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The Radio 3 Boards > The Music Boards > The Opera House > Favourite Aria in an Unpopular Opera
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Author Topic: Favourite Aria in an Unpopular Opera  (Read 979 times)
trained-pianist
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« Reply #15 on: 17:42:25, 03-05-2007 »
ernani, I know Kozlovsky and the aria from Dubrovsky. It is very nice, I like it too.
I never liked Kozlovsky very much. I think the tembre of his voice is not terribly preasant, but then what do I understand.
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ernani
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« Reply #16 on: 17:48:02, 03-05-2007 »
Kozlovsky's voice is certainly an aquired taste t-p  Smiley But I find it strangely haunting, similar to Gigli's in some ways, like Gedda's in others but also with a particular sadness (for want of a better word) that all the great singers that I like seem to have. His soft high singing is very beautiful in this regard. 
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trained-pianist
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« Reply #17 on: 18:15:30, 03-05-2007 »
May be I was too young at a time to apreciate Kozlovsky's voice, ernani.
He was highly regarded when I was growing up. I thought he exaggerated everything too much. I did not like tenor voices at first (Russian tenor voices), but I loved Italian tenors. That was the thing to do at that time. Everybody loved Italian tenors.
Thanks for explaining Kozlovsky to me.
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Parsifal1882
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« Reply #18 on: 18:21:11, 03-05-2007 »
Didn't he sing and record Wagner in Russian (if I'm not mistaken, Lohengrin)?
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
trained-pianist
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« Reply #19 on: 18:38:50, 03-05-2007 »
Yes, he did. This was the only opera of Wagner that was staged in Russia. I was not exposed to Wagner much when I was little.
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tonybob
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vrooooooooooooooom
« Reply #20 on: 18:12:28, 06-05-2007 »
"The vocal life of a soprano has four stages:
   1. Bel canto, 2. Can belto, 3.Can't belto, 4. Can't canto..."

Madame VeraGalupe-Borzkh

thought this was funny - posted it here....
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sososo s & i.
Don Basilio
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« Reply #21 on: 12:12:47, 09-05-2007 »
"Madame VeraGalupe-Borzkh"

I knew if I waited long enough I would find a fan of the Gran Scena Opera Company.  I loved their staging of La fanciulla with the fake snow blowing in the room whenever the door was opened.  (Nearest Madame Galupe-Borzkh ever came to staging Peter Grimes.)
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
Parsifal1882
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« Reply #22 on: 16:04:19, 09-05-2007 »
The finale - the Countess's monologue - of Capriccio.
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
Don Basilio
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Era solo un mio sospetto
« Reply #23 on: 21:16:01, 10-05-2007 »
I'm not really a Richard Strauss fan, but yes the final monologue to Capriccio is lovely.  Isn't there some nice bits in Daphne as well?  Can some Strauss enthusiast comment?
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To every thing there is a season, and a time to every purpose under heaven.
A time to weep, and a time to laugh: a time to mourn, and a time to dance
trained-pianist
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« Reply #24 on: 21:31:27, 10-05-2007 »
I don't like Berstein's Candide, but I like the aria of soprano.
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perfect wagnerite
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« Reply #25 on: 21:31:57, 10-05-2007 »
Quote from: Don Basilio on 21:16:01, 10-05-2007
I'm not really a Richard Strauss fan, but yes the final monologue to Capriccio is lovely.  Isn't there some nice bits in Daphne as well?  Can some Strauss enthusiast comment?

Much of the music in Daphne is gorgeous - Strauss at his most euphonious and pastoral (although the plot - involving the seduction of Daphne by Apollo, and Apollo's murder of Daphne's girlhood sweetheart Leukippos - is not just a pastoral idyll).  The musical highlights are the prelude with its unforgettable oboe solo, the big solo for Daphne's father, Peneios, a priest of Dionysus sung by a deep bass, and the final scene in which Daphne metamporphoses into a laurel tree.  This, like the final scene from Capriccio, is very much late Strauss, refined and without bombast.
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At every one of these [classical] concerts in England you will find rows of weary people who are there, not because they really like classical music, but because they think they ought to like it. (Shaw, Don Juan in Hell)
ernani
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« Reply #26 on: 13:14:27, 11-05-2007 »
Two other reasonably obscure but glorious Strauss arias: the Kaiser's aria 'Falke, mein Falke' in Act Two of Die Frau ohne Schatten with its wonderful cello introduction. The other is Helena's 'Zweite Brautnacht' from Act Two of Die ägyptische Helena, especially when sung by Leonie Rysanek  Smiley
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Parsifal1882
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« Reply #27 on: 16:59:37, 11-05-2007 »
Rysanek? I hope you mean Gwyneth Jones (to my mind, the best Helena on record).
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Il duolo della terra nel chiostro ancor ci segue, solo del cor la guerra in ciel si calmera! E la voce di Carlo! E Carlo Quinto! Mio padre! O ciel!
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