA made use of every piece of space + lighting. The 2nd act with the these two surrounded by all men painted quite a picture of how dangerous the situation they could have found themselves in (given I’ve just read the synopsis of “La Ciociara” from SF opera). The music flowed nicely (not sure which period, works well for the ears during working.) Here are a couple of reviews from 1st camp, which also contain comments on both of these singers’ acting skills.
review1, review2.

Back in 2007 she gave this very extensive 5-part(!) interview detailing her choice of music (though sadly you can read there that she abandoned Händel, citing the technique being too different than the direction she was heading which was toward the French rep). One interesting thing she discussed there (or might have been somewhere else 🙂 ) was her choice to “re-classify” herself as a soprano because the mezzo roles were getting diminish-ly small (which got me thinking of VK and her “strange” disappearance recently from the opera scene…) I don’t imagine at all she meant that the limelight is lacking, but rather, for such an intense artist a significant level of challenge is desired. Medea was a clear challenge, one in which she triumphed. (Screen caps are from this production.)


About thả diều
writing-challenged opera-addict

40 Responses to screencaps for the weekend

  1. dehggial says:

    great captions! That interview is in French… might need to wait until Monday.

    in my experience so far Callas fans are ruthless and blinkered. Yea, she was great but so are other singers, in their own ways.

    • thả diều says:

      (oh, i lost track of where this went 🙂 )
      was hilarious to read some comments, either “wow she’s great the best of *all time* definitely better than XYZ” or “wow she sucks ABC forever” blah blah.. i think it’s easy to get caught in the trap of “complimenting by putting others down” instead of complimenting the effort on its own merit (which i’m also guilty of..)

      the more i watched it the more i’m impressed.. the fact that you follow the story and worry for the characters instead of realizing they’re singers.. got me reminded of this movie “breaking the waves” <– the last time i was that worried for a character and kept thinking there's no other way to get better except when she's killed!

      (ps- i now made it to part 3, now i get it, Nerone launched into drug-craze after being rejected by his mother!)

      • dehggial says:

        wasn’t that film hard to watch or something? I skipped it.

        But more than even singers, what the hell was up with orchestras back then? They sound so old fashioned, especially the violins, really sort of fruity and schmaltzy.

        • thả diều says:

          orchestra smoothy! 🙂
          (that movie, yes, very difficult (for me), there was a screening at school, i saw once, got depressed the following whole month, no intention to watch again.. but i’m always very impressed how great it was, esp. the actress.. how you can come out thinking there’s just no way to get better until you’re dead! urgh!!)

        • thả diều says:

          ps- and connection between the movie and this ACA’s Medea: you’re afraid what she’s going to do next when alone with her mind, with a chaotic/unpredictable escalation of desperation–the beginning of which got her and Neris into the situation where they’re alone on the bank with tons of soldiers who could have done anything to them.. in fact the soldiers were “tossing” Neris around for fun in the back while making spiteful gesture/touch at Medea as she crawled the ground trying to explain her “reasons”

          • dehggial says:

            sounds horrible!

          • thả diều says:

            (imagination going overdrive)

          • dehggial says:

            to be fair, vulnerable people + opera soldiers = disaster waiting to happen.

          • thả diều says:

            urgh, heavy duty..
            do check out that entering-the-bath scene sometimes, pretty fun for the mood 😉 , i was debating but have now entered 2nd round of agrippina, the baritone will get a try tomorrow probably.. as i realize les troyens is tomorrow , not today, so happy handel brain :D)
            oh, a bit unrelated, i was searching for something.. can’t remember, but found SM is now sporting blond!! (just got tix to see her on this side of atlantic..)

          • dehggial says:

            blimey, she looks like a school mistress! Be good or she’ll shush you 😉

            oh, the bath, let me check!

          • dehggial says:

            oh, too funny! they do need to play on the funny side of coloratura more often 😀

          • thả diều says:

            i include the “intereview” excerpts <– was translated to english from italian, equally charming i find 😉

          • thả diều says:

            ps- this one, not the 20-page interview in french 😀

          • dehggial says:

            cheers, I read that with a Swedish accent. I loved “can enamelize her
            opening aria” and “shows
            a certain soiling of her instrument” about Gasdia. I think I’m going to use that when someone can’t hit notes properly 😉

            “and anyway after singing 67 title-roles I am quite happy to sing the young girl part” – ahahaha, Gasdia, that’s two digs in one phase! She’s not bitter at all 😉 But: “and in the event Gasdia does have nice robes and a florid
            bosom….” bless Il Corriere. A florid bosom! And they also had to print that she’s “the bad girl” irl for liking pop music. Teehee! Ok, Gasdia, we’ll let you pole dance next time.

          • thả diều says:

            now u got me curious, am gonna search for her on tube 😀

          • dehggial says:

            I won’t ever be able to listen to her now without thinking “that’s the singer who got publicly jealous of ACA” 😉

          • thả diều says:

            italian sop , i heard lots of gossip, made me think we should all learn italian to find out what we miss 😉

          • dehggial says:

            soprano soaps! it’s probably very entertaining, we could run it through google translate so we get “voice soiling” and “enamilising” 😉

          • thả diều says:

            that sort of below-the-belt fine language requires a personal touch 😉 , i must admit i enjoy that write up quite more than usual .
            (ps- “soap”, that s what it was.. i couldnt remember how it s spelled 😉 )

          • thả diều says:

            Let me “reply” here, at least it’s a bit more related to the subject..
            “Les Troyens”:
            So, I sat through 2.45hr in office, walking home missed 1hr, caught last 1/2 hr on radio.. the first impression: first, it was nice music for Cassandra, then LOUD, then suddenly all quiet.. then last thing i heard on last hour was some really nice “duet” between 2 mezzos, then “je vais mourir” (very somber, quite sad…).. but the singing was quite intriguing and beautiful, so i thought it was the proper time to visit _finally_ les troyens from 2003 (shhh, i got it non-dvd format 😉 ). So, here’s the summary up to 3/4 of Act 4 (bedtime…):
            — First, it’s got FOUR mezzos!! with some really nice duet between 2 of them to start Act 3. This version has S.Graham and R.Pokupic, very nice. The other 2: S.D’Outrac and ACA.
            — The gist: The Troy people wanted the horse. Then when their people got killed, the king + men ran off abandoned the women who committed mass-suicide with Cassandra leading the way (was a very nice scene actually, with ALL female chorus signing along with Cassandra, before the GIJoe showed up, that’s totally unnesc and messed up the beauty the women created..). Then said king showed up in the next town w/ his son (D’Outrac in trouser) acting totally arrogant and wooing the princess (S.Graham). princess all fluttered and ignored her people and spending all her time dueting with the king.. and somehow i’m guessing the enemy is fast approaching, hence her “je vais mourir” coming up in 5th act.
            — The Music: it’s like Berlioz (typical Berlioz?) changed his mind 3 times and wanted 3 overtures and 3 operas in one.. was very intense first 2 acts involving Cassandra and war (those poor women).. Then suddenly there’s a reset button and we’re off to la-la-land.. reminded me somehow of La Belle Helene 😀 … THEN another re-set button and here we are in Act 4 with princess (S.Graham) and king duetting (Kunde), apparently a famous one, lots of clips on tube..
            — The splitting personality of this opera explains my confusion: when first catching glimpses, i couldn’t figure out why it says “less than 1/2 way through” but suddenly ACA had a curtain bow to huuuge applause.. along with that tenor she duetted with right at the first few minutes.. bow bow, clap clap, bow bow , etc. Then re-set button to enter lala-land.. it turns out that was the end for her! (unless they choose to bring her back in 5th Act for some minor thing, else normally i’m guessing Cassandra and that tenor can climb up to the seats and watch the rest, or go home to sleep.)
            — quite nice music. Once one gets past the LOUD bit (Cassandra has to navigate that), but otherwise some quite nice soft singing…. I picked 2003 because of JEG and his attention to the orchestra (in case it wasn’t loud.. he also chose period instruments and monteverdi choir.. seems like the place to start instead of the London2012 much more elaborate version? who knows, Pappano conducted that one..)
            — done rambling format, time to sleep 🙂

          • dehggial says:

            how long is this opera? Seems very long. I thought about seeing this production but I didn’t like Berlioz then… but 4 mezzos, that seems like a bad decision on my part…

            Kunde is the chap who sang Tito in the Aix-en-Provence production with Sarah Connolly and Carmen Giannatassio. That’s all I know! He’s all right.

            I liked the bit that I heard, though not much ACA 😉 I should investigate it at some point.

          • thả diều says:

            i found the clip for you to get started whenever the time might be 😉
            (actually when i heard the broadcast i was already thinking it’s the right music to introduce, but this staging is priceless, even if it takes a bit of time to get to the music…, must be mix of 5th element + matrix ?, i can’t tell if D.Barcellona enjoyed it or not)

          • dehggial says:

            cheers for the work you put into the Les Troyens starter pack 🙂 I’ll get around to it perhaps tomorrow.

          • thả diều says:

            Here’s a “Les Troyens for dummies mezzo-lovers” guide 😀
            –It’s got 2 parts that can be viewed as totally _unrelated_ , in that they don’t need each other. So, either you care for Cassandra, then you want Act1+2 . If you care for Didon the queen (not princess) and the King who abandoned his own people, you move right on starting Act3-5. Musically they’re VERY different. It’s like Berlioz wrote 2 separate things, but was told need 5 epic hours so he put some light “glue” to patch them up. So, below i break down the 2 parts, skip promptly as you’d like.

            Part 1, Cassandra: Here, she sings RIGHT OUT of the gate, like Harteros in Forza, if you miss the beginning due to running late for train and you’re in Germany, that’s it, you miss Cassandra 😀 . First, she has a 7-min solo, then immediately a 15-min duet with the tenor. That’s Act 1. Act 2 opened essentially with her again and all the women who were abandoned.. so she has a duet with ALL the women, then they all die. It’s quite a dramatic scene, but i wonder if you feel the drama unless you saw Act1 where *they* took in the horse and soldiers dying.. I’m offering first Jesse Norman’s take for beginners! (i find her very effective, though the all-female chorus is too “smooth”).

            here’s a clip uploaded by earworm, note the difference in chorus take. ACA said in an interview J.Norman came to see her performance in 2003 and they went out for dinner 🙂 .


            Part 2.1 Act 3, queen Didon, her sister Anna, the duet. This is where a mezzo-lover should start if wanting a quick intro into this piece. Didon has a LOOOONG soft lovely solo, then tender loving duet with her lover (half-) sister. The beginning of this Act is HUGELY contrasting in music to Part1, hence my comment on the reset button.

            Part 2.2, Act 4, queen Didon and the king. More strangely prolonged minuets, like you’re in a different world.. to start. then the duet between them, as well as duet between Anna and another bass (L.Naouri <– very good, compared tot he wildly vibrating bass i heard on radio last night. interestingly, that bass last night was Claudio in the Agrippina i saw with BLO and he was good there, guess there's a huge diff between singing Händel and Berlioz 😀 ).

            Part 2.3, Act 5. This i haven't gotten to via watching, but musically it was very lovely, more duet between Didon and Anna, then Dido somberly predicting her death.. This is a very famous aria it seems, 20min! i haven't gotten to that yet, but remembering it was the reason after 5hr on radio that i wanted to go back to listen to this whole thing again :-).

          • thả diều says:

            ps- wow, just got my hand on the london2012 version. wow! as someone said on an review, LaAntonacci is on a different plane. amazing conducting too! her voice sounded much more round (recording? she’s also 9yr older, as she said, as well as the production much more dramatic and requires a different approach of acting. damn!)

            Let’s turn this now into running commentary on london2012 version:
            — i can see why the tenor looking at Cassandra with deer-in-a-headlight look: nobody can see what she sees!
            — *very* impressed with her acting!! she’s completely possessed!
            — amazing conducting to build the drama, completely navigating her well to highlight her line, allowing many pianissimo! and gooorgeous phrasing!
            — as i suspected, this tenor is a bit too loud (his tone) for her, essentially he almost covered her in duet (Bryan Hymel)
            — i should mention how much i love her running around bare-feet.
            — wow. Act 1. she exceeded my expectation!
            — onto Act 2, more POSSESSED Cassandra. You know if you have such a woman in your village, i’m sure all little kids would run screaming from too! (at least where i grew up!)
            — who the heck is this Napoleon-looking old man? i really like Pappano’s shaping of the orchestra.. while all the women rolling their eyes at Cassandra..
            (– interesting, her voice sounds very warm here. Something i’ve noticed too, in some recording she’s quite warm, in others quite harsher..)
            — oh, found the LOUD part: Cassandra is singing over all the male characters, all male+female characters, full orchestra! this must be the end of Act 1 still! everyone is SCREAMING! (and a bit too much close-up, i like the camera from high angle in Chatelet more as it gives you perspective.)
            — ah i get it, this is where they celebrate taking in the horse, here it comes! while Cassandra is panicking and running mad.. here comes her _other_ solo bit as the door is closed with the the horse inside!! to very nice woodwinds! (flute?)
            — and in her desperation, we get to her the chest notes!!! yay! 🙂 horn + trumpets celebrating in the background . she’s the only one on the outside, CRAWLING on four feet with ears on ground listening to enemy footsteps!
            — that must be harp i hearing! must have cost them a fortune making that horsy! i hope it ends up a museum somewhere!
            — ok, beginning of Act2: barking from LOTS of male characters, all screaming! to LOUD orchestra (the enemy has breached the compound they cried!)
            — 12 min of that, then they ran off. now the abandoned women..
            — wow, loud!
            — and the super tall bass from Enescu’s Ullise’s is entering a sword fight w/ Cassandra!
            — somehow all these loudness is a bit overkilled.. in that it takes away the intensity of the scene..
            — and here’s the bow, as she’s heading home 🙂 we’re now entering Didon’s palace.. (or i go home now with Cassandra, it’s time.)

          • thả diều says:

            — To get away from “loudness”, i listened to finale of Ulisse, and now back at it again, this time radio broadcast of “Les Troyens” from Milano 😀 , with Pappano, ACA, and this time Barcelona as Didon, Paola Gardina in trouser role! And I just read on the comment there the mezzo who sang “Anna” died in that plane crash in s.france earlier this year i believe.. how sad..

            — Actually i’m in search for a version with enough description in orchestra but not “so loud”, not sure if it’s quite possible.. But so far, this radio broadcast strikes the balance very nice, one can hear the trouser-Gardina, and ACA was heard quite well.. Also the tenor wasn’t overpowering her..

            — must be some kind of … not sure what the word is used for the sort of people who must do things in order, compulsive? I simply can’t skip through, must listen from beginning to end.. hence i powering through the LOUD part, but so far, this version i find has much nicer balance than London.. Let’s hope we get to hear Barcelona before my bed time.. else will have to start from the beginning again tomorrow 😀

            — yes, that’s what i thought i heard, HARP! during the women’s scene. I think this is the same orchestra Pappano hand-picked for many of his recording, e.g., Bach Mass w/ SM, Aida w/ A.Harteros.. hmm, may be not.. but i really like the sound balance.

            — WOW, Didon’s opening aria sounds quite demanding! i guess one takes for granted when you hear S.Graham sings as the first experience.. D.Barcellona has quite a bit more vibrato.. and is very much driven along with the orchestra, the string section is very beautiful…

            — and more noticing: Anna’s range is very low! R. Pokupic did a very nice job in duet with S.Graham.. here i a bit more bothered by the DB’s vibrato.. but they’re duetting for like 10min, *great* music!!

          • stray says:

            Not to cast aspersions on Berlioz, or 5 hours of Berlioz, but I’ll take Purcell for the Carthage bit and maybe somebody can adapt Christa Wolf’s version of the Troy bit, where at least Cassandra gets to hang out with the Amazons for awhile and isn’t done in until Mycenae, from which it’s an easy stroll into Strauss territory 🙂

          • thả diều says:

            I’m gonna have to investigate.. coz you know this is only the 2nd time i hear the name “Dido”.. “Didon” ?? and now i’m guessing “Je vais mourir” is equiv to Dido’s lament between the 2 composers?

          • stray says:

            Sometime after The Judgement of Paris, etc, Troy falls to the Greeks after ten years of siege, and Aeneas is told to escape with his people and go found Rome (cf Agrippina, Poppea, Tito, Tosca). On the way he stops off in Carthage and strikes up a thing with Dido, Queen thereof (Dido & Aeneas … or Didon & Énée in Berlioz terms).

            Meanwhile, Odysseus (aka Ulysses), whose idea the Trojan Horse was (Les Troyens, first bit), attempts to go home to Ithaca (Il Ritorno d’Ulisse in Patria); Idomeneus goes home to Crete and meets a kid on a beach (Idomeneo); and Agamemnon, supreme commander of the allied Greek invasion, goes home to Mycenae, where hilarity ensues (Elektra).

            This last is partly because Agamemnon’s wife Klytemnestra is pissed at Agamemnon’s willingness to murder one of their kids (Iphigenie en Aulide, Iphigenie en Tauride) in order to prosecute a pointless war over Klytemnestra’s sister, La belle Hélène.

            I’ve probably missed some, but that’s the gist in opera history terms.

          • thả diều says:

            (y) (y) (y) <– thumbs up in fb format 🙂
            (i read the Troy story when i was little, that was the extent of my history lesson — then it was communists!
            But this isn't part of mythology is it? That also coincided with my "learning English" period, hence the whole thing is a mess..)

            ps- i have to laugh now reading my “guide for dummies” with phrases like “the two parts have nothing to do with each other” 😀 😀

          • stray says:

            They could totally do the two parts as separate operas and I would be fine with that.

          • thả diều says:

            i read about 10yr ago they actually had it at tanglewood w/ ACA (cassandra) and ASvO (dido) and Levine did split it into 2 nights!

      • stray says:

        [Backing away slowly from the intersection of Lars von Trier and Euripides]

        • thả diều says:

          oh, you know about him? i was clueless until it was too late 🙂

          • stray says:

            Yes, there was much discussion of that flick back in the day, though it’s pretty tame by today’s LvT standards.

          • thả diều says:

            let me take it down here to untangle it from the mass (mess) above, look what i found 😀
            (this must be only the 2nd time i am listening to Purcell! clearly late to the party.. first was only 2 weeks ago hearing ACA in Dido’s lament = first time heard of “Dido”!)

            now running commentary
            — GREAT music!
            — great chorus!
            — lovely solo by Dido, she gets some really lovely and strong low notes here! lovely sustaining line. ok, i addicted am afraid…(no help is needed yet!)
            — Accademia degli Astrusi, please search for them, they’re gorgeous!!
            — what waaaaaaassss , yes, please do coloratura like this, please.
            — so i’m assuming this whole 1-hr thing is taking place in queen Dido’s palace, i.e., equiv to Berlioz’s Act 3 :-), if so, this lovely duet coming right up must be between Dido and Anna?
            — time to get the libretto
            — ❤ ❤ the duet ❤ ❤ "Ever gentle, ever smiling, And the cares of life beguiling,"
            — ack, a biiig vibrato by a mezzo… (Edit 2.50am oops, i've now re-read the cast: it is L.Polverelli with the vibrato! now it makes sense, as i remember hearing and having difficulty digesting her Romeo vibrato way back in 2010)
            — SOOOOOO GREAT singing..
            — GREAAAAT MUSIC!! this must be the end of Act 1. ❤
            — quite a change in mood, "The Cave" says the libretto…
            — the sorceress.. with vibrato.. i don't handel this type of voice too well.. is this normal? or is she singing too low? This was how Holofernes was singing last week in Juditha…
            — Let me mention how lovely ACA sounds, if i somehow failed to toss that out… and L.PoverelliYetzabel Arias Fernandez's voice is also great! here they are, duetting! it's interesting ACA's voice is a bit darker! and she gets to hit quite a few lovely low notes!
            — WOW! LPYAF’s voice!!! gorgeous for this music!!! quite a bit close to ACA’s in color to tone though, a bit more focus, compared to more round for ACA. gosh, gorgeous voice, she should sing this all the time, forget about Romeo! (<– Note edit above, i thought it was LP hence the ref regarding Romeo.. but it turned out it's YAF here and the vibrating one is indeed LP…)
            — amazing orchestra.. we remember this group of course, from their various outings to Wigmore Hall with SM..
            — baroque drums 🙂
            — our vibrating mezzo is Æneas , duetting with ACA's Dido. I'm getting more biased now probably, but her voice is perfect for this music 🙂 (same for LP)
            — yes you sailor! give some accentuation!!
            — simply lovely voices, ACA + YAF. i better download this for the phone listen on the road.
            — goodness, the contrast…
            — “crocodile” <– i want to hear her pronouncing it again 😀
            — "Away, away! No, no, away!" <– yes, go away, leave her to me!
            — that must be the famous lament? “remember me…” quite an interesting take.. almost from a 3rd person point of view, sort of after the soul has been separated from the body and one looks back to reflect.. (reminded me of Mahler..)
            — and the soft “thumb, thumb” from the drum to the chorus.. giving one the feeling of slow breeze through the grass field..
            — clearly more room to explore with other singers here..

            WELL! how about we go directly to the source!! the official YT’s channel of Accademia degli AStrusi itself, for the video version on a separate performance a couple of months later!
            — and we get to see ACA in glasses 🙂
            — i’m sure somebody has said something to me about this piece before (Stray?) , well if it takes ACA in glasses, it’s well worth the wait! think i was hung up on “english”..

          • stray says:

            Fair warning: Aeneas is usually sung by a baritone.

          • thả diều says:

            ja, i was reading up about it.. fun that they get it all in with female cast, i don’t mind, but i do have hearing problems with vibrato (is that what you call it? can you hear it? )

          • stray says:

            I’ll have to listen again, but it may not be fair to judge anyone’s singing given the typical RAI (i.e. really terrible) sound engineering job.

          • thả diều says:

            which one? i’m confused now by my own messy comment-section 😀 . Do you mean Purcell? There’s also a video version, i think taped by Accademia degli Astrusi, did you see the video link i provided? here it is again.

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