radio broadcast alert

Edit2: Another Bach St Matthews Passion, this one from Budapest, with René Jacobs, Akademie für Alte Musik Berlin, K.Hammarström, Saturday 15/Apr at 1730GMT , 1830 London, 1930 CET, 1330 EST.
In addition, there’s this one (video) from München on 12/April/2017 with Concerto Köln and Karina Gauvin. I quite like the sound of this more than the one from Rotterdam, but I think it’s the difference between having a baroque (here) versus modern (Rotterdam) orchestra? Also, this is quite a tighter group than what N. Stutzmann has. I found the sound there a bit “diffused” and some of the musical phrasing by the soloists “blurry”. It could just be what i’m “used” to hear, but i quite like the version from Munich. The “evangelist” and “Jesus” were quite focused in sound.
———-
Edit: for an informed note, please refer to Anik’s live experience of Vivaldi’s work in the form of a live concert. That concert resulted in a cd, which is also available on yt (very easily searchable by the work’s title.)
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Today, Thursday, 13.Apr.2017

1800 GMT, 2000 CET, 1400 EST
From Torino, Vivaldi’s L’incoronazione di Dario, with Mingardo and Galou, on (expected to be) suspicious quality Rai radio. link.

1730 GMT, 1930 CET, 1330 EST,
From Rotterdam, N. Stutzmann conducting Bach Matthews Passion. link.

2300 GMT 0100+1 CET 1900 EST,
From the MET, Rosenkavalier, with Garanca and Flemming. link.

Friday, 14.Apr.2017
1830 GMT
From Rome, Bach’s St. Johns Passion, with A.Hallenberg. link.

Sunday, 16.Apr.2017
0000 GMT (This means it’s Saturday night for us in the US)
From Boston, Mitsuko Uchida plays Mozart piano concerto No.20. link.

1800 GMT
From Chicago, V. Genaux’s Vivaldi, Porpora and Broschi recital. link. (But I’m confused.  She’s at Opera du Rhin now singing in Cavalli’s La Calisto.. so either she’s jetting over or this is likely a rebroadcast? ahh, ok, no no, Calisto won’t start until 26/apr, so this should be a live concert, i think.)

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About thả diều
writing-challenged opera-addict

117 Responses to radio broadcast alert

  1. dehggial says:

    Do you have your machine on alert today? 😉 I’m at work all day so no contraltos in the woods just yet but luckily I might catch Garanca!! All is good in the world 😉

  2. dehggial says:

    ps: what a great cast for St John Passion! Hope all goes well, I’m free tomorrow 😀

  3. Anik LaChev says:

    Great, Rosenkavalier should fit right in after Dario tonight, then. Thanks for the alerts!

  4. thả diều says:

    the capturing is up and going.. after mad dash to the office.. while milk tea still missing… I’ll have to delay N.Stutzmann’s broadcast and hope it’ll be available for later listening.. now Dario is running..

    • thả diều says:

      oops, the headset is on, and down goes the sound quality.. at least the harpsichord is not suffering.. but both Mingardo’s and Galou’s voices suffer

      • thả diều says:

        I’ll have to file a complaint: the opening contralto’s duet is missing!? Either that or it happens while I was saying hi to colleague who was surprised i in office so early.

      • thả diều says:

        the microphone is right next to the prompter 😀
        Oh, this must be Galou’s first aria:

        D’un bel viso in un momento, si fe’ il core prigionier:
        so che il laccio dà tormento, ma non è senza piacer.

      • thả diều says:

        onto Mingardo’s Starira’s aria: (at some point i should find out their meaning…)

        In petto ho un certo affanno, che va togliendo al cor
        la cara pace.
        Se questo è forse inganno
        del traditor d’amor
        quanto mi spiace.

      • thả diều says:

        now, Flora, Statira also makes her case. This was orginally sung by Giuseppina Bridelli in Bremen, but now that she’s prepping for Nerone, they’re bringing in another mezzo. THe aria has some really nice low sections:

        Arma il cor di bel coraggio
        quella semplice donzella,
        che seguire amor non sa;
        che d’amor chi adora il raggio,
        perde pace, e libertà.

    • thả diều says:

      now two very high voices, both sopranos, sparing I think..: Arpago and Oronte, they’re fighting with swords!! 🙂

      • thả diều says:

        and their description, from Anik’s superb linenotes:


        To make matters a little juicier, there are a couple of other applicants for the job of king and royal husband (to Mingardo’s Starira) on the scene: Oronte (who is still not quite over his ex, Alinda the lone soprano, who promptly travels after him) and Arpago, who both sport fierce swagger and mezzo voices.

        In this case, we have the same Lucia Cirillo as Oronte, but Arpago is sung by Veronica Cangemi. That explains the sword fighting scene in the youtube vid from the front page.

    • thả diều says:

      The last soprano, Roberta Mameli, has now arrived to try to yank back Ortone, according to the linenote:

      Oronte, eyeing a marriage to a contralto, rebuffs Alinda’s renewed avances – the next time you want to break up with someone, you could always employ a fiery “Lasciami, lasciami in pace”, as was here passionately delivered by Cirillo.

      and that of course, is the aria Oronte currently cycling through:

      Lasciami in pace,
      non tormentarmi, con la tua fede,
      che invan mi chiede, costante il cor:
      non so che farmi,
      sol per un regno,
      ti sembro indegno,
      son mancator.

    • thả diều says:

      Finally, the soprano gets her pining aria:

      Se si potesse amar
      col solo sospirar,
      saria pur dolce amor:
      ma quel ch’è gran martir,
      è quel dover soffrir,
      per riserbar l’onor.

    • thả diều says:

      (i’m trying to find a small 15min window to go get my milk tea… perhaps after the next Starira’s super low and nice aria..)

    • thả diều says:

      Now Starira, more reading from Anik’s linenote:

      Speaking for said contralto right then is Mingardo’s performance of “Godi pur de’ tuoi diletti”, highlighting the aria’s gentle, flowing pace (the same could be said for the following “L’occhio, il labbro, il seno, il core”).

      Here it is, the first of her 2 arias, accompanied by some serious strings, viola da gamba?

      L’adorar beltà che piace,
      e celar del cor la face,
      è il maggior d’ogni martir:
      chi non scopre il suo tormento,
      nel suo duol vive contento,
      e non merta di gioir.

      • thả diều says:

        and onto her 2nd aria, which is to a realllllly nice tune:


        L’occhio, il labbro, il seno, il core,
        se rapir mi vuol lo sposo,
        è un amante traditore,
        né lo sposo fa per me.
        Non può tormi il mio riposo,
        né costanza,
        né speranza
        o d’amore, o di mercé.

    • thả diều says:

      oh, now Galou’s Argene’s turn, to a really nice aria, similar to music to another aria later for Mingardo:

      Affetti del cor mio non vi condanno,
      se mi volete rea, ma rea d’amore,
      al regno, ed all’amor serva un inganno,
      se son regno, ed amor pace del core,
      l’affetto che del cor si fa tiranno,
      assolve dal rimorso il traditore,
      se in trono un caro sposo amor si gode,
      lascia d’esser delitto ancor la frode.

      • thả diều says:

        along with the liner-note from Anik’s:

        Galou’s Argene decides it’s about time to make her bid for Dario clear to close out the first act and offers a wonderfully scheming, colorful “Affetti del mio cor” with a solo violin in the accompaniment.

    • thả diều says:

      *now*, the esccape to milk tea, will be back.. machine still capturing…

  5. stray says:

    Ha! Carsen gets vigorously booed at Rosenkavalier curtain. That’s a good sign!

  6. dehggial says:

    I can’t get the thing to work. Is GMT British time or not?

  7. stray says:

    For some Retro Hallenberg, there’s also St Matthew from Stockholm, 2005 posted up on Sveriges Radio P2’s site for the weekend (if I’m reading that right).

  8. dehggial says:

    where do they stock this on Rai? I couldn’t find it. Thanks for including the London time, very nice of you 😉

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