Off-Topic Chat Thread (Jan-March 2012)

[Derek McGovern]

Please use this thread for general chit-chat about anything non-Lanza-related. (If you have a Lanza-related question or comment that you'd like to make without creating a new thread, simply head over to our Miscellaneous Lanza discussion.)

[Operafocus]

The whole opera of "Tosca" is currently on Youtube, but will only stay
for a while. Angela Gheorghiu as Tosca, Jonas Kaufmann as Cavaradossi
and Bryn Terfel as Scarpia. In modern times, you probably couldn't get
a more star-studded cast if you tried. Though I have to say that
although Gheorghiu is fantastic, Guleghina is probably *the* Tosca for
me. I've never cried so much in an opera house as I did that night.
lol. Kaufmann I had to hear on a proper system (read: live HD
broadcast) before I fully understood the power and sophistication his
voice actually has. I find that Youtube doesn't do him any favours,
with its compromised sound which takes away too much. Attending
"Faust" was an eye-opener for me. I pretty much started gawking as
soon as he opened his mouth and didn't stop. Outstanding.

http://youtu.be/wGD2SuL5w40

Cheers
Terri

[Michael McAdam]

Terri,

I probably would have missed this great BBC programme if you hadn't given us the heads-up here. Reason? As I was telling Derek privately, I had gone back and forth through all the Tosca snippets on YouTube which are available on DVD and semi-decided to order the PAL-format DVD of the Benoit film with Gheorghiu and Alagna (reviews say the US/Canada release is pretty threadbare). So, I had effectively finished my Tosca surf, so to speak.

 

I have misgivings about Angela G. in the 2002 film as the penultimate soprano aria Vissi d'Arte seems to be filmed, and sung, in a somewhat wistful and offhanded way. Not so in this BBC film. Angela looks and sounds gorgeous, albeit showing her advancing years, and gives this aria a great and up-front reading. Although no one will ever top Callas's 1964 filmed performance, I think Angela is deserving of the "Bravas" from the Covent Garden audience here (her 2009 Lincoln centre tribute to Grace Bumbry in this aria showed a definite lack of oomph in her lower registers; not so much here in this ROH production).

 

Speaking of which, Jonas Kaufmann got quite a few "Bravos" for his first act Recondita Armonia but, strangely, none at all for his closing E Lucevan Le Stelle?? His diminuendos ending in some nice piano tones are quite amazing throughout this opera but, again, his vocal production can be a bit disconcerting. (hey, kudos for being able to flip from light baritone thru lyric tenor to dramatic, but.....)

Antonio Pappano's conducting sounded first rate to me and the costumes, makeup (read: blood) and expertly-lit sets were first rate.

The only thing I thought was off was Mr.Terfel's hair. C'mon Bryn....Baron Scarpia should be periwigged ar neatly coiffed! You looked like you'd just crawled out of the shower, sans shampoo or comb!

 

I can now download and save YouTube videos so I think I'll go with this production (maybe?) and download and install Real Player on my Multimedia/Home Theatre PC in order to play it on my big screen and surround sound setup. If the YouTube sound and/or video is not up to snuff on my system then I'll order....who knows?

 

Thanks again, Terri (has anyone else here watched this? It's still up there on YouTube as of now)

 

Cheers, Mike

[Derek McGovern]

Hi Mike: You've piqued my curiosity, so I'll definitely watch that Tosca over the weekend. 

Bryn Terfel strikes me as a strange choice for Scarpia. I like him, but I found his voice a bit rough-hewn when I saw him in concert in NZ in the late 1990s. Scarpia should look and sound aristocratic, I feel.... 

Will post my thoughts once I've watched it!

Cheers

Derek

P.S. This is the YouTube entry I went to; I presume it's the same one you watched?

http://www.youtube.com/watch?v=wGD2SuL5w40 

[Terri Knudsen]

My pleasure :)

Best
Terri

[leeann]

hese are the thoughts of the untutored, not-terribly-musical ear. [usual caveat]. And, I'm having to watch this version of Tosca in segments--not ideal.

I sort of take Jonas Kaufmann's voice on a case-by-case basis: sometimes, it's splendid; others, confusing because he seems to alternate between a grand, wide-open sound and a limited, artificial, in-the-box technique; sometimes, it's something else that seems all over the map, so to speak--undisciplined and undefined, and therefore, not that great.

Of course there's a huge difference between watching YouTube segments, seeing an entire opera live, listening to arias in isolation, and watching videos, among other possibilities.

But THIS, this BBC/Royal Opera House production is amazing. The total impact of the music and the voices,  sets,  theatricality are profoundly moving--even on-screen. I'm not sure that  it matters, as a member of an audience, whether and when Kaufmann projects the sound that, (to me), sounds artificial.  And it's there from time to time. But his wholehearted engagement with the role of Cavaradossi lets me suspend disbelief. The vocal artificiality seems momentary, and truthfully, the totality of the production is so intense, I have to mentally file those moments away and backtrack to listen again.

The overall effect here has a profound, almost draining emotional impact, and I am very happy to be pulled into the drama.

Listening to Mario Lanza has a "coming home" sensation for me, and I have to say, watching a total production of Tosca probably just increases my amazement at his renditions of "Recondita Armonia," "Qual Occhio al Mondo," and, yes, of course, "E lucevan le stelle."  I've appreciated Armando's explanations in An American Tragedy when he talks about the difficulty of singing arias in isolation on the concert stage or recording studio, the challenges of moving deeply into the character and emotion environment  without the total context of the opera (liberal transcription--I don't have access to Armando's book right now). 

Derek, I'll be awfully interested to read your comments on Bryn Terfel! 

As an aside, I'm also appreciative that full-screen mode, computer screen is clearly focused and not at all pixelated!  Definitely a thank you for this link, Terri! Best, Leeann

[Michael McAdam]

Same as the one Terri gave us at the top of this thread, Kiwi :-)

M.

[Michael McAdam]

Last night, while surfing around YouTube looking for any new HQ (or lately, HD) offerings among the current opera ladies' entries there, I spotted Anna Netrebko singing Offenbach's Barcarolle with a young, blonde mezzo-soprano named Elina Garanca. I wasn't familiar with her but loved her rich, deeper-shaded voice the moment she opened her mouth. She immediately moved our Russian diva into the shadows here, in my opinion. 

Being curious now, I looked for a solo performance by this young (35) Latvian lass and came upon yet another Ave Maria; this one by Mascagni, from Cavelleria Rusticana. H-mmmm. Curious Mike brought it up to play and...well! It was an Ave Maria that seguéd into the Intermezzo (one of my favourite opera intermezzi). Never heard this lovely orchestral piece sung before.

What a job she did and, even though her voice lessons must have had some heavy (and unfortunate for a pretty woman) emphasis placed upon mouth contortions to emit the higher notes, what a glorious sound she did indeed produce. The final note gave me goosebumps and made tears come to my eyes.....soppy dweeb! ;-) 

(The last time that happened was while listening to/watching Maria Callas in her 1964 Vissi d'Arte from Covent Garden).

 

I will be watching a lot more of this Garanca gal, for sure. I can picture/hear her singing Carmen and I do believe she has released a full DVD of this opera? (hadn't spotted any excerpts during a cursory look while starting to nod off last night;-)

 

Here is the link to Elina Garanca's Ave Maria/Intermezzo from Cavelleria Rusticana:

http://www.youtube.com/watch?v=Yoo5uM-pDT4

 

Cheers, Mike

[gary from NS]

Hello to all,and Mike thanks for posting about Ms. Garanca. I have been a fan a couple of years now,and she is a favourite .

She has a rich,fullness to her voice.

There is a Youtube clip showing her in Carmen,and her Habanera is very lovely.

I have posted a link for everyone's enjoyment showing the beautiful  Flower duet from Lakme,with two angelic voices..Garanco and  Netrebko. 

 http://www.youtube.com/watch?v=Vf42IP__ipw&feature=related

Cheers...Gary

[Armando]

Hi Mike: Garanca is a fabulous singer! There’s a DVD of her splendid January, 2010, Carmen with a not too bad Alagna as Don Jose. It’s available on Amazon.

She is also featured in a number of opera and concert DVDs and CD recitals.   

From memory the Intermezzo  from Cavalleria has been recorded by both Domingo and Bocelli and, I think, McCormack. 

Ciao, Armando

[Derek McGovern]

Hi Mike: I've just watched that Elīna Garanča clip you posted. Glorious voice! Best mezzo I've heard in years. I was vaguely familiar with her name, but not with her singing, and I'm now keen to hear much more. She has a deeply satisfying, voluptuous sound and a great top. I'm not surprised that her last note brought tears to your eyes.    

Cheers

Derek

[Terri Knudsen]

My partner was in an opera with Garanca and Anna Netrebko at RoH and he really can't get enough of her voice.

Terri

[Barnabas Nemeth]

My favourite contemporary soprano is Ana Maria Martinez. Take her into consideration.

http://www.youtube.com/watch?v=gvEiFGL3RjU

 

Cheers,

Barnabas

[Derek McGovern]

Hi Barnabas: Ana María Martínez has a beautiful lyric voice. My only criticism---at least on the basis of that recording---is that it doesn't sound as though she has much of a lower register. (When I have time, I'll check out more of her recordings.) But, of course, if we're comparing her (or any soprano) with Garanča, then it's a bit unfair, as the latter is a rich-voiced mezzo-soprano.     

Cheers

Derek

[Barnabas Nemeth]

She is extremely talented with a special lower register. Sometimes can be felt as a mezzo soprano. She is a great revelation for me.

Barnabas

 

http://www.amazon.com/Martinez-Ana-Maria-Soprano-Songs/dp/B000QQT0F4/ref=sr_1_6?s=music&ie=UTF8&qid=1326611126&sr=1-6

 

One of the greatest performances seen on the video below:

 

http://www.amazon.com/Amor-Vida-Mi-Plcido-Domingo/dp/B001QUL6WE/ref=sr_1_2?s=music&ie=UTF8&qid=1326611126&sr=1-2

[Barnabas Nemeth]

Hi Derek,

 

Ana Maria Martinez is where I feel the goosebump today.

 

http://www.youtube.com/watch?v=UNwmoxfBH7g&feature=related

.com/watch?v=JWOuJQ6mWkA

 

http://www.youtube.com/watch?v=1FCY3ZP5n4c&feature=results_video&playnext=1&list=PL0649C3BB1BCD7045

 

http://www.youtube.com/watch?v=UNwmoxfBH7g&feature=related

 

 

 

Barnabas

On Sun, Jan 15, 2012 at 4:07 AM, Derek McGovern <derek.m...@gmail.com> wrote:

[Barnabas Nemeth]

Here can be heard the lower register too.

 

http://www.youtube.com/watch?v=HEHULQWJo0Y&feature=autoplay&list=PLF4D0944D1BFB8805&lf=results_video&playnext=2

[Derek McGovern]

Hi Barnabas: I've just listened to the Chapi zarzuela aria in your link above, and, yes, you're quite right about her lower register. I much prefer her timbre on the "Chi il Bel Sogno" aria you linked to earlier, though.

Cheers
Derek

[Derek McGovern]

Yikes! I've just been watching a 2012 video of Andrea Bocelli rehearsing for a Genovese production of Gounod's Roméo et Juliette (which is taking place this month), and the poor man's singing is absolutely dreadful. Not surprisingly, his arch-critic Norman Lebrecht has had a field day with the video:

http://www.artsjournal.com/slippeddisc/2012/02/hot-new-video-bocelli-rehearsing-alagnas-signature-role-parental-advisory.html

[Armando]

Apart from the fact that he should stick to singing songs, in opera, Bocelli, is a miniature copy of his idol, Corelli, and a bad one at that!   

[Barnabas Nemeth]

Apparently, Bocelli was suffering with the notes during the rehearsal. Even I felt bad. I can't undestand why doesn't tell him someone that his voice does not meet the requirement of a role like this. He is not and won't be a real opera singer. This is not a song like "Time to say Goodbye" or so. Where is the selfcontroll? Where are the experts, advisors, friends, family members?

 

Barnabas

 

2012/2/21 Armando <ope...@primus.com.au>

[Derek McGovern]

Hi Barnabas: Well, poor old Bocelli certainly found out the hard way that he really shouldn't have been attempting a role like Romeo. After reportedly struggling throughout the first two performances in Genova, he was forced to bow out of the third and final performance due to severe pharyngitis.

But here's a singer who's doing exactly what nature intended for him: Dmitri Hvorostovsky. Check out this very interesting 2009 interview with him on the mysteries (and physical sensations) of operatic singing. It's from the website of one of our formerly prolific members (Jana, who hasn't been heard of here since 2009):

http://frufruj.blogspot.com/2009/09/interview-with-dmitri-hvorostovsky-on.html

Cheers
Derek

[Michael McAdam]

What a great interview and good on you for finding it Dr. McGovern (when do you sleep? ;-)

 

It's maddening that not one person in Lanza-the-movie-star's media circle (circus?) could ask him about his voice in the manner that Mr. Morozov does here with Hvorostovsky, who gives a fascinating, honest appraisal of how he sings. I guess we've never uncovered any articles where our American singing sensation is asked by any writer how he produces his voice, have we? (would that Mario Lanza were still alive and Armando had met him).

 

Ah Mario, you're likely looking down (or up? ;-) ruefully and wishing more and more that you had followed that operatic path you forsook. At least you would have been in the company of some serious operatic journalists.

 

Mike

[Derek McGovern]

Hi Mike: It is maddening. The closest we get are probably the two Etude articles of 1949 and 1950 and the 1956 interview with Ray Heindorf. Other than that (or the occasional passing question, such as Jinx Falkenburg's query about the operatic roles that Lanza had learned), most interviewers were more interested in discussing his weight, temperament, etc. For a man who wanted to be known as a "serious singer," just imagine how frustrating it would have been to experience opening questions like "What's your top weight?"

Cheers
Derek

[Michael McAdam]

I was wondering about the ommission of the (Italian) definite article "I" in Operas which once traditionally sported it?

Case in point: Leoncavallo's opera, now referred to as Pagliacci was always called I Pagliacci in earlier films and on many records I possess. I Puritani still bears the full title....what happened to the Clowns?

(even Die Götterdämmerung has the Die dropped by the Met in it's HD programming blurbs ???)

 

Mike

On Sunday, 1 January 2012 03:43:05 UTC-4, Derek McGovern wrote:

Please use this thread for general chit-chat about anything non-Lanza-related. (If you have a Lanza-related question or comment that you'd like to make without creating a new thread, simply head over to our Miscellaneous Lanza discussion.)

[Derek McGovern]

Hi Mike: I remember being confused as to whether it was I Pagliacci (The Clowns) or just plain Pagliacci as well.

I think for a long time it was fashionable to add the definite article "I" (just as we see a poster in The Great Caruso advertising "La Tosca"), but Pagliacci is what Leoncavallo's score says.

To the best of my knowledge (and I'm no Wagnerian!), Götterdämmerung shouldn't have the Die in front of it. Perhaps it was an early 20th century grammarian who started adding definite articles to all these titles?!

Cheers
Derek 

[Michael McAdam]

Tks for clearing that up, Derek.

You're likely correct re the "20th century (overkeen?) grammarian".

 

Mike

[zsazsa]

Hi Derek and Armando,

I don`t know if I write on the right place but you both surely have heard about the great La Traviata event in the Sydny Harbour with Emma Matthew and our absolutely favorite tenor today, the thrilling GianLuca Terranova! It is surely an unforgettable event and here is the link to the advertising video of the magnificent opera night!

http://www.youtube.com/watch?v=6xX92a0NZ2k 

Love to all from Susan

Am Freitag, 6. Januar 2012 16:23:18 UTC+1 schrieb Derek McGovern:

Hi Mike: You've piqued my curiosity, so I'll definitely watch that Tosca over the weekend. 

Bryn Terfel strikes me as a strange choice for Scarpia. I like him, but I found his voice a bit rough-hewn when I saw him in concert in NZ in the late 1990s. Scarpia should look and sound aristocratic, I feel.... 

Will post my thoughts once I've watched it!

Cheers

Derek

P.S. This is the YouTube entry I went to; I presume it's the same one you watched?

http://www.youtube.com/watch?​v=wGD2SuL5w40 

[gary from NS]

Hello to all,

My dear wife brought this video to my attention yesterday,and when I listened to this young man (seventeen) begin to sing, it was goose pimple time. This is a video from Simon Cowell's "Britain's Got Talent". 

This young man with proper training and hopefully a trainer regarding his serious weight could become very well received.A very lovely friendship between Jonathan and Charlotte, and the old saying "Never judge a book by it's cover alone" is shown here. Enjoy...I hope!!

Cheers

Gary        http://ca.omg.yahoo.com/blogs/the-juice-celeb-news/meet-suboy-aka-britain-got-talent-breakout-jonathan-131235932.html

[Michael McAdam]

Yes Gary,

 

I agree that this young man has talent. He possesses what appears to be a great, raw and untrained tenor voice (I went to YouTube and checked him out after CTV News showed a clip of Cowell et al being wowed on "Britain's Got Talent"). We'll see how Armando, Tony and company weigh-in after watching the video?

 

Not to be a wet blanket but, the Brit judge Amanda and Simon Cowell, who were previously blown away by Susan Boyle, do have the chops to recognise someone who has a genuine voice but hell, do they have to swoon and fawn and go on in a side converstion about how this guy is the "next Pavarotti"? C'mon!

I really do think that the public (and these reality-show judges) have forgotten what great singers really sound like. They seem too easy to please. Granted, they do know that they are hearing some serious pipes here.

I do think this British show could stop insulting our intelligence with the ad-nauseum shots of the two hacks in the wings mocking the "frumpy" Susan Boyle as she gets ready to sing then being "wowed" as she opens her mouth. They repeated this sham performance with "tubby" Jonathan this time around. British TV was once known for being a whole lot classier than this!

 

What you said about the traning, coaching, weight-counselling and the "book cover"etc. is spot-on, Gary. We will keep an eye (and ear) out for young Jonathan. Unfortunate that Cowell so cruelly slagged off his young singing partner, Charlotte. That's Showbiz, I guess!

 

Cheers, Mike

[Barnabas Nemeth]

Hello to all,

 

True, this young boy is a modest, symphatetic guy. Disregarding his weight and appearence it's slightly an exageration to consider him a great talent. Relatively, yes. But singing cannot be relativized. This is not the same league we have been talking about.

 

Barnabas

2012/3/30 gary from NS <gar...@gmail.com>

[gary from NS]

Thanks Mike for taking a look. 

I appreciate your comments..his voice struck me just as you described.

Cheers

[gary from NS]

Barnabas,

Yes indeed this young man has an obesity problem,and yes he has a shy quality, and likely lacks in confidence.

But, if you take the time to really listen to his voice I do believe I detect, as Mike said he has a raw,untrained,and what could be a great tenor voice. That sir is relative to our discussions here.

Gary

[Armando]

In the midst of the Britain’s Got Talent circus I was barely able to make out what Jonathon Antoine sounded like but I heard enough to agree with Gary and Mike that he has a voice and probably a pretty good one, at that.

 

He needs to study, as presently he is not supporting properly in the middle and low registers, and there is some throatiness As for the ridiculous prediction that he is the next Pavarotti, (I entirely agree with you, Mike, about the exaggerated swooning) apart from the fact that the youngster has a long way to go, at 17 his voice is far darker than that of Pavarotti, who even late in his career was no more than a lyric tenor.