Romina Basso radio alert

look at the cast!! and conductor!

Live radio streaming on Sveriges Radio P2
Handel’s Il Trionfo del Tempo e del Disinganno
Sandrine Piau, sopran
Inga Kalna, sopran
Romina Basso, kontraalt
Michael Spyres, tenor
Sveriges Radios Symfoniorkester
Emmanuelle Haïm, dirigent
Live concert: 12 Januari 2018 Berwaldhallen

When: Friday 12/Jan/2018, at 7.00pm Central Eastern time, 1.00pm Eastern time, 10.00am Pacific time.

(also annoyingly i’ll have a telecon right in the middle of this, *(&$#%#, but i’ll keep the capturing running again. i guess the time to avoid telecon is afternoon..)

About thả diều
writing-challenged opera-addict

103 Responses to Romina Basso radio alert

  1. Anik LC says:

    new machine and no capture set up yet – wait, how did it work with ffmpeg again…?
    (Basso and Haïm!!!)

  2. dehggial says:

    I hope I’m on the right channel, I’ve been listening to polka for half an hour 😀

  3. dehggial says:

    hey, maybe this time Spyres makes an impression!

  4. dehggial says:

    aha, Un pensiero nemico di pace! Very good tempo etc.

  5. dehggial says:

    interesting take on Disinganno’s aria’a intro.

  6. thả diều says:

    oh this stretch of music!!! which will lead right into the sequence of tenor and Basso singing same nice tune in sequence

  7. dehggial says:

    oops, quite clearly I was ahead of myself 😉 now it’s on.

  8. dehggial says:

    ok, this aria made more an impression than all I’ve heard so far from him.

  9. thả diều says:

    the soprano’s line leading into this quartet (and the orchestra lines) so gorgeous

  10. thả diều says:

    Now, E.Haïm is now giving a nice interview on her take on “doing it altogether” and “there are things you can explain better when you play than when you conduct” as to the difference between her conducting from the harpsichord versus from the podium.

    • thả diều says:

      now she discusses the weight of the bows to get the expressions in the music, different muscles on the arm lift.. ah, i get it, she is asking the orchestra players to switch to bows to baroque to play on their modern instruments!

      • thả diều says:

        and that it takes the orchestra a long time to rehearse just that, new muscle memories and phrasing. that’s nice to have an orchestra willing to do that (and not protesting!)

        • thả diều says:

          and now she discusses how much harpsichord should be used, for example in Monteverdi it should be sprinkled delicately during flowing and passionate passages (hello Penelope) , while in more powerful flow of voice then go for 2 harpsichords + organ + the whole shebang.

      • dehggial says:

        very cool, I missed that. I always wondered in which way it makes a difference.

        • thả diều says:

          the weight distribution on the bow allows you to do certain things with baroque that is *not* possible with the modern bow. remember that bow lesson i got during my stay in Paris with the professional violin player (when i was chasing SM & Stutzmann for Messiah back in 2014) 🙂 , it was so nice

          • thả diều says:

            also, E.Haïm explained, it’s also the material, the gut bow (i think she was not talking about gut strings as they were using modern, but about the bows) can also sound different. but it was more the weight and how you can express a phrase (that violin player i stayed with gave me 2 hums in her voice, 1 if you use baroque bow and one if you use modern, very nice! the latter is, just like 19th century music i think, is more power and uniform delivery of the line, whereas the former is full expression and light and “curvy” with dynamics in volume)

          • dehggial says:

            aha, so kinda like with singing. Makes sense!

          • thả diều says:

            jeah, i compared it to how i heard SM at the time, the baroque viola 🙂

          • dehggial says:

            I always watch for bows now and 95% of all the bows in Baroque bands are Baroque.

          • thả diều says:

            same how you will now listen to harpsichord 🙂

          • dehggial says:

            ha, yes! I was pleased how it was used with Prina.

    • dehggial says:

      also very cool, and it makes sense why some do it this way whilst others use podium.

  11. thả diều says:

    Are, now, Sandrine Piau is discussing. William Christie said to her at the conservatory “if you sing, then you’ll sing with me”!

    • dehggial says:

      He could tell right away. I was just saying to Mum how Baroque singing is so much about precision, details and a sense rhythm and a lot less about power and volume.

  12. thả diều says:

    Spyres: “i was baby Jesus on stage when i was 3 months old”, haha. now discussing his path to singing

    • thả diều says:

      i grew up wanting to be a barytone , hahaha, he’s GREAT GREAT at imitating voice!! he wants to do voice-over in cartoons 😀 . and his teacher was a natural tenor (he imitates very cute)

  13. thả diều says:

    hey, why everyone is interviewing except Romina Basso?!!!

  14. thả diều says:

    Ah, this might be Kalna talking now? oh no, it’s Piau again: “the first time i did baroque music i was lost” , “it’s a freedom music”

  15. dehggial says:

    Michael Spyres has kind of an odd accent.

  16. dehggial says:

    had to take a dinner break. Did we have Piacere’s big aria?

  17. thả diều says:

    still filing complaint about missing of Disinganno’s last aria, which i’ll post RIGHT HERE afterward to bring attention to how cool it is 🙂

  18. thả diều says:

    Bravi! really nice take from the orchestra (and obviously thanks to E.Haïm)

  19. thả diều says:

    with that i bid you goodbye, need to prep for my meeting. I leave you with Disinganno’s last aria 🙂

    • dehggial says:

      very cool and not too long, they could’ve kept it.

      • thả diều says:

        and quite a change in mood for Disinganno, fizzling 🙂
        (ok ok, not quite fizzling like that aria of Piacer’s, but quite edgy for this supposedly cool character)

        • dehggial says:

          good point, he/it gets precious little “muscle” time. I’d be curious to hear on what basis they make the cuts. I also need to listen to the whole thing with both ears as opposed to with half of one like I did yesterday.

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