ariodante online stream alert


From Aix-en-Provence festival, NOW, 1500h EST, 2100h local time, 12/jul/2014.
Ariodante: Sarah Connolly
Ginevra: Patricia Petibon
Dalinda: Sandrine Piau
Polinesso: Sonia Prina
Lurcanio: David Portillo
Il Re di Scozia: Luca Tittoto*
Odoardo: Christopher Diffey
Chorus: English Voices
Orchestra: Freiburger Barockorchester
Musical direction: Andrea Marcon


(ps- there was a radio recording of the same opera 2 days ago too that i missed…)

radio alert: agrippina!

Edit: the capturing machine is on. it’s now starting.
In case you don’t know the opera well (like me), here’s libretto. THat must be Nerone currently singing… thought i heard also a CT in there at beginning…
So, Purity and I apparently have a nice patch going on on fb, but we agreed the mic sounds like someone’s phone recording… could have been better…
– wow, the sound is horrible.. quite unacceptable. let me see if i can find a better link w/ higher quality. horrible…
– ack. i quite annoyed. bad sound quality giving this hooting/ringing effect… must be the poor quality streaming… this reminded me of the occasion we all listened to Der R broadcasted also from Spain w/ DiDonato and sound was this quality and everyone sounded like screeching…
– oof, i promptly lost connection.. must be a sign. time to call it a day and go for walk enjoying the sun. in summary, the sound recording resulted in me not recognizing Sarah Connolly’s voice, as well as orchestra sounding like coming out of a blending machine next door… the only voice seems to come out fine is David Daniel’s. while i at it, not a huge fan of De Niese’s singing…

oooawaaewh, good thing i saw this now, better to sort out schedule to be awake tomorrow:

Monday, 18-Nov-2013, 18.55GMT, 13.55 east-whatever-coast time
live radio broadcast
Händel’s Agrippina
Performers: Sarah Connolly, Malena Ernman, Danielle De Niese, Franz-Josef Selig, David Daniels, Ian Henry Waddington, Dominique Visse, Enric Martínez-Castignani.
Gran Teatre del Liceu Symphony Orchestra. Conductor: Harry Bicket.

link from worldconcerthall

from Catalunya-Música <— just went there, looks like i'm missing silverlight + flash + quicktime + flipsomething… better sort out technical details. In case you manage to get the play link, please please send me here, i'll be navigating confusing spanish looking for button…
ok, it seems this is the play button.

.VERY MUCH looking forward.

music to start sunday

actually sunday started for me 3 hrs ago, around midnight, currently on yet another flip.. and this is now coming up on end of 2nd round, super duper pleasant to start the night:

also, is saw some Händel-gala 2-hr long with Emmanuelle Haïm, that will be next on playlist pending how many time i loop the current playlist above 🙂 .

Edit: Yikes, just made it to the Händel gala concert, that’s Lemieux singing, the exact way i can .not. handel… and i have tix to hear her next year! fingers crossed she wont be doing that…

coming out…

of spring hibernation! yes yes, i already out of dat closet long time ago, though every “spring” recently has the tendency to send me directly back in just to avoid them *flowers*.  Anywho, i declare hibernation over! the air is buzzing with chirps of live streams, weeeee.  All info can be found either at Anik‘s place, Smorgy‘s place, Intermezzo‘s, email (via sharp Eyes), Bayerische Staatsoper’s website, or their facebook site.  mark yo calendar, don’t miss May 19th’s live stream of I capuleti e i montecchi.  come gather at Anik’s place for chit chat along the way.  i will try to sneak out a curtain call photo / clip, though i can be a bit shy when it comes to hollering (especially when that last time resulted in a voice crak!)

So, allow me, music to celebrate _end_ of dormation (?)

If i have my way, i’d ship out Yves Abel and send in Marcello Viotti pronto for this production.  To me, the most important moment of this opera is really the overture (!) and opening chorus.  The whole stage is set.  And to me, this above overture is _it_. To start, you get a little thunder at 0.16 in the form of drum. I’ve read somewhere comments about how jolly the overture is that it doesn’t give hint to the dark drama that soon unfolds. But no, it’s because you don’t hear the right instrument(s) at the right time passage!  How does it work that some conductors get that out and others don’t?  We have this expression in vietnamese “xé ngang bầu trời”, when a dark sky is ripped apart with a blade of lighting (if you grow up like us without electricity, this image can be very vivid).  That’s what it feels like having the piccolo interject sharply announcing looming disturbances.  But actually the piccolo already enters subtly mingling with strings before that, as well as ~02.50 along with strings, drums, horns.  It does remind me a lot of the black swan in Tchaikovsky’s Swan Lake: You’re not sure yet why she’s there, but you smell trouble! By 3.22, she’s now the main attraction, making her entrance to the announcement (and resignation) of the horn. Also, this is the only overture i heard where the strings, brass, and piccolo have equal intensity (balance) beginning at 3.31.  In fact, so many times, the brass+drums just overpowers everyone and you get the feeling you’re in a completely different opera altogether.

Do loop back to the beginning of the overture. rolling up sleeves. hija!
Edit: while we’re at it, here’s my opening chorus of choice, from that same live performance. listen for that piccolo infiltrating, eagerly stirring up turmoil amongst men.

(ps- during dormant time, this was running round the clock…)

(ps2- the ladies of 1.FFC Frankfurt is playing in the women’s championship league final on May 17 in the same town, guess where i’ll be :-D)