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Stanley Stewart
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« Reply #15 on: 16:06:34, 28-05-2008 » |
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I looked for a "Barber" video - I can usually identify them by the spine. Turned out, in fact, to be 'Die Fledermaus' in the Otto Schenk production, conducted by Carlos Kleiber. However, as I write, I'm transferring an off-air video of David McVicar's 2003 production of 'The Magic Flute' for Covent Garden; conducted by Colin Davis, to DVD. A sheer delight. Of course, entirely for my personal use.  I'll be adding Act 2 of the Zeffirelli 'Tosca' - why didn't they go the whole mile in 1964? Even in black & white footage, it grips like a vice. |
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Ruth Elleson
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« Reply #16 on: 16:25:26, 28-05-2008 » |
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Cheers, Stanley! I love that Magic Flute. I'm not sure what happened to my video of it, as I know I had it at one stage. I agree about the 1964 Tosca - though if they had to record a single act, I'm glad it was that one |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Stanley Stewart
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« Reply #17 on: 16:55:42, 28-05-2008 » |
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Gotcha!  I'd been looking for a video of "The Barber of Seville", forgetting that I started DVD recording around 2004. It was correctly placed on my DVD shelves. My off-air was recorded from Covent Garden on 30 Dec 2005. Directing team; Patrice Caurier and Moshe Leiser; Mark Elder conducts. I'll be in touch by pm, Ruth. |
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Ruth Elleson
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« Reply #18 on: 17:08:55, 28-05-2008 » |
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Excellent! The one I trusted my PVR to record while I was away visiting my mum for New Year, but the stupid thing crashed...
I await your PM!
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Il Grande Inquisitor
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« Reply #19 on: 21:21:04, 28-05-2008 » |
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I guess your correspondent couldn't be coaxed up to London for the new ENO BORIS?  I, I, I, um, gosh, I have, um, attained the highest power. Golly. |
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Our chief weapon is surprise...surprise and fear...fear and surprise.... Our two weapons are fear and surprise...and ruthless efficiency
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Don Basilio
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« Reply #20 on: 21:25:36, 28-05-2008 » |
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LOL, IGI.
Except London will now have to put up with this individual, and far more worryingly, his minders for the next four years at least.
Ken should have known when to stand down.
But I did find your picture and caption very funny.
I have no wish for the honourable member of Henley to suffer unduly, but I can but hope the Political Death of Boris follows in the course of the evening.
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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
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Ruth Elleson
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« Reply #21 on: 21:55:51, 28-05-2008 » |
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Noooooooo!!!! That looks just like the Bolshoi production  I don't think I will be able to get my friend to London for a performance of Boris due to family commitments. The ENO cheap seats deal (referenced by IGI on the ENO 2008/09 thread) might let me tempt her here for a Saturday early-start Barber of Seville, though... |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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Reiner Torheit
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« Reply #22 on: 21:58:33, 28-05-2008 » |
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Well, Ruth, there are some glorious male arias in Tannhäuser, too, if you can find a suitable DVD.
A suitable one being a "greatest highlights" dvd which omits the endless aching hours of tedium in Der Meister's most over-written and tediously pretentious work |
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"I was, for several months, mutely in love with a coloratura soprano, who seemed to me to have wafted straight from Paradise to the stage of the Odessa Opera-House"
- Leon Trotsky, "My Life"
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Ruth Elleson
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« Reply #23 on: 22:42:07, 28-05-2008 » |
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I'm inclined to agree with you on that one, Reiner (sorry, HtoHe!) Tannhäuser is the opera I always fancy is being referred to in the famous quote about the great moments and terrible quarter-hours |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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A
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« Reply #24 on: 22:45:17, 28-05-2008 » |
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For Britten operas I have to say I prefer Peter Grimes as a starter...
A
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Well, there you are.
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Ruth Elleson
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« Reply #25 on: 22:51:56, 28-05-2008 » |
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I agree, A, from a personal point of view - but think that perhaps my friend would get on better with Billy Budd. PG was my own first Britten opera, in an amateur production(!) by York Opera. Having never (at that point) ventured further into the 20th century than Turandot, I was smitten with Britten from then on  Your earlier comment about Fidelio has reminded me: that's another opera which I saw for the first time thanks to York Opera. The Florestan was the same person as had sung Grimes. My main recollection is that the Leonore and Marzelline would vocally have been better cast the other way around, but physical type made this virtually impossible... |
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« Last Edit: 22:59:25, 28-05-2008 by Ruth Elleson »
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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oliver sudden
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« Reply #26 on: 22:54:26, 28-05-2008 » |
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Thirded! One of my first operas of all... in the Vickers, Harper, ROH/Davis one which is now on DVD.
(Health warning: Britten was no fan of Vickers and neither is Mary, to whom I gladly defer in all other matters Britten but I'm afraid I can't ignore the dramatic whack this one always gives me.)
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Ruth Elleson
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« Reply #27 on: 22:58:04, 28-05-2008 » |
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.....
(oops, sorry, posted previous post in duplicate when what I meant to do was make a minor modification)
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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perfect wagnerite
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« Reply #28 on: 22:59:25, 28-05-2008 » |
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I'm inclined to agree with you on that one, Reiner (sorry, HtoHe!) Tannhäuser is the opera I always fancy is being referred to in the famous quote about the great moments and terrible quarter-hours It certainly is. It's actually a dreadful half-hour between the Overture and the collapse of the Venusberg. Once that's out of the way it perks up no end IMHO, and much of what is there is pretty ideal for a newcomer to Wagner - strong melodic lines, big choral scenes, decent plot. Incidentally, I've never understood why Meistersinger is often held up as the easy way into Wagner; the first and second acts both have their longueurs (David's catechising of Walther, some of the Beckmesser bits in Act 2), which I think might have more impact on a newcomer than the many glories elsewhere. At the risk of failing to live up to my screen name and inviting a 3 am knock on the door from the provisional wing of the Wagner Society, I'd be tempted to introduce your friend to Wagner through highlights. Let her dip a toe into the water, see if anything grabs her imagination, and take it from there. |
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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)
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Ruth Elleson
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« Reply #29 on: 23:03:41, 28-05-2008 » |
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My usual recommendation for getting into Wagner would be "Flying Dutchman". However I long to have the gall to recommend "Das Rheingold" cos then you get sucked in My first live Wagner was Dutchman, however the first Wagner that absolutely grabbed me on an audio recording (before I ever saw a Wagner opera) was Tristan - an excerpt of a few seconds only from the climactic moment a minute or two from the end. I have friends who believe quite firmly that Wagner is inherently immoral, but who will make an exception for Tristan |
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Oft hat ein Seufzer, deiner Harf' entflossen,
Ein süßer, heiliger Akkord von dir
Den Himmel beßrer Zeiten mir erschlossen,
Du holde Kunst, ich danke dir dafür!
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