vivalavoce highlights, Feb 2012

currently listening to:

fabbulous singing from Gruberova (unmistakeable) + Francisco Araiza (guessing to be the main tenor singing) and Agnes Baltsa (could have confused her voice with the other mezzo, am not that familiar yet with her voice to just recognize it). Also have no clue yet what it’s about… but fantastic music!
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Ediiita in Munich

instead of sleeping, i blogging thanks to funny jetlag. letäs see how i manage here with the german kezboard…

mz trip got to a great start with a dear friend picking me up at the airport, followed bz a niiice stroll around the opernhaus and ticket transfer via dear Suzette, 5 tickets, yay.

firstly, i wouldnät reccommend jetlag + an immediate opera which you donät know anzthing about + no understandable subtitles. But Gruberova is singing and itäs bel canto… itäs Christof Loy’s production of Lucrezia Borgia, finally an opera where the soprano kills everyone without killing herself, i like! i still donät know who is what except for Lucrezia, her son, and a white-shirt mezzo who kept me from passing out at my standing spot.

Gruberova: this woman is a miracle! if this is what everzone has been calling “not as good as before”, then iäm clearlz missing out on what good is! is there anzthing she can not do? all the accolades she got was entirely deserved! for once, i agree with the 10+ rounds of curtain calls (i left after that, they were still clapping for her.) Her voice is pleasantly richer than i expected (i reallz have a theory now sopranos are not well recorded in general…) The high notes, the lows, the crystal clear voice with no wild vibrato, the intensity, the flexibility, anzthing you name, she has! and wow, i finallz experienced a Gruberova’s pianissimo, woooahaaa. and the acting itself is verz impressive, perhaps thanks to her absolutelz convincing singing. iäm sold, it was entirelz worth the crayz effort. i did stand there wishing i were a bit more fresh to experience her, was reallz drifting in and out at times thanks to non-understandable texts.

Charles Castranovo: he has a verz beautiful voice, full of expressiveness. his acts verz well also, which i guess i shouldnät be suprised given how touched i was at the last scene of Il Postino last zear in Los Angeles where he drew me to near tear (am still getting goosebumps thinking about him with a read hankerchief around his neck singing about the revolution and friendship as his character was dying). His scenes with Gruberova and with the white-shirt mezzo were beautifully sung and acted.

which brings me to the white-shirt mezzo: i still donät know her name nor the character she plazed, but man she kept me awake! like like like! perhaps she could trz Romeo next time. (edit: found her) I also discovered this cool aria which i heard before but didnät know the source. It’s interesting to watch this again realizing they all die after this aria…

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mozart for the day

after a long fun weekend with an over-dose of kids, i back in the office today. super quiet, just as i like it. music is blasting all around.  I’ve been feeling quite mozart-y this last few days thanks to a couple of full operas i just managed to get my hands on:

Mozart–Mitridate
Arbate: Christine Weidinger
Aspasia: Arleen Augér
Sifare: Edita Gruberova
Farnace: Agnes Baltsa,
Ismene: Ileana Cotrubas,
Mitridate: Werner Hollweg
Marzio: David Kuebler
Conductor: Leopold Hager
Orchestra/Ensemble: Salzburg Mozarteum Orchestra

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Here’s the 1st sample, in the form of Arleen Auger and Gruberova:

while reading reviews on the above recording, i also ran across another recording with Kristina Hammarström that is recommended just because of her Farnace:

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