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.

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radio alert

Edit: Here is the radio broadcast of the Mozart Mass in C-minor for re-listening.

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concert_16sep2016
Today, 16.Sep.2016, at 1900h GMT, Laurence Equilbey conducting her orchestra and chorus, with soloist Sandrine Piau, Renata Pokupic, and other, with a Mozart program, link from ARTE here or from worldconcerthall here.

Tomorrow, 17.Sep.2016, at 1900h GMT, Natalie Stutzmann conducting the Sao Paolo symphonie orchestra and ? chorus, with soloist Emoke Barath and Ekaterina Siurina and others, Mozart Mass in C minor. link here or here at the world concert hall.

Edit: new interview from Sao Paolo, N.Stutzmann discusses her work with the Orchestra, Mozart Mass, etc. AND!! E.Siurina’s voice is soooooo much more agreeable with my ears (and her phrasing is much better in my opinion) to the version I heard in Bergen. Very much looking forward!

More later if I find things in the schedule from the worldconcerthall site.

music for the night

Nathalie Stutzmann conducting Orfeo55 and duetting with Emőke Baráth, all Händel i believe, GORGEOUS music!! this program was live 25.Aug.2016 (today/yesterday) and now available for re-viewing. Click on the photo or here for the loooovely gif, then go directly to culturebox via this link.
duet1

(ps- I really like E.Baráth’s voice, it’s on the warm side, she also sang the high-mezzo part of Mozart mass in c-minor.

more reblog

Natalie Stutzmann is back in Washington DC this week/weekend , she will be singing Mahler’s Rückert Lieder. There is a 15min minute chat with Nicole Lacroix on 03/Jun/2016 on WETA radio, discussing how her conducting dream is realized as well as how she uses her vocal instrument to express music.

“I’m an unlimited person.” (N.Stutzmann)

http://www.weta.org/fm/features/classicalconversations/nathalie-stutzmann-497014#

reblog

Those of us who follow Nathalie Stutzmann on facebook get updates regularly on her schedule and concert performances and reports.. and this has to be one of the best so far. I know how her conducting of Messiah has meant for me in term of building musical understanding, but it’s heart warming to read the comment just below the post as screen-captured here on the effect of her music making on others as well. Also, there’s a blog post about it in German here.
NathalieStutzmann_KonzerthausBerlin

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!)

Iphegenie01Iphegenie02

More to come…
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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”.

radio alert

Edit: here’s what I caught of NS singing.. hypnotizing..

found the program, above is “Wo die schönen Trompeten blasen”
Edit2: Here is the re-listening link, hurrah.
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now, 11.Feb.2016, 13:00h EST, 19h CET, from Copenhagen http://live-icy.gss.dr.dk:80/A/A04H.mp3 , Nathalie Stutzmann and some other really nice bass singing GREAT Mahler ‘s Des Knaben Wunderhorn… (i missed the first hour, ahhhhrgh, i knew something was off.. )

– WOW, she just started.. i had no idea which part, wow, here comes to the capturing machine…
– ach nein! nooo, noooo, not the bass singing “Urlicht”!!! NOOOOO, i was hoping she would sing it!! (but it means she was singing 10. “Lob des hohen Vesrstandes” just before?) NOOOOOO, aarrghhhhh, i was reallllly hoping to hear her here.
– the end, 😦 , i go hunt archive later… but let’s settle in the office with Urlicht, from the clip that introduced me to it. I’m sure we will all have our fav Mahler singer..