opera dream/wish list

First, the dream-list as it probably will *never* happen.. but you never know..
1. Emmanuelle Haïm conducding (with her orchestra) Monteverdi L’Orfeo *with* Anna Caterina Antonacci singing the title role!! (or I’ll take anybody conducting with La Antonacci singing Orfeo, even in concert version, but as usual with her stage is a must! She has given interviews saying she wanted to sing it, please, some innovative conductors (E.Haïm!) to take on her ideas!)

[One day she would like to sing the male title-role in Monteverdi’s Orfeo. “Why not? This is music that can be interpreted in so many ways. But when I mention the idea to conductors, they don’t like it. They’re just annoyed because they didn’t think of it first.”] Excerpt from this interview

2. Emmanuelle Haïm re-does the entire 2016 Mitridate *but* with Vesselina Kasarova as Farnace!
3. Vesselina Kasarova sings Agrippina, Ariodante, Orphée, and Sesto again (extreme bonus if E.Haïm conducting!)
4. the pairing of Antonacci and Kasarova as Nerone and Poppea (whichever order!!) in Monteverdi’s “L’incoronazione di Poppea”, extreme bonus if Sara Mingardo is Ottone! (hey, it’s a dream list!)
5. The same pair as Sesto and Vitellia! (I’m fine with transposing the music all down to whoever’s range so we can have switches!!)
6. Anja Harteros sings the countess again in Mozart’s Figaro.

Onto the growing wish-list
1. TV broadcast of Agrippina Paris 2003 . The full 2000 Bruxelles version is just made available on tube last September but I find Antonacci singing/portrayal much different and really love the 2003 version more (also by then she was really rocking those lovely shoulders 😉 )
2. Zürich in-haus recording of Agrippina 2009
3. Munich in-haus recording of Alcina 2007 . We have heard so many rumors they *taped* the video but then only released the cd, boo! Here’s a review.
4. Paris in-haus recording of I Capuleti e i montecchi 1996
5. the entire pocket-recording of La Clemenza di Tito Paris 2006
6. Emmanuelle Haïm’s Une Fête Baroque, the 2.5hr TV version, not the extracts with only French singers
7. TV broadcast of Händel’s “Orest” from Komische Oper Berlin 2006 (primarily because i’m absolutely in love with the ending chorus, and i’d like to see Charlotte Hellekant in the white trench coat swinging to the fan and home-made airplane wing again to the tune (sung in German!) of “Bella sorge la speranza”.)
8. Paris Dec 2014 in-haus recording of Nathalie Stutzmann conducting Händel Messiah with Orfeo55 and Sara Mingardo.
9. radio Ö1 broadcast of Gluck Iphigénie en Aulide Nov 2012 from Theater an der Wien (this is more in-line with the recent soprano obsession; not to be confused with “Iphigénie en Tauride” for which there’s a full ARTE HD broadcast in 2015 with Antonacci that i have!)


More to come…
I just recently re-listened to the Wien 2010 Alcina again and realized how really luckly we are that they taped it! Because when I was there there was no talk of any planning… then all of the sudden huge comotion while we lined up during the 3rd performance (btw, the standing-room wait line is fantastic, pure Wiener opera fans of all ages knowing all about the arts and lining and chatting up) and we overheard that they decided at the very last minute to bring in the cameras because of the huuuuuge success the performance was generating! As I didn’t get to see the Munich Alcina this is indeed a rare and very lucky souvenir. And of all the very rare things I’ve managed to scavenge, 3 stood out that i’m extremely glad to have: the Liceu 2006 “Ariodante”, the Paris 2003 “L’incoronazione di Poppea”, and the Dresden 1998 radio broadcast of “I capuleti e i montecchi”.

gif tuesday

musical phrasing

Musical phrasing; click on image for the delightful gif version

Original source.

I have very few gif ideas (so far, only 3: one last month, this and 1 more which was in my head the entire time i was in London also last month…) . It’s still Tuesday here, but whichever day you’re on, hope you enjoy the visualization of musical phrasing :-). And i’ve now learned how to create gif using ffmpeg instead of some commercial upload crap.. so no more image-size limit, and _the shirt_ gif last month should get a face lift soon! Also, as much as i enjoy this one, i’m disabling it/all-of-them myself as I find them very distracting.. so how about a new approach: click on the image to go to the home-made gif! this way it doesn’t play automatically and I/we don’t have to try to block it!

midweek music

must have! but i want the entire dvd session!!
nooo a cd won’t do! though it might :-), if the library has electronic version.

You know i’ve just discovered this piece as of 4 days ago! via ACA and the Accademia degli Astrusi. I quite like ACA’s take, but was thinking of the need to explore more because there is some thing in her treatment of english that I somehow can not feel.. one could say somehow it was distracting..** but that orchestra is something! Then i recalled the write up earworm did with D.Röschmann.. and some mention of Susan Graham.. which I sort of put to the side pocket this afternoon while listening again (for the 11th time) the version with ACA.. then it was really time to explore, and Emmanuelle Haïm!!!! W.O.W .m.u.s.t. have that whole recording! it’s ashamed if they didn’t tape it for release! and why not, we had the dvd with JEG’s in rehearsal. Whyyyyyy oh why can’t we have one with Emmanuelle?

— Quite amazing, her take with the orchestra. And S.Graham’s ending, w.o.w
— (it’s great she also chose the larger sized orchestra, as she explained in lovely English at the beginning of the video..)
— now that I listened again for the 3rd time, it’s quite interesting how she pronounces “Belinda”.. of course it’s not the essence of the lament, but the treatment here you don’t quite notice she’s really talking too much directly to Belinda, whereas with ACA you can feel Belinda is right by the side listening to Dido’s intimacy. very interesting, how the text works with the emphasis 🙂
— more note on text treatment, which i find quite interesting having listening now to ACA for the last 1.5 month.. in how instinctive she is in Italian (as far as i can tell, i don’t understand the text, but i “hear” the phrase! if you can believe that. It reminded me of the time when Al nicely provided me with VK’s translation and I had to listen to VK speaking in Bulgarian to match the time of the transcript; it’s truly amazing the melody we (some of us) create (how we stretch certain word, how we end some words, etc.) when we speak that inherently it is understood (that, and subtle facial, eye, hand, body movements too). Anyhow, this is not a post about ACA, but about treatment of text, that I was quite amazed how well it works with certain singers. On that subject, i listened to ACA also singing in German (and English)***, and there suddenly i felt, as the phrase goes, ‘the words get in the way’. Which is something you do not hear here with S.Graham. very interesting 🙂

**– i take it back, as i have now discovered that she was singing 3 different characters. I really like her lament!! 🙂 , a *very* different take, but wonderful phrasing. In a 3rd person feeling though.. talking “out of body” or “to Belinda”, whereas S.Graham’s is to self… . lovely .
edit: crap, the library has only cd version, time to jump hoops again..