sunday midnight music

i was going to write a loooong rant on the detroit symphony orchestra stream broadcasting’s exclusion of N.Stutzmann’s (and S.Mingardo’s) visit next week (i have tickets for both events!! *.and.* also in DC!!) but have since calmed down and was seeking music for the working night… how about this contralto! (was quite a suspense as we hear her voice first before seeing the face.. and i was in search particularly for the piece as to discover other orchestra’s and singers’ takes..)


(they still managed to squeeze a CT in there! wonder which role he’ll sing, may be the 20th witch?)
—–
Edit:
— As i suspected, the CT took over the job of the witch.. the *same* role that I saw in a clip just before this posted clip, with N.Stutzmann herself!
— omg, *another* CT singing that earworm duet “to mar the hunting sport”, the single most sticky tune this past whole 3 weeks!
— here’s the screen capture for the night, queen Dido contemplating joining the girls duetting about what fun life there is.

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About thả diều
writing-challenged opera-addict

One Response to sunday midnight music

  1. thả diều says:

    ok, this piece is some sort of drug i tell you.. after 4x looping with queen Basso, time to explore J.Norman! (and there is also Thomas Allen, in case you forget–i never will–he absolutely rocked as Arnalta, every time i watch Poppea now and hear the various tenors trying to tumble around with the phrasing “trying” to be funny i revert back to his phrasing, simply amazing… but i digress.. and while on digressing.. i realize what the deal is with Arnalta: the music sits *right* at the register break for the tenor! quite interesting to hear them navigating that while trying to be feminine.. something he was simply gifted at!.. ok, back to J.Norman:)

    – wow, chorus is like at a mass 😀
    – sloooow tempo… but i’ve managed past thanks to JN’s phrasing.. she has an amazing voice!
    – square tempo! a bit way too regular for Belinda i think.. and chorus a bit too smooth and marching along almost as squared..
    – interesting, can we jot this down as the contrast between baroque conducting in 1960s versus 2010s? or US vs Europe? the regular tempo + smoothness do remind me a bit of how maestro Pearlman handels Boston Baroque (but his is much more regular + smooth, to the point of putting you to sleep with Purcell — it’s a bit like this with this version.. 1/2 way through and am tempted to switch the channel..)
    – ha, just as i filed a complaint, here comes “oft she visits to the mountain” at 29m50s, i quite like the use of harpsichord with this in combo w/ viola-da-gamba + woodwind (bassoon?) quite similar to how E.Haïm built the dynamics (haha, and the “square” violin entering right after, square 😀 ) .
    – JN is on a different plane: she comes in and manages to clear out all regularness, just her phrasing–telling you exactly what Dido is saying musically
    – “away! away..” <– much more convincing than R.Basso's.
    – W.O.W . Listening to the entire piece to see how Dido arrived at the Lament.. and you realize this piece is suuch a powerful vehicle for singers such as JN, SG, ACA (I haven’t finished listening yet to S.Connolly) , but wow, this is how to bring the haus down with Dido. w.o.w , she’s amazing.
    – damn.. that was sad 🙂 , let me pick self off the floor and go find something more cheerful.. (wo)man..

    Liked by 1 person

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