Monday, December 28, 2009

Top for 2009

I saw 25 live opera performances this year, including the Santa Fe Opera, the San Francisco Opera and the Met simulcasts, and this is what impressed me.

1. The peak operatic experience this year for me was undoubtedly the San Francisco Opera's production of Porgy and Bess. I had not known until this moment how absolutely exciting and moving this work could be. Congratulations to everyone involved.

2. Second place for me has to be Jonas Kaufmann's wonderful Lohengrin in Munich. If he came to rescue me, I would not care who he "really" was.

3. The semi-staged Dido and Aeneas at the Mondavi Center with Philharmonia Baroque was simply wonderful.

4. Patricia Racette's Il Trittico at the San Francisco Opera was a tour de force. And the production in San Francisco is far better than the Met's, entirely removing the revulsion against excess corniness that every Suor Angelica except this one seems to have. Seeing the great Ewa Podleś was a bonus.

5. This is a personal list. It is rare that a work and its artists so completely mesh as in the Metropolitan Opera's simulcast of La Rondine with Angela Gheorghiu and Roberto Alagna. The Met version was virtually a replay of the San Francisco production last year, but it was equally great the second time.

6-10. The entire season at the Santa Fe Opera. 5 operas in 5 days is a little overwhelming, but every work was interesting, well sung and well presented. 6, 7, 8, 9, 10.

Opera repertoire is too small. This single year included 2 Elixirs (Santa Fe and Sacramento), 2 La Traviatas (San Francisco and Santa Fe) and 2 Hoffmanns (Berkeley and the Metropolitan.) A little digging would please me, but in these financial times I understand the need for conservative repertoire.

Maybe you could do La Bohème every year. Oops. I forgot the La Bohème movie with Anna Netrebko and Rolando Villazon, seen in the theater and again at home on TV at Christmas. Anna is such a great actress. She sets the standard for operatic acting.

Worst? Abduction in San Francisco, followed closely by Aida. Apologies to Dolora Zajick.

Thursday, December 24, 2009

Entertained

I saw The Entertainer for the first time last night, the movie with Laurence Olivier. It's one of those things where you can't look away because he's so astoundingly sleazy when he sings and tap dances and tells bad jokes. He was such an amazing actor. When he says he's dead behind his eyes, you believe him.

Sunday, December 20, 2009

Tales of Hoffmann in HD


Here is the cast for the simulcast from the Metropolitan Opera of Les Contes d'Hoffmann broadcast live on Saturday:


Olympia Kathleen Kim
Antonia /Stella Anna Netrebko
Giulietta Ekaterina Gubanova
Nicklausse/ The Muse Kate Lindsey
Hoffmann Joseph Calleja
Four Villains Alan Held
Conductor James Levine

The director, Bartlett Sher, has obviously read my idea of staging an opera as Austin Powers. Olympia's father, Coppélius, was dressed as Dr. Evil. I waited in vain for him to raise his pinkie.

The production was fun and didn't quite know what it was doing. Kathleen Kim was exactly what she was supposed to be.

In this production Nicklausse hovers in all the scenes, controlling and ultimately destroying all of Hoffmann's relationships. Why didn't I notice this before? Nicklausse wants Hoffmann to have bad relationships so he will be a better poet. Did Goethe have a lot of unhappy relationships? (I always compare any poet to Goethe, the man who makes German sound good.) Kate Lindsay was charming and pleasingly androgynous.

I see now why Anna Netrebko wanted to sing Antonia. In her version the character is wonderfully intense and dramatic. On the HD screen she lies dead with a tear running down her cheek. I thought Anna looked good and sang well.

The three villains are always James Morris for me. Alan Held was ok I guess.

I can't make up my mind about Joseph Calleja. His voice has an odd flutter, but I thought his characterization of Hoffmann was perfect.

The order of Giulietta and Antonia is sometimes reversed. The Giulietta scene was very close to an orgy.

[See Kinderkuchen History 1870-90]

Saturday, December 19, 2009

Maestro


I want to say after seeing the HD simulcast of Hoffmann today how wonderfully lucky we are to be living in the time of James Levine. He may just be the greatest opera conductor that ever lived. He brings his intelligence, his heart and his soul to every performance. Bravo.

Thursday, December 17, 2009

Tosca at last

At this point my opinions about the Metropolitan Opera's Tosca are irrelevant.

Production: Why all the fuss? The lighting is so dark you can't see anything anyway. It was hard to see on my tiny tv but the virgin seemed to have a boob hanging out. There was some silliness at the end, but I was falling asleep. Maybe a cooler Tosca would work better.

Alvarez and Mattila are not well matched vocally. He is light and bright while she is dark and heavy. I haven't been liking Mattila lately. She is cast in repertoire that she has no particular sympathy for.

Sunday, December 13, 2009

No Divorce

According to this blog devoted to Angela Gheorghiu, there will be no divorce. For now. Ah love.



If she gets tired of Roberto, there's always Jack Black.

Saturday, December 12, 2009

The Passionate Americans

The center of classical music may lie elsewhere, but we Americans bring our own particular passion to the field. This list is not inclusive but reflects my own taste.

There is Lorraine Hunt Lieberson whose Bach I wish to specially honor.



I hear so much more here than with the other mezzo who sings Bach. I like and occasionally love Lorraine's Handel, but nothing surpasses her Bach. In YouTube there is a recording of Ich Habe Genug, her last appearance, where she sings in her hospital gown. "I have enough. I am ready to depart." But I simply could not bear it. And besides this is perfection.

We are apparently into Bach this morning, so here are two more passionate Americans: Kathleen Battle and Wynton Marsalis doing an aria from Jauchzet Gott in allen Landen.



No one brings more of her heart to music than Kathleen.

This list would not be complete without the very passionate Jessye Norman, here in Ariadne auf Naxos.



No one soared higher than Jessye.

New to my list is the very passionate Joyce DiDonato, here in Handel.



You can absolutely not beat this. She joins the long list of passionate American singers. If I have omitted your favorite, then make your own list.

Friday, December 11, 2009

More than you wanted to know about harpsichord technique

I decided to review Harpsichord Technique -- a guide to expressivity by Nancy Metzger. She quotes all the masters who have previously written on the subject--François Couperin, Arnolt Schlick, Girolamo Diruta, Jean-Philippe Rameau, etc.

She recommends something she calls the super legato. From my days as a recorder of midi music I know that the legato is achieved by allowing a note to extend the entire time until the next note starts. With a super legato there is an additional bit of overlap. The two styles produce different effects. To get two of the same note you must release the first before the second begins, so super legato is not possible. In midi this is simple to achieve, but by a live player it takes practice holding the fingers down.

How interesting. More so than organs or pianos there is a lot of difference between one harpsichord and another. It can vary how far the key goes down before the plucker encounters the string. It can vary how hard you push to get the string to pluck. It takes practice with the particular harpsichord to achieve perfection here. I have also been told you should replace all the pluckers at once so there will be consistency in how hard you push from one key to another.

She explains how to get the super legato and provides exercises.

Since the volume doesn't vary on a harpsichord, you are stuck varying the length of the notes relative to one another to get any kind of expression.

She discusses style brisé -- broken chord arpeggiation. This should involve some holding down of the keys -- rather like imitating a sustain pedal, which doesn't exist on the harpsichord.

The short version of this long book is that expression on the harpsichord derives primarily through manipulation of the spaces between the notes. You will be playing primarily music written for the harpsichord, and the composer will have been aware of how this was done.

A modern professional harpsichordist will be required to realize from a figured bass where these expressivity principles will be used in notes of the keyboardist's own invention.

It's a clear and fascinating book.

Why am I writing about this? I believe articulation to be a vital part of expressivity in singing, too, but in a far more complex and subtle way than for a keyboardist. Few singers have any awareness at all of how this features in their own singing. The widest variety in the use of articulation in singing by a wide margin is, of course, to be found in the singing of Cecilia Bartoli. I get the feeling she isn't hanging out with us.

Thursday, December 10, 2009

The rise of Jonas Kaufmann


I feel proud to have witnessed the rise of the career of Jonas Kaufmann. When I first began writing about him there were only about 3 videos of him on YouTube. Now there are over 600 without duplicates.

On 1/23/2007, almost three years ago, I wandered quite by accident into a performance of Fidelio at the Zurich opera. I described him as "a Florestan to die for." I was going for the opera rather than the performers. I immediately pegged him as a Heldentenor. And here.

By March he had made my sexiest list. A year later I was calling him "my boy."

Well, I guess he isn't mine any more. Everyone is flying to Milan to hear him in Carmen. They love him all around the world. Congratulations, Jonas. You deserve it.

The woman in the picture is his wife.

P.S. I feel I must add a footnote. I knew Jonas existed long before this because I saw him in Nina, La Pazza per Amore, the Paisiello opera filmed in Zurich with Cecilia Bartoli. What changed in the Fidelio performance was the idea that he might be significant for something besides his looks.

Wednesday, December 09, 2009

Google Alerts for Jonas

These are the Google Alerts I have gotten for Jonas Kaufmann over the last three days. He's hot right now because he is singing Don Jose at La Scala. Of course, I have seen his Don Jose in Zurich. It was gorgeous.


Google News Alert for: Jonas Kaufmann

The Associated Press
Critics applaud women in La Scala's 'Carmen'
The Associated Press
German tenor "Jonas Kaufmann sang Don Jose with a sweetness and passionate abandon," wrote Pestelli. Baritone Erwin Schrott as Escamillo has "a beautiful ...
See all stories on this topic
guardian.co.uk
Review of the decade: Classical
guardian.co.uk
... have maintained the Royal Opera as a place where the best singers – Plácido Domingo, Anna Netrebko, Bryn Terfel, Jonas Kaufmann – still want to be seen. ...
See all stories on this topic

Google Blogs Alert for: Jonas Kaufmann

';Carmen': audience contests, critics admire | Real Lyrics to Great ...
By SacBee -- Wire Entertainment - Music News
7, 2009, starring German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano Anita Rachvelishvili in the title role as Carmen. The production is directed by Sicilian-born Emma Dante, known for her avant-garde stage ...
Real Lyrics to Great Songs - http://www.realsongslyrics.com/
das Ding an sich » La Scala Opening Night in HD | Carmen
By dingansich
Jonas Kaufmann captured Don José's earnest ardor as well as desperate infantilism with pathos and a beautiful voice he certainly knows how to sculpt. Not surprisingly, his recordings so far consist mostly of Lieder, and mostly Schubert ...
das Ding an sich - http://blogs.law.harvard.edu/dingansich/
La Scala Upper West « parterre box
By squirrel
Jonas Kaufmann scored the biggest success of the evening as Don José, winning huge ovations – the only mid-act applause of the night – after his aria “La fleur que tu m'avais jetée.” (The La Scala audience was generally reserved and ...
parterre box - http://www.parterre.com/
Opera Chic: Let's Get Bizet: The Carmen La Scala Review Tra la la ...
By opera chic
Jonas Kaufmann as Don José was the star of the evening, which isn't saying much when stacked-up to his colleagues. Although recovering from a cold that axed him from Thursday night's Scala Under 30 preview performance, his Act II La ...
Opera Chic - http://operachic.typepad.com/opera_chic/
opening night at la scala « world of music
By Cheryl
La Scala's opening night production was George Bizet's timeless Carmen, with German tenor Jonas Kaufmann (who stole the show as the heart-broken, love-crazed soldier, Don José), Uruguayan baritone Erwin Schrott (as Carmen's ...
world of music - http://worldofmusichome.wordpress.com/

Google Web Alert for: Jonas Kaufmann

Jonas Kaufmann Sehnsucht 4781463ST Classical Music Reviews ...
Jonas Kaufmann – Sehnsucht Richard WAGNER18131883. LohengrinAct 3In Fernem Land Unnahbar Euren Schritten551. LohengrinAct 3Mein Lieber Schwan504 ...
YouTube - Jonas Kaufmann La Donna e Mobile
Jonas Kaufmann sings "La Donna e Mobile" at the Classical Brit Awards, programme dated 19th May 2009. This is produced solely to promote Jonas and ...
YouTube Jonas Kaufmann CARMEN La fleur que tu mavais jetée Teatro ...
Georges BizetCARMENLa fleur que tu m'avais jetéeDon José: Jonas KaufmannConductor: Daniel Barenboim.
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Google News Alert for: Jonas Kaufmann

Barenboim Conducts 'Carmen' at La Scala
ABC News - USA
By COLLEEN BARRY AP Writer AP The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano ...
Barenboim conducts 'Carmen' at La Scala
Forbes - NY,USA
By COLLEEN BARRY , 12.07.09, 10:06 AM EST The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian ...
Barenboim conducts 'Carmen' at La Scala
Greenville Daily Reflector - Greenville,NC,USA
AP The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano Anita Rachvelishvili, ...
Barenboim conducts 'Carmen' at La Scala
WBRC - Birmingham,AL,USA
Entertainment News from AP By COLLEEN BARRY AP Writer The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and 25-year-old ...
Barenboim conducts 'Carmen' at La Scala
The Olympian - Olympia,WA,USA
By COLLEEN BARRY | AP Writer • Published December 07, 2009 The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and ...
';Carmen' live from La Scala
KNPR
"Carmen" will be conducted by Daniel Barenboim and star Jonas Kaufmann, Erwin Schrott, Anita Rachvelishvili and Adriana Damato. ...
See all stories on this topic
Barenboim conducts 'Carmen'
Straits Times
The season premiere stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano Anita Rachvelishvili, just a year out of La Scala's ...
See all stories on this topic
La Scala Opens with the Rape of Carmen
La Scena Musicale - Montréal,Québec,Canada
Erwin Schrott and Jonas Kaufmann are both experienced Escamillo and Don José. Before the opening night, in an interview Kaufmann expressed his reservations ...
La Scala opens with a knife at Carmen's throat
Reuters UK
Carmen's lover Don Jose, who eventually kills her out of jealousy when she spurns him for a bullfighter, is expected to be sung by tenor Jonas Kaufmann. ...
See all stories on this topic

Google Blogs Alert for: Jonas Kaufmann

Barenboim conducts 'Carmen' for La Scala gala season premiere
By Colleen Barry
The gala season opener Monday evening stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano Anita Rachvelishvili, just a year out of La Scala's academy, in the title role as Carmen. ...
Simple Thoughts - Java and Web Blog - http://blog.taragana.com/
Gertsamtkunstwerk: The missing Twits
By Gert
I heard that Jonas Kaufmann has offered his 1st Otello to ROH on condition he gets new production. But who needs Jonas when we have Simon;-); RIP Richard Todd http://bit.ly/4HMRRq Last time I saw him was in the car park of Safeways at ...
Gertsamtkunstwerk - http://gertsamtkunstwerk.typepad.co.uk/weblog/
Opera is magic!: Carmen La Scala ..almost there to your Radio, TV ...
By Hariclea
BR Klassik which you can listen to by clicking here or opening this shortcut link from your Windows media player. (According to their program information they will air an interview with Jonas Kaufmann in the 1st interval) ...
Opera is magic! - http://operaismagic.blogspot.com/
Barenboim conducts 'Carmen' for La Scala gala season premiere ...
The season premiere stars German tenor Jonas Kaufmann as Don Jose and 25-year-old Georgian mezzo-soprano Anita Rachvelishvili, just a year out of La Scala's academy, as Carmen. Kaufmann received cries of "Bravo" from La Scala's upper ...
Courant.com - Entertainment - http://www.courant.com/entertainment/?track=rss

Google Web Alert for: Jonas Kaufmann

Jonas Kaufmann | ajc.com
RT @operachic: Scala GM Stéphane Lissner just told Italian news agency APcom that Jonas Kaufmann will be singing Monday's premiere “100%” ...
WBIRcom | SEC News photos topics and quotes on Jonas Kaufmann
The latest news on Jonas Kaufmann, from thousands of sources worldwide. High-quality photos, articles, blog posts, quotes, and more.
YouTube - Jonas Kaufmann - Che Gelida Manina (Puccini)
Fritz Wunderlich was the first acclaimed German tenor, worldwide. After many decades, a new German tenor stands out in the most prestigeous opera houses.
Jonas Kaufmann - The Arts Desk - Arts Reviews, Features and News
Jonas Kaufmann as Don Jose clashes violently with Anita Rachvelishvili's Carmen. It was well worth a dash down a rain-deluged Shaftesbury Avenue to catch ...
Fish Fine Music - Die Schone Mullerin CD - Jonas Kaufmann - Schubert
New Schubert lieder disc from Kaufmann Schubert: Die Schone Mullerin - Jonas Kaufmann.

Google News Alert for: Jonas Kaufmann

Ma Kaufmann non mancherà al gran debutto
il Giornale - Milano,Milano,Italy
Quest'anno, dunque, tutti a incrociare le dita per il cantante Jonas Kaufmann, un condensato speciale di bravura, fascino e intelligenza, tenore che lunedì ...

Google Blogs Alert for: Jonas Kaufmann

VA - Classical 2010 (2CD)(2009) - GU1337
By neilbla
Angela Gheorghiu & Jonas Kaufmann - Vogliatemi bene (Puccini). Code: http://rapidshare.com/files/311851408/VA-Classical.2010.CD1.SCR.TBMC.joeschatterbox.rar http://rapidshare.com/files/311853996/VA-Classical.2010.CD2.SCR. ...
GU1337 - http://gu1337.com/
Classical music news: Here are 52nd Grammy Award nominations for ...
By welltemperedear
... Un Frisson Français Susan Graham (Malcom Martineau) [Onyx Classics]; Verismo Arias Renée Fleming (Marco Armiliato; Jonas Kaufmann; Orchestra Sinfonica Di Milano Giuseppi Verdi; Coro Sinfonica Di Milano Giuseppi Verdi) [Decca] * ...
The Well-Tempered Ear - http://welltempered.wordpress.com/
Full Albums Archive U - V: Various Artists - Classical 2010 (2CD ...
By rietveldg
Angela Gheorghiu & Jonas Kaufmann - Vogliatemi bene (Puccini) ES 1 2 3. mirror ES2 1 2 3. LINKS ARE INTERCHANGABLE. "If you enjoyed this post, why not subscribe to my feed?" IF AN ALBUM PAGE OR FILE HAS BEEN DELETED request it ...
Full Albums Archive U - V - http://fullalbumsu-v.blogspot.com/
FLASH HOT: VA - Classical 2010 (2CD)(2009)
By hengliza1
17. David Daniels - Qui sedes (J.S. Bach) 18. Simon Trpceski - Arabesque No. 1 (Debussy) 19. Craig Armstrong - Memory Takes My Hand 20. Angela Gheorghiu & Jonas Kaufmann - Vogliatemi bene (Puccini). Download: Part 1 | Part 2 | ...
FLASH HOT - http://tllmusic.blogspot.com/

Google Web Alert for: Jonas Kaufmann

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YouTube - Un bonheur avec Jonas Kaufmann
Novembre 2009, Jonas Kaufmann est à Paris pour un concert. Le public est en bonheur, moi aussi. Si vous, vous voulez lêtre, achetez vite son dernier disque! ...
JONAS KAUFMANN - Jeannie - Christmas Catalogue 2009
Jonas Kaufmann is one of the most successful and versatile singers of the new generation of opera stars. In this new album he performs arias from German ...
JONAS KAUFMANN, Amfortas! Die Wunde, Parsifal - Listen - GetaCD ...
GetaCD.org, 4ai_d9rhviy, jonas, kaufmann, amfortas!, wunde, parsifal, r., wagner , mahler, chamber, orchestra, conducted, claudio, abbado, from, sehnsucht, ...

Monday, December 07, 2009

DiDonato


I want to say that I agree this time with Alex Ross in his praise of Joyce DiDonato. I wouldn't want anyone to think that because I gave her advice I don't like her. With me it might be possible to say that the size of my passion may be gauged by the extent of my advice. She is coming into her prime. I think she is the sort of person that grows on you. Viva.

Camerata

Here in Sacramento everything is a Camerata. Yesterday I went to the Camerata California Christmas concert at Trinity Cathedral, the same church where I sang in my twenties.

Camerata California is noted for their interesting programming. They featured Beverly Wesner Hoehn on harp and managed to find two extended works for chorus and harp: With this Child by Michael Mauldin and A Ceremony of Carols by Benjamin Britten. "There is no rose of such virtu as is the rose that bare Jesu." This is my favorite Britten, and I sang it here in this place.

The harpist also played a solo: Fantasie on Stille Nacht by Marcel Grandjany. And Trois noel Des Oiseaux? How did they manage that? Fascinating.

Friday, December 04, 2009

Age of Netrebko

It is the end of the decade in less than a month, and before anyone else can say it I want to declare the 00 decade as the decade of Anna Netrebko. For more reasons than I could possibly count.

Breaking the Verdi Curse

We the audience of the San Francisco Opera are very pleased with our new Italian conductor, Nicola Luisotti. This season he has done Otello, Il Trovatore and Salome, the last the only German language opera I see in his credits. He knows his Italian repertoire and occasionally can be seen smooching with the female members of the orchestra. Everyone is very pleased. Is it too soon to declare the end of the Verdi curse?

Otello is an opera about a successful man honored above his expectations and married to the girl of his dreams, who cannot quite believe his luck. In his deepest heart he knows Desdemona is too good for him.


Johan Botha as Otello and Zvetelina Vassileva as Desdemona were very believable in this pairing. She is small, ethereal and devoted; he is large, dark and imposing. In short a mismatch. His enormous size emphasizes this dissonance.


Marco Vratogna as Iago was suitably diabolical and deceptive. For my taste his voice is not quite large enough for Verdi villains, but he successfully compensates with acting, phrasing and the other aspects of his performance.

Note to the San Francisco Opera: could you add a bit of information about nationality and training to the bios, please? It would be nice to have an idea of them as people and not just as roles and companies.

And now I am going to annoy everyone by discussing Johan Botha whom I have now seen in 2 Verdi roles in a one month period.

His big voice is beautiful and his legato is well developed. For me the beauty of his singing--the reason you are seeing him in opera at all--would be enhanced with better physical conditioning. Control of the phrase and control of the body are one.

I liked the one set production.

[See Kinderkuchen History 1870-90]

Tuesday, December 01, 2009

Working Girls

This is a bit like reality TV. The Gala in Baden Baden 2007.














Question: Are Elina and Anna speaking to each other in Russian anywhere in this?

I have the DVD of this gala but this is all I said about it. It's fun. Fabulous Quartet form Rigoletto.

All this talk about babies is pretty annoying.

Monday, November 30, 2009

News from Facebook

"Jonas Kaufmann and Cecilia Bartoli named joint Artist-of-the-Year Diapason d'Or 2009 For the first time France Musique listeners and Diapason readers were able to vote on the Artist of the Year award and jointly selected Jonas Kaufmann and Cecilia Bartoli from 15 contenders for the title. The prize was awarded last night in recognition of Jonas' Romantic Arias and Cecilia's Sacrificium recording and album."

Cool. I am in tune with the universe.

Despite the fact that the news was put out by Jonas' fan page, it has to mean the Sehnsucht album and not the Romantic Arias album. Or if it isn't a mistake then they awarded to an album from last year.

This is the most GQ of Jonas' pictures.

Sunday, November 29, 2009

Christmas Presents


Everyone is right in thinking that Angela Gheorghiu and Jonas Kaufmann in Puccini's Madama Butterfly is the recording to give for Christmas. Angela is the most stylish verismo singer around, and Jonas is a wonderful partner for her.


I very much enjoyed Bellini's La Sonnambula as recorded by Cecilia Bartoli and Juan Diego Florez. Cecilia's bel canto is more fluid than anyone else's. By all means consider this.


But then how could you possibly skip this recording of Bellini's I Capuleti e i Montecchi with Elina Garanča and Anna Netrebko. There voices blend in a way that is magical. It's hard to choose.

I can't believe how badly I've fallen behind in reviewing opera videos. This year the complete opera CD's seem to overshadow most things.


This video with Natalie Dessay should satisfy almost anyone. It may be the funniest opera video ever made.


And the La Boheme film with Anna Netrebko and Rolando Villazon is finally out on DVD. If you don't want to give it, you should find a way to see it.


Joyce DiDonato makes my list this year for the best Handel album. Forget Rolando's.


Jonas and Cecilia tied for the Diapason d'Or artist of the year. Sehnsucht is all German repertoire with an emphasis on Wagner.


Cecilia Bartoli continues her interest in the Baroque with Sacrificium. She attempts to rival the gods, and may just possibly succeed.

Hmm.

Or follow my lead and forget about opera. Try a little Bach with Murray Perahia.

Friday, November 27, 2009

Blogging

People want me to write about them. This may be difficult to explain, but I am not trying to succeed at this. I never pay any attention to how many people are reading me, and prefer to assume that no one is. Paul, Chris, Sarah, and four other people. People who are googled about someone in particular that I have written about. I was sort of shocked when my visit to see Jonas in Lohengrin did not google.

I get email. While I was at jury duty, I got a phone call--that was a first.

I just go to things because I want to and think I might enjoy them. Lately I have been remarkably successful at selecting events that I will enjoy. I don't write about everything I go to. I am very susceptible to stress and don't want to add any to my life. I am just trying to have fun.

However, my funds are limited, so if you have FREE TICKETS, by all means let me know.

Thursday, November 26, 2009

Too soon for another Interview

I have translated this interview from the Financial Times Deutschland with Cecilia Bartoli [I think. I can't find it now,] which has only a bit of repeat material from the previous translation:

Classical music star Cecilia Bartoli hates the dictates of beauty

Essen. She is so popular that she even guests on "Wetten, dass…" Now classical music star Cecilia Bartoli with her CD "Sacrificium" appreciates the suffering of the castrati and, naturally, their angelic singing. On 13 November she appeared in Cologne. Jürgen Overkott spoke with the merry Diva.

JO: You speak Spanish, French, English and German apart from your native language Italian still…

Cecilia Bartoli: … German however only in the restaurant. It is enough in order to order a menu.

JO: Her modesty honours her. And nevertheless I ask the question: Do you collect languages?

Cecilia Bartoli: No, no. I collect no language, I collect music. That is a language, which is everywhere understood. Everyone can hear music, and everyone can make music. Music is a language which goes directly in the heart.

JO: And it is the only language, which does not need words…

Cecilia Bartoli: … naturally, but music is suitable and also outstanding to strengthen the effect of poetry.

JO: You love to rediscover lost music pieces. Are you the hunter of lost treasures?

Cecilia Bartoli: Yes, actually I love to rescue musical treasures from archives. There still lie many other jewels, worth digging up. I believe that they still have a lot to say to us. But I love also the popular repertoire beyond that. You know, I admire Mozart. And if one loves Mozart, one must be occupied also with Haydn. Because Haydn affected Mozart strongly. Actually one would have to always sing pieces of both.

JO: Now you let the art of the castrati revive again. In what relationship did the singing stars of the 18th century stand to Mozart?

Cecilia Bartoli: There is a direct relationship. Mozart wrote much music for castrati, many pieces for mezzosoprano actually were for castrati. The high men’s voices were in the 18th Century very much in vogue, and even Rossini in the 19th Century still wrote for castrati.

JO: How did you discover the charm of the castrato music for yourself?

Cecilia Bartoli: That has something to do with Naples. There was there, just like in Bologna, a school for castrati, and their teacher was Porpora, a teacher and a composer. And the music of Porpora for stars such as Farinelli impressed me very much - it is music full of feeling. Porporas arias are very dramatic, very pathetic, they shimmer in many colors.

JO: Farinelli was the superstar of the castrati. He could even ensure that the depressive king of Spain felt better. Is music medicine?

Cecilia Bartoli: Oh yes! It’s good that you mention that. Farinelli could not heal the king, but nevertheless alleviated his condition. He had to sing the same six songs after midnight until in the morning around four, always. But: Farinelli became with time a trusted friend of the king and finally prime minister.

JO: But Farinelli paid a high price: He had always to sing the same pieces.

Cecilia Bartoli: (laughs) Yes, correct. That is about the same as if Elton John would have to play "Candle in The wind" for the Queen each night. Well, but Farinelli has done it nevertheless for the king…

JO: Now castrati are men, but no longer male. Doesn’t eroticism go? [Geht da nicht die Erotik flöten?]

Cecilia Bartoli: No, no. Directly with Farinelli there is an abundance of fine psychological shades, of gentle melancholy. The castrati were not men, were not women. Perhaps they were in a position to be able to mediate between the two sexes.

JO: For their heavenly voices the castrati opened the gate to hell. Is it permitted for maintenance in Top quality to pay every price?

Cecilia Bartoli: Ha! Good question! The castrati have, like the title of my album suggests, actually made a sacrifice for their art. In former times annually 4000 boys were castrated. Poor families saw therein a possibility to escape from their fate. And only two or three castrati actually made a career. But is it nowadays really different? Many artists cut away at their bodies. Think only of Michael Jackson! That was nevertheless indescribable: Finally was not his nose more genuine. We can be terrorized by the dictates of beauty.