Nathalie Stutzmann (and Sara Mingardo) stream alert

Edit: live-stream on youtube here.
Tomorrow, Friday, 1/Dec/2017 , live video stream from Dublin at 1930 GMT, 1430 East coast time, Nathalie Stutzmann conducting the RTÉ Philharmonic Choir and RTÉ National Symphony Orchestra:

(ps- now that i know there is always a stream from Dublin and São Paolo, am hoping soon she’ll also conduct Händel Messiah with Sara Mingardo singing 🙂
and Bach Matthews Passion too!).

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music to start the very long weekend

we still have a meeting today at 10am.. not sure how i’m going to make it at all… and then another meeting at 2pm methinks.. whatever.. i’m ready for a very long weekend to just sleep in. and jeah, sorry, if you’re looking for a relief from Sara Mingardo’s discussion, this is the wrong place. Every time i see her live it seems to trigger even more diving in.. Especially now that i’ve learned she’s teaching a lot more baroque singing to young students, and in parallel performing really intimate pieces in small churches scattered in Italy. So, time to continue dwelling in the vault. The night has been spent searching for her pianissimo.. Here, to start the long weekend. It is on my list of the things I’d like to hear SM live in. It’s really nice to have a conductor who can clear out everything for these moments. ❤

There's also a whole playlist here.

music for Dorilla debugging


.
.

Ah, ch’infelice sempre
mi vuol Dorilla ingrata,
ah, sempre più spietata m’astringe a lagrimar.

Per me non v’è ristoro,
per me non v’è più spene.
E il fier martoro e le mie pene,
solo la morte può consolar.

Ah, ungrateful Dorilla
wants me to continue suffering;
ah, always more unmercifully she induces my tears.

For me there is no cure,
for me no more hope.
Only death will quench my pain and sadness.

background ramblings

It’s been an unsettling time.. One of those moods where one feels realizes (again) being able to go into hiding implies you do have the luxury to do so, while others are being actively oppressed/hurt. On a closer to heart front (i feel a rant coming..), have the patience to see Antonacci portraying this mad woman will you? (time-tag 7m58s). Do you think Antonacci is this woman? is Antonacci mad? Is it that difficult to see an artist’s “realistic” and effective portrayal is a reflection of their craft but not an announcement this is who they are? Isn’t it clear their moving “performance” is not an invitation to freely project and suddenly “identify” with them and think they’re the answer to your life? I find it troublesome some people cannot seem to distinguish between a performance/writing/painting and the artist’s private personal space/life. Actually it must be quite frightening for an artist who has to perform in public, if that is something they suddenly have to worry about, instead of just focussing on their well beings and effective methods to communicate their arts. I think both V.Kasarova and S.Mingardo had in separate interviews (yay, i found S.Mingardo’s insightful Polish interview!!) talking about the needs to “unplug” from the stage, to define the clear line between “online” versus offline. Whatever people “project” on them based on their portrayals… well, it’s fantasy, that is all. there. random rant is over….

Sorry, i’ve been in a mood, blame it on the upcoming (or past already?!) eclipse, and current sad news. The purpose of this post is, actually, to retreat into a little safe place to enjoy this wonderful interview with Nathalie Stutzmann. I think being a female conductor she has through the years, as with E.Haïm, being asked a lot about it… What I like about this one is that it’s much more about her back story. I was hoping it was longer! quite fun to hear about her “incognito” audition for a conductor job 😀 😀 . And she discovered Mozart Mass in C from a cassette tape. Hey, i discovered Beethoven 9th Choral (and my entrance into classical music) from a cassette tape too! 🙂

That was also the time i accidentally found myself in Bergen!! and dragged a whole team to hear the concert :-). There is also this super short interview. What I liked from that was, according to my ears, she puts the “rock” into Bach. Quite fun. At first I wondered if I should check out this interview or not.. and 1 bar into the music, i was hooked! Think i have this whole concert (radio) saved somewhere as well… perhaps it’s time to dig it up while remain a little bit more in hiding away from the real world (as she said). Just a tiny bit more, to recharge.

interview (and music) for the night

on the occasion Anja Harteros getting a nice featured article in the New York Times (where P.Gelb essentially offers her any spot and would rearrange all schedule around to fit her in if she ever has a chance to come to NY in the future), it’s time to revisit and getting to know more about her latest plan (and nice discussion on her voice, her preference for traveling by car and not plane <– voice related, her Greek side, any potential future performance in Greece and elsewhere..)

(video is in German, with French subtitles (yay!) though she speaks so fast my French reading comprehension was flailing.. ; it’s wonderful to see how little make-up she cares/needs for an interview.)

She’s also slated to be live on stream 9/Jul in Wagner i think… I must admit after her Leonora (Munich Trovatore) I lost track of following.. because as much as I tried Wagner and Verdi aren’t really my thing (and the fact that every single thing i’ve seen of her had JK drapping all over and fans who are more attached to the “couple” idea than caring much about her voice/vocal expression i’m afraid…)

For music, i know i’m still looking backward… these 2 things are staple diet on my phone, (actually 3, the ENTIRE Wien’s Alcina is on phone, that’s a given.)

the countess, Mozart’s Le Nozze di Figaro, NY MET 2007 (thanks Stray!)

Leonora (her debut in Cologne, 2011)

(this one was from a fan who recorded.. he posted orginally on Parterre’s site.. which i downloaded. Later he also shared with me the rest of the performance, though the first 2 Acts were sadly from very var distance and audio is totally muffled.)

interview for the night

or day, depending on where you are on the globe, it’s still 15min before midnight here! Having been spending the extended weekend in limited internet space, I have dug up again my “Mingardo” folder and re-listening to some of her earlier works.. and stumbled on this really insightful interview.

Though i can digest the French, it’s most clear when piped through the English translator because there are some quite fine details I couldn’t catch otherwise. It’s the most “blunt” or “direct” (honest) interview I’ve ever heard from her, really reminded me of V.Kasarova’s interviews or some of Antonacci’s. Some of the highlights include:
– How she knew she was a contralto even as a kid 🙂
– JE.Gardiner being the first serious conductor who trusted her in a language other than Italian and gave her the first opportunity (something she often mentioned in subsequent inteview)
– How singing Bach is extremely difficult for her
– How the moment she discovered Monteverdi, everything Monteverdi was better than Azucena 😀
– How she made the jump to “professional” , and knowledge of old system which fostered artists such as ACA versus the lack of anything now.
– She had some very sharp words for the Italian art culture (lack thereof) and direction (during the 2006)
– How young singers saw her as a beacon of light in the search for early music possibility (“they call me directly at my home because they didn’t know where to turn!” — paraphrasing..) This provides insight into her recent project, sponsoring 7 young singers in early music:

Very insightful. I’d really love to read her biography if she ever decides to write one. There is still that other also very insightful interview in Polish, which if I find the link I’ll post here. But this was really a nice window into how her career started. Oh yes, she also sung Cesare and Rinaldo!! with C.Rousset.. am on a mission to find audio evidence..

repost: Vesselina Kasarova in concert in Berlin review

click on photo to go to review

Many thanks to Smorgie who hosted her blog to guest review John Carnegie.
A wonderful read on Vesselina Kasarova’s artistry. ❤