Mingardo and Invernizzi radio alert


It was earlier today from Amsterdam, luckily still available for relistening, very lovely, Scalatti’s Stabat Mater. Don’t miss the (waaaaay too short) very charming interview at intermission to both Roberta Invernizzi and Sara Mingardo. Too bad, because it was in English, there wasn’t much the singers could say… but still quite lovely to “hear” how these two singers interact.. and the funny thing that they have to travel all the way to Amsterdam to sing this lovely piece.

The orchestral piece during intermission is also super lovely, by the same orchestra Cappella Neapolitana led by Antonio Florio.

I now on 3rd repeat.. but will continue to the end, for Veneziano – La passione secondo Giovanni.
(i quit, couldn’t handel their voice for too long.. and excerpts include two CTs in very small voices.. whatever.. please listen to the excerpt below for why I’d like to hear more mezzos/contraltos in Bach… and please, when will i ever get to hear SM singing it?!)

While there, you can also check out Ton Koopman’s conducing Bach Matthäus Passion today, with a contralto (Wiebke Lehmkuhl) . It’s even quite rare now to find a mezzo/contralto singing Bach Matthäus and St. John Passion! So i’m listening with open ears. And I’ve already liked Klaus Mertens , in his previous recording with Koopman.

J.S. Bach – Matthäus Passion BWV 244
Koninklijk Concertgebouworkest
Ton Koopman, dirigent
Tilman Lichdi, tenor (Evangelist)
Manuel Walser, bas (Christus)
Christine Landshamer, sopraan
Wiebke Lehmkuhl, alt
Mauro Peter, tenor
Klaus Mertens, bas
Amsterdam Baroque Choir
Nederlands Kamerkoor
Nationaal Kinderkoor

ah yes, veeeery warm and nice tone, and a nice bounce to this lovely aria:
Buß und Reu (alto)

of course, i should take an opportunity to mention the last time i saw these two singers together…

music for thursday

sorry for the overly religious content if you understand and can’t handel it.. without understanding (though i know what it’s about..) you can really enjoy the harmony , interactions between the vocal and viola da gamba mixed in with harpsichord, then finally the gorgeous interweaving of baroque violin and the other 2 instruments in the entire last minute (would have been great to hear the oboe here too!). waaaay back in college just after discovering classical music, i stepped into a record store and heard a recording of Kathleen Battle singing this and fell in love with it instantly (without ever checking the meaning). In this particular take, you can interpret the voice as simply part of the 4 instruments, and likely the content is reflected in the “swing”. We can jot this down as the mildly expressive way, the “typically” way to sing Bach? As opposed to something with a bit more expression, e.g., Sandrine Piau’s version here, to super fast tempo? Am still working that into head, especially after a recent discussion on secular vs “typical” approach..


Edit: just woke up and saw my banner looking like this, something must have gone very right left! (**)
there’s more than 1 way to perform Bach 🙂
(as to why i’m still awake.. but this darn report must be done.. and the music is really great! i know it’s not christmas and the link was auto-loaded from another list of SM singing Bach.. and i currently tapping feet along unable to stop; feel free to re-start the video from the beginning, a riot!)

** correction from little sister 😉

mid-week music

Dear reader(s), please feel free to translate what she said afterward 🙂 (some thing about the range, something about “Laudamus te“). In fact this part “Qui sedes ad dexteram Patris” sounds pretty high, she’s almost singing in her “head” voice it seems.. “Qui tollis peccata mundi” is criminally cut at the end!! With such good sound i thought there would be a cd-recording of it but just simply can’t find anywhere..

Why Bach Mass in B minor? I have tried several times in the past, especially when it’s one of a very good friend’s favorite pieces and she’s always asking for my take, and yet I have never been able to “get it”. Suddenly today, while working late, I have the urge to re-visit several things I’ve listened to before but didn’t have strong impression yet now like.. There is something to be said about growing ears. Pappano’s take is very “fresh”, i love the orchestra. This, in addition to Mozart Requiem, is much more heavy toward the chorus, and I would have realllly loved to hear this choir too, if there’s a (radio?) recording anywhere.

Edit: hmm, after listening some 12 times.. i’m still not sure if that’s SM singing! Maybe they did say in the interview what they play? 🙂

music to start the weekend

welcome to another rambling post, this seems to be the new theme 🙂
picking music for “debugging” is quite tricky it turns out, what works: Bach, Händel, Mozart. what does not: Verdi, bel canto! Even the entire fantastic Dresden 1998 version sent the mind to the edge!! so now into hopefully a quiet weekend with do-loops, I’ve been searching for music to get started.. First VK’s Schwetzingen’s recital worked GREAT! then Bartoli’s Mozart’s recital worked fantastically! And I was going to pick up with Bartoli’s Paris recital again.. but then was also debating with S.Mingardo’s live “Il ritorno d’Ulisse”… But, let’s start here, a piece I’ve known for a long time and always wanted to see live (have several times…); fits quite ok with the “good friday” (also good weekend then?) theme:

bach cantata to start sunday

yes, yes, starting.  we lost 1 hour today and the freezing temperature compounded the timing. let’s warm up the super freezing office a bit with music. i have to make a talk which i really don’t feel like, hence procrastinating + blogging.. so, Bach’s cantatas, think i finally figure out what they are. (still on the list is his Brandenburg concertos..) You know i started out with the Matthews Passion in 2001 but seem to be stuck on just that. And with the recent obsession, and her discussion of starting out with the love for Bach music, plus the nice documentary showing the entire rehearsal session, it’s a perfect place to explore. He said lots of insightful things in there, including the use of period vs modern instruments and the swing to Bach’s music if viewed from secular stand.

Onto music, what i love the most is the change of mood, the lovely combo with oboe and voices, and combo of cello + harpsichord/organ. You can choose to listen to all 3, or whichever one.. but it’s got a nice dynamic if in the order:

1) chorus, triumphant music, with a love dance swinging to it.

2) recitative, the way i love. Given i don’t understand German, it emphasizes the point further through communication via only music. In fact she gave the impression of the preacher on sunday mass standing on high podium expressively spreading the words.

3) duet to oboe (final product of same duet after recitative in clip above)

* title + 1 slide done.
* i might have to come back to put up the next duet + chorus, simply because without them it seems so strange to stop the music at the deepest point with oboe!
* i back indeed, with the swinging duet. otherwise it’s just not the right place to stop the music! you can also follow the rehearsal here before they get to final product below, she’s talking to the German coach while tenor crying about pace :-).

4) duet with upward swing, picking up from deep oboe duet in (3)

and the night continues..

now that i semi-recovered from ranting mode* due to lost work… still in the plan is the other monterverdi but i currently stuck on this on repeat since last 5 hrs…

ok, so i got distracted by a link off the corner of eyes to Cecilia Bartoli singing Pergolesi… then more and more breadcrumbs to her Portrait (i can see how if i were at this live recital i’d have quickly become a fan, really like that concert), and now at her very charming interview with a nice host in english!

this is sort of my eating-2-cakes-in-1-sitting phase you know, the fact that she’s been discussed extensively both on Anik’s and in comments by people whose music taste i pay attention to.. and yet somehow i still trying to get a handel on.. so, while binging on sara mingardo (also a laaaate discovery), why not combine with whatever comes off the corner of eyes!

* from comment section in previous post where i saw some reallly nice monterverdi work with sara mingardo..


Edit: wow, hey! yay! Monteverdi! this is how to catch td’s attention!! what a way to start an opera! i in love!


Sara Mingardo, in boots, cap, and roses!!

more edit:
last screencap before i call it a night, complete with white shirt and tie.. let’s just say i super distracted and didn’t quite have a chance to hear the music.. and here’s also a link to the production where she’ll sing Ottone in feb/2015 at la scala!