music for the night

Nathalie Stutzmann conducting Orfeo55 and duetting with Emőke Baráth, all Händel i believe, GORGEOUS music!! this program was live 25.Aug.2016 (today/yesterday) and now available for re-viewing. Click on the photo or here for the loooovely gif, then go directly to culturebox via this link.

(ps- I really like E.Baráth’s voice, it’s on the warm side, she also sang the high-mezzo part of Mozart mass in c-minor.


About thả diều
writing-challenged opera-addict

35 Responses to music for the night

  1. Couldn’t watch the Live, so tuned in today, but the Replay won’t be available till August 31. I guess I’ll have to be patient.

  2. Anik LaChev says:

    that gif should tide us over until the 31st (what’s with the acting up concert shows as of late? (not that I am complaining. At all). – I could check in last night live without issue, as well, but no replay – I get the same Aug 31st note as DTO.

    • thả diều says:

      ja, i just clicked on link again and it’s on the shelf.. at least it was available through the night, the more reasons one should be awake at that time 🙂
      (i did have fun with the gif..)

      • Anik LaChev says:

        heads up (because I wanted to post a reminder): Sept 1st, and I still get an “unavailable” notice. Sigh.

  3. OMG THAT GIF. I am so reposting it on Twitter. Do you remember what they were singing in that one?

  4. dehggial says:

    let me add my voice to the chorus of very nice and that’s how it should be done 🙂

    • thả diều says:

      i’m learning 😉

      • dehggial says:

        what program are you using?

        • thả diều says:

          for gif or for capturing?

        • thả diều says:

          for gif, i rely on my one and only program for all video/audio/slideshow free tool ffmpeg (which is now available for windows), then follow instruction from here. for capturing i once tried ffmpeg as well but it was not optimal sadly so i paid a 1-time fee of $20 way back in 2012 for a license of iShowU which is only for Mac, i’m not sure which is good for windows. i wrote a long post spilling into the self-comment section about it back in 2012 for the event of VK in Helsinki (she’s a great motivator!)
          (i’m willing to teach ffmpeg to whoever would like to try! it’s been the only thing i used; oh, there’s also mplayer but that’s for capturing radio stream…)

          • dehggial says:

            thanks, looks like I need help knowing where to feed those commands though perhaps not today 😉 I have a program via which I managed to record the iPlayer once but I don’t think I got it very well, since I couldn’t find the correct performance again… anyway, like you said, a certain performance/performer can be a great motivator to get down and focus and I’m still uber lazy from the holiday.

          • thả diều says:

            can only be via onsite tutorial , can’t be done remotely 😉

          • dehggial says:

            “oh!” 😉

  5. dehggial says:

    finally got around to watching it (I’m back home). Very nice performance 🙂 though I’m still not an EB fan/and I think Alcina (arias) should be sung by sopranos at least in their late 30s but preferably older (briefly put: Ah, mio cor needed more heartache). Other than that I liked the inventive trills in Tornami a vagheggiar (and the false start, eh heh) and they matched very pleasantly tone-wise. Also interesting hearing Scherza, infida from a contralto.

    • dehggial says:

      I just noticed they misspelled/frenchspelled Tornami a vagheggiar 😛

    • thả diều says:

      hey, i had a dream i was visiting and answering you this in person :-D, more later, now barely 1 eye open on bus to office…

      • dehggial says:

        ha, I also had a dream where you featured!

        • thả diều says:

          oh, now i curious! 🙂
          right, so my answer during the dream:
          i like E.Baráth’s vocal “texture” and “density” (heft? tone?) whatever it is, it’s full and expressive to my ears. However, I do agree that she is not a devastated Alcina and her Morgana is a bit too “under control”. But it’s still very nice to hear her voice in contrast to NS, with both being very warm. and it’s really nice to see NS duetting with a soprano 🙂 (and maneuvering her orchestra)

          • dehggial says:

            yes, their interacting was excellent and charming 🙂 I think EB is actually very talented just not necessary “for me”. The whole concert compared made me think how Handel seems sort of “dramatic” compared to Italian Baroque.

            about the dream: I can’t actually remember it very well, just that there were a bunch of people and you were “lecturing” to them (in an informal setting, it wasn’t a conference 😉 ).

          • thả diều says:

            i have liked her before but primarily in concert sacred music setting (Messiah and Mozart mass in C minor) and not in opera.. but judging by her playful but a bit not earth shatteringly deep Alcina or too tamed Morgana I just think she could let things a bit more loose 🙂

            lecture? i like that! not in music i hope 😀

            also, as you might have noticed, we r covering Prina this saturday and that other certain soprano the next, please feel free to join in 😀

          • dehggial says:

            maybe it’s the thing with young singers, they need to get to the point where they let loose 😉

            afraid I won’t be around at that time these two weeks but I might drop by the comments.

          • thả diều says:

            haha, i read it that you won’t be around by the time E.Baráth experience enough life to let loose ( = not in this lifetime) and thought wow that’s harsh

          • dehggial says:

            that’s more how I feel about EG 😉 EB is fine by those standards.

  6. Agathe says:

    Hey, very good concert and I really love the ensemble & Stutzmann’s conducting (I have also waited for this to be finally online after reading your post and had already given up but luckily Anik reminded again that it’s finally online). Barath’s voice works very well for me, too and I also found her very good in expression given that she is quite young. But I can see what Dehggial means on Alcina being preferably interpreted by someone a bit more mature.
    Stutzmann still sounds a lot like a CT to me, even more so when I listened to this without the video first, so at least for me, it’s true that the visual aspect does play a role in how we perceive voices. Didn’t you write something along those lines about York’s Aci?

    • thả diều says:

      I first caught on to NS and her orchestra when i saw this video of her conducting Bach.. and for all the things we can or can not sort out as to what i can / can not hear, her way of conducting and her orchestra sound is very expressive for me.. but what I found a true revelation is when you give her also a chorus to work with. It is really ashamed that none of her works with chorus have been recorded: 2x with her own orchestra and Händel’s Messiah that I saw in France, 5x (FIVE!!!) with various chorus and Messiah during her tour through the east coast US that I also saw, Bach Matthews Passion in Liverpool, and Mozart Mass in C minor in Bergen (actually this last one might be available on tube! I also saw it live). the way she gets the chorus to express musical line, just really great.. wish i could say more.. I really wish i had a recording of the one in Paris though, because the Namur Chamber Choir was truly amazing!!

      As for E.Baráth, i heard her live for the first time during their tour of Messiah in the US, during which I really like her phrasing. THere was some complaints about the shrillness of her voice in reviews.. but i only heard that during a couple of occasions.. and then when i heard her singing Mozart mass in Bergen, she was truly _the_ best singers of all the soloists, with an amazing warm voice and full of expression! (she sang the mezzo line!)
      I like it that she’s also working with some of the finest conductors and seems to focus on musical expressions rather than following the PR machine.. (oh, i also talked to her offstage in Detroit, she’s quite nice 🙂 ).

      If you have a chance to catch NS conducting, do so! though i must admit for orchestral works which I don’t know, i wouldn’t be able to tell much.. but for Händel, Bach, Monteverdi, or even Beethoven (but for the last, please with a baroque orchestra!) I’d hunt down her concerts if i’m anywhere nearby :-).

      oh, for perceiving voices and visuals.. i think watching D.York really gave me an appreciation for her vocal expressions and the role of Aci.. because I heard S.Piau in the same role and didn’t really get as much out…

      You’re right about NS sounding a bit like a CT.. but I’d say the largest difference is in the lower range that sounds very much warmer and fuller.. I admit i was not following her as much at the beginning based on her singing alone (also because she’s hardly singing in operatic stages!) and it wasn’t until her debut with the orchestra that i became a (devout) follower! (On this last note, her way of conducting is of course very different than E.Haïm, the expressions are different, especially the dynamics.. but i appreciate them both. For NS it really is about “breathing”, that the orchestra breaths with her as they express the music.. whereas with E.Haïm i feel the drive strongly in some cases.. but altogether, more of the both please!)

      • Agathe says:

        Wow, you are really a fan, aren’t you? Just listening to her Bach cantata, very nice drive…
        You are definitely right about a good conductor making such a difference to a choir performance and the conductor has to very clear about what (s)he wants for every singer to follow it especially when the choir is large, but then, she probably also works with very good choirs.

        • thả diều says:

          you know, she worked strictly with college students during her tour in the US ! I had a discussion with one of her fans here while we attended her Messiah.. and we were very surprised at her choice.. and I heard she worked them extremely hard but the final product during the performance was EXCEPTIONAL. At the end of her last concert in Detroit one person went backstage (i was also waiting there) and told her he had worked with chorus for some 30 years and listened to Messiah countless time and has never in his life heard how effective a chorus could be until that night.
          (yes, i’m a big fan :-), but i think i am always a fan of expressive orchestras and always love it when i can see how the conductor does the phrasing… her Messiah tour in the US was really a revelation for me because it was so strongly about the music instead of the reciting religious words the way most of the people are doing here in the US… i wrote 6 write-ups total about this in fact 🙂 ) I would have loved to hear her conducting Matthews Passion…

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