This is not a liveblog. This is “Dr. T and Anik” watching some clips from their “We always wanted to check this out, remember?”
Featuring: Greek Soprano I and II (but no full Boccanegra because we have limits), Mingardo (because there should always be Mingardo) and Antonacci.
Made it, Dr. T.! (am posting below our cheat sheet, ok?)
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yes, go for it.. am desperately looking for english libretto of bocccanegra!
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can’t find one, either – perhaps on naxos or chandos?
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looks like you’re still posting the links? let me try harder (still) to find english libretto…
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we got a few minutes there was an explosion, need to check out what happened.
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😮
explosion where?
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somewhere in the area here.
really unsettling boom, but probably some prankster with homemade fireworks. Jeez.
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anything on here?
https://www.cs.hs-rm.de/~weber/opera/libretto.htm
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—
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oh, you’ve got the shortcut. may be we just start there and you give a quick short executive summary of what she’s singing? then i can just go with the italian libretto?
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ok! jsut give me 2 mnutes, okay? kids are scared.
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jeah, take your time.
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okay, am here, at 26:30.
Go Headgear?! ( can translate from the Italian)
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ok, start! (was reading the synopsis)
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curtain going up.
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realy, thsoe pink attendants with the mirror would only be fun of it were the Met “ORy” all over again where JDD goes home with the soprano in the end.
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i’m now at 26:30!
should we start?
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a different girl on screen right? ahhh, here comes headgear!
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please start singin, my love for Raphale is being tested as we wait.
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oh, it’s got Italian subtitlse! i can go with this, hihi
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summary is just “she’s in love, nature metaphors ensue”
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Sounds like someone has been working on her lower range. Like.
(as of upper middle, it sounded a tad strained in the first minute – now the pit is lower, or she adjusted.)
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jeah, definitely sounds like she’s adjusted!
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nice floating piano in the upper range there now. (I think upper middle costs the most – consumes more breath because it burns more energy?)
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jeah, esp. if she doesn’t take it “soft” . as you said, as soon as it becomes very high but floating piano it’s quite “relaxed”.
oh, i *LIKE* the low notes!!! L.I.K.E.
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I was about to write “REALLY like the low notes”.
🙂
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she has a curious voice to me (readjusting ears):
it’s quite bigger than you think, and just when you thought it’s strained, she sorted it out, opened it up, and it sounds comfortable
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yes, I thought the same.
(and, and the disappointment when a tenor walks in instead of, say, Ant Colonies)
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i was just thinking the same when she was already alone, need a soprano walking in! then perhaps she’d be much more comfy right out the bat 😉
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but it’s SO NICE to get to hear/see her in something this year at all, I missed that sound. (can’t say much about acting since it’s pretty much reduced in this ‘staging’)
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or not really that big, but she gets through fine in most of her range, and perhaps sometimes it’s sitting someplace in between?
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now going *very* nice and more relaxed (vocally) going up the stairs no?
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….but those low notes, though. DAMN.
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Romeo?
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see, I was thinking whether I should write out a Code Capuleti, but you beat me to it.
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lots of low notes everywhere. how can i sprinkle “romeo” suggestions on her site discretely? 😉
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BWAHAHAAA; the “miss”.
oh dear Lord.
that would be tricky with Capuleti.
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tenor is not drowning her out at least.
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she’s got that ping that Dehggi talked about, can pierce across/through
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squillo.
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look at the display of “She looks at him, he looks at the conductor” (smart idea to run off)
(perhaps with that mezzo)
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now that she’s off. are we moving to next scene?
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yep, should we continue with her?
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jeah, i’m now at 1:04:46
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1:04:40
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i will start whenever you say “go” !
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ok, I hid the comment and wil join you at 1:04:40.
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screaming tenor in action.
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well, THAT is an entrance.
but she does that scream intelligently – not all out, but just enough push for a moment to get through.
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please see my comment way below, am now at 44:00 waiting for you 🙂
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ok, started!
that background looks like a cheap nutcracker christmas ornament.
oh God they did NOT jsut carry in a fake falcon. how can that guy keep a straight face.
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Boccanegra looks like Oscar Wilde’s evil older lesbian sister. Which I can totally work with. (something Connolly would excel at in 20 years as a role)
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jeah, what i mean is you think it’s “strained” and therefore it’s a small voice.. and then she opens it up and it carries quite nice and not-strained. but not naturally “big”
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(ps- before i move on, may i make a tiny suggestion of hiding the comment with all the video links ? is that possible)? else i just have to scroll down quite a bit before we get to this block here (and then we move that comment to after this whole block?)
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I can edit it.
And I just saw I missed to jot down the MP sene around Minute 50, before the testosterone assembly. Should we do that one, too, or continue at 1:04?
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oh, oops, you’re right, i lost that timing too 😀 . jeah, let’s get back to min 50
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43:58 ?
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am there!
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start?
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oaky, going bak! sorry.
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now i start! at 44:00! i think we can go in 1 go with her through various time-tags 🙂
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any quick summary? 🙂 . she has just been given something to read? let me open the google translate page and type on the go the italian libretto while this bass is blah blah-ing
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she just realized her family (shunned) got pardoned by the Doge/Government
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of course, she is not actually part of their family because she is an orphan (she still doesn’t know the Doge is her father), and she tells him the tale here.
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music similiar to in Don Carlos, to start her aria
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I don’t care much about the plot here because she gets to sing lots of legato lines, plus low notes.
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jeah, nice phrasing! (and nice lines!)
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for being just Verdi and not Monteverdi, okay.
😉
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the baritone sounds really tight in the top.
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and he is recognizing his daughter here, and she is trying to remember details from her childhood and then they finally figure out (loud music).
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haha, definitely loud. it’s not quite possible to sing piano it seems for this bass?
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it’s that ideal of a “boomy” voice, I guess (but even apart from that, that top projection is not my cup of tea, does not sound free)
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ok, i done with that scene. if we can imagine that as Romeo and she has a soprano. and lots of fine singing without screaming ❤
next? 1:04 something?
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1:04 would b fine, or do you need a break with some Monteverdi?
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she gets to act a bit more when it’s not romance conventions but she can use the whole parent/child thing?
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onto 1:04?
This was a nice bit, with a but more scene impulse on her part to warm up to.
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there’, she at least sang a couple of really nice piani.
am beginning to get a headache through this screaming! now volume way down!
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should we detox with some SM ?
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yes! ❤
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ok, Messagiera first?
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what do you think her Messenger?
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looking up the link now
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jeah, let me start a new thread with Messagiera here?
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oh, start!
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Aaaaah, now this is like coming home.
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hands..
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SYNCING.
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(and i found out she had just reviving this exact role with Savall in Leipzig this past July, as part of some Bach and Monteverdi festival there, also singing from the audience centered aisle…)
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she was at Bachfest? Sigh.
Ah well… Savall is at the Resonanzen festival this winter in Vienna, but without Mingardo.
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WHAT?, grrrrrrrr, biting in sofa pillow…how could I have missed this?
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Hihi, biting sofa pillow!!
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things people can do with their voices when not forced to sound booming to be heard.
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hm, are you passing out at that camera angle, actually?
#notnamingfeaturesbutyouknowwhatImean
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wait, there are more. i mean, that camera angles right from the start… but it’s continuing…
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Mingardo really doesn’t get enough credit for her acting range.
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i think just not enough people watching. i caught on very early!
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just put this Messagiera or a Penelope next to the sly role she had in Aix, then the Polinesso, the Ottone… really a very varied repertory, and she finds very individual and convincing solutions for them all.
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there’s 1 more, the Disinganno in Berlin (i have capture of 1st half) where she’s quite “mean”…
oh, she’s getting up in this clip.. watch the camera!
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(ps- she’s actually on dvd as Penelope from Scala, that production with all hands.. i need to get my hands on that..)
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that walk out in the end even! (very hard to keep tension there, but she manages)
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so… what next? The Harteros Amelia for comparison? And then more Mingaro?
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jeah! Harteros for comparison! sounds good! let me start new thread below with first link?
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yes thank you!
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(sadly it’s not her Penelope, but another Orfeo.. why is her Penelope not captured?? whyyyy, sobbing..)
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I don’t get it, either. I mean it IS nice that the Haim one with Kozena got a release, but I’d still rather have a Mingardo one.
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and don’t forget this:
(that’s me, staring at the blu-ray disc, trying to telepathically extract the subtitles…)
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hihihi.
Favorite Ditz!!
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Can you maybe share the Berlin Disinganno, thadieu? (that’s the one with the nice costume isn’t it?)
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just sent a massive email 😉
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That is an understatement, but I am delighted! 🙂
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oh god, the phrasing..
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“Eurydike died!”
“Could you repeat that, please? many times??”
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also I see what you mean by continuing angles.
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more hands… now on ground
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now he’s singing for about 2 min i think (nice singing, i can definitely handel this).. then chorus, then more camera angle on her..
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i may have skipped to her 🙂
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i so sad. it ends.. we resume barking? 🙂 (still need a moment.. that was some truly gorgeous phrasing.. )
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as always with her. 🙂
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(though Zanasi is fine, no issues with his singing!)
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oh, hihi… i’m now done with that clip.. i can really sit through HOURS of her singing (and acting).. HOURS, days, years…
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pretty much what you are doing these days, anyway 🙂
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(hihi, how can you tell… what’s next? )
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the gay take on the Amelia aria? for comparison purposes?
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some screen capping.. but i’ve been keeping them hidden…
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yeah, agreed.
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Who could possibly be interested in reading this live blog days afterwards? Well, me obviously, since Mingardo was mentioned and this is lovely!
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I was wondering who was rummaging around here, especially since it is very cryptic – unless you enjoy Mingardo! 😉
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I have no problem with the filtering of the important information here 🙂
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*LOL*
and you haven’t even seen those Boccanegra costumes and sets,,,
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oh, good idea, thank you!
now that I have hidden the other comment, I don’t see it any longer…
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jeah, i think we can do this way, so it’s less confusing? start? ❤
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Harteros, not sure where this is in the opera…
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start!
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LOW notes!!!!
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oh, this is interesting.
Hateros is bigger from sheer material, but her color is much more straight and German. her vowels, wow.
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i can’t tell. but i do love very much her way of singing.
and there’s your floating piano at the end of that phrase
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🙂
and this how to do this aria: holding hands with some lady by a pond. 😉
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I never realized how straight-aced her vowel work is, at least in the top. And not that it’s bad it’s just something that really shapes the colors.
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uuuuuuh LOW NOTES.
I find her sound more bright and with more ping, also more even.
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why am I not watching more Harteros, actually.
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should i continue right here with the duet? it flows well…
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yes, let’s do that.
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i was just thinking this morning i should get into TOsca because she’s singing now and by all accounts smashing it in various houses..
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We still have that Vienna version saved where she eats through the scenery and the tepid production. (but Puccini really is another notch up from Verdi if it’s about tacky romance cliches and screeching)
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but i saw she has a knife and she was stabbing some tenor? :p
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stabbing the baritone.
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this is the start again. Pit sounds VERY different though!
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more dynamics right?
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a lot more accentuated in the strings there.
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Harteros, duet:
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starting!
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start?!
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already Domingo is more dynamics (in movements, and acting)
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yes, very much so. He always had good stage instincts.
same piece, again, and sounding so different. Harteros does more big arcs. – and not sure what the staging concept is here, but look how little contact she is establishing.
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but i can understand. she hardly knew him right? so a bit distance i think makes sense for me..
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true, but jsut the general ‘looking in someone’s direction’ an relating to them in a sense of space.
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(i think putting MP with Domingo and it’d be really nice the acting too. he’s filling in the space very nice. and she (Harteros) is … ❤ )
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yes, those two would work well, probably, in reating to each other.
Harteros is just lovely, she doesn’t even have to act much (but it might depend on the production.)
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(i think she’s known for less acting and more phrasing, which i love. because subtlety is my thingy, all is in phrasing and tiny body angle 🙂 , hands too, cough.. )
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yep, veeeeerrrry subtle, Sly.
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the sound is bad in this one (the clip), i can hear ringing
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yes, but the two come across pretty well still
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they’re acting 🙂 , and interacting. the problem over there was MP was singing to a column, she has to do all the acting, the smiling, the attempting to make eye contact..
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but I’d still say that MP really stands out in adapting to stage partners and trying to establish some kind of chemistry (with the exception of the ‘misses’), even in that Raphaelite trainwreck. Small anges again – stances, looks, small gestures…
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(jeah, see my comment above. she jsut needs a partner who’s also interacting, not a post singing loudly and not making eye contact…)
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even with the post, she makes the post appear somewhat sentient and you can she how she tries to give cues… and also how she is immediatyely better (since there seems to have been not much personenregie) when there is someone else on stage here in this sad tie-dye setting.
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wait to we get to the screeching tenor being halfway contained by to munchkins from Oz. No wonder the soprano has to cut in at that point.
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done! more SM? this next set is very interesting i’ve prepared for you 🙂
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you know how we have had great discussion about SM’s acting, how she moves, how she positions / angles herself?
I think i’ve discovered the years when she was working through this!! 🙂
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to get to the point where she is now? 🙂
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yep, more SM! lead the way. then we will surive Screechy Munchkin Hostage later. 😉
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Next set is back-to-back! we’re going to see first MP *already* established body position and angle in a male role, then roll back 2 years before where i saw she was still “learning” how to do it!
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first clip, later year, good body angle, 1996, Smeton:
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starting!
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ah, the page with a crush!
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contralto WITH HARP. this shall be dangerous 😉
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please pay attention to her shoulders, head angles, body movements, i find quite assertive and aaaadoooorable (that look..)
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in fact, her body angles were so fine (by my standard) here i had always thought she was just “natural” at it 🙂 (the phrasing is amazing, just that simple line before the harp…)
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this is how you make even such a — wait, distracted, low note….
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and you noticed how Pidò cleared out the entire orchestra when she was singing the lowest notes? he’s always very attentive to her singing!
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yes, really giving her space. Not quite the same freedom as in early Baroque, but for belcanto, really sensitive!
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…this is how you can even make such a tights-and short-billowy-coat work. Stances!
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yes, more , i snapped the 2nd aria right behind it, call it a “short-billowy-coat and stance” case-study, to be contrasted with the clip in 1994 coming up right after this clip!
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oh, neat. we will get to study the development of SM into Sly Stage Fox Of A Certain Age.
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and how to sing pinery arias.. ❤ (that haircut, i love it 🙂 )
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and I don’t think there are many people who could pull it off!
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yes, all piny! but also somewhat assertive here – not ashamed of their crush at all.
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note how she walked to that chair, now how she sits, and soon how she gets up
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and the arm with it!
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(in particular the body angle when she got up from that chair, in term of assertiveness, to be compared soon 🙂 )
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yes!!
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are you ready for the unrefined movements 2 years before? 🙂
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yes, of course. Very curious!
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I am getting Romeo vibes.
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“assertive and adorable” captures it quite well – nice leaning against the post there!
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2nd of back-to-back, now rolling back 2 years earlier:
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i think you can live with the blurriness.. i don’t think it played a role in seeing her body posture and movements
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or listening to her!
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musically it’s all there i think! i can hear the difference in how she tackled the loud orchestra and rode it much more in 1996…
anyhow, back to screaming thingy? which time-tag? 🙂
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1:04:40?
just a sec… need a drink
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and start a new thread? let me start the thread.
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ok, here I am at 1:04:16 – screechy munchkin setting ahoy.
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tenor is mad because he thinks the Doge (evil lesbian in red) abducted the soprano. Who now storms in.
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start with new thread at bottom? so it doesn’t get tangled in here?
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Amelia talks about how she was (nearly) abducted. – lots of wordpainting (think Donna Anna)
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Anik, could you pick up the comment at the bottom?
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(but this is louder, and she does not get to work as much with single accents on her own time, and she is limited by having to produce a denser sound. Le sigh.)
(okay, it also shows that she hasn’t sung this one 50+ times yet, it’S her second production, right?)
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got it, starting!
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i’ll let you watch.. then we comment after , watch carefully 🙂
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amazing that there are video tapes of all this!
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closed leg stance – entirely different energy vibe.
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also the more elbows held more in, and with less angle, and then the way she still slides feet while standing, breaking the stance.
oh, and the sitting down. yep, somewhat ladylike.
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so cute. adorable cute young girl’s crush. jeah, jsut very tiny thing, like neck angle, body + shoulder angles, sitting tilt, very tiny thing. by 1996 it seems everything was just now the character. this 1994 is still a bit like “adapting” to the character but not quite in the body…
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fascinating
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and cute 🙂 . but i love this discovery. because we’ve been asking for quite a while now about her subtle movements and angles.. and she started singing this role already back in 1991, though i don’t know if it was staged..
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but she worked with it back then already, I guess.
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Whoa, this is, ehm, really blurry, but such nice sound!
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starting again at screamfest :-), 1:04:40
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omg, changing ear gears…
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Anik’s executive summary of scene:
“tenor is mad because he thinks the Doge (evil lesbian in red) abducted the soprano. Who now storms in.”
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more Anik’s summary:
Amelia talks about how she was (nearly) abducted. – lots of wordpainting (think Donna Anna)
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hihi. yes, exactly.
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she is topping the tenor from murdering Daddy just short of 1:39:00 Jump?
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just finding this in time fo the baritone hollering off in his red smurf hat.
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as much as i love MP.. this kind of music really requires major sacrificing of my brain cells..
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I think the three minutes of her tale are over, we could advance to 1:42? Or was it 1:44?
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haha. ok, i’m moving along, 1:44!
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1:27:30 is where she starts the shouting fest with the tenor
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oh Gd there is another? I don’t care, we all have limits and screeching+no staging…
I am at 1:39 now She gets a few low notes in there. 🙂 (not as nice as the earlier ones, though)
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oh? i’m still at 1:29 .. where she has some nice low notes, that’s all i can say about that, pining why this tenor is pouting is not my thing.. let me go where you are, 1:39…
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hahahahaha, sorry, 1:39 is just like at 1:29 🙂
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I guess I did not miss anything then.
“Make it look like a painting” is really not my type of staging approach.
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look how she stands in the middle and is the only one not just striking a pose, but making is someone trying to mediate just be small hand gestures, portraying the tension.
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hugely shouting tenor… volume is now tuning down..
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(secretly, between you and i, wouldn’t you say Smeton is more our thing? 😉 )
ok, fine, i’ll switch brain back to MP trying to comfort this whiny tenor.. while also somehow trying to do something to that bass who pretends to be upset(?)/sad(?)
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hey, she had a new neck pillow now. A smaller one!
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hahaha. i haven’t quite noticed.. just now realized their clothings though..
and she’s got some more legato lines as well? all sounds a bit better in low volume…
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almost done, just one final bit left (dying baritone)
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where is it? time-tag please..
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2:00:40
And this headgear is HORRIBLE. Also those sleeves, that is ike that Rossini Turco with the wacky Top hat.
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Lesbian Oscar Wilde has been poisoned and will die on those sacks/bed/whatever… probably in shock over seeing the dress MP has been put into.
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oh, that upwards look with blink reminds me on the Aspasia/Sifare moment around the table.
And at least the music is quieter here.
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jeah, i’m there just now.. was very distracted by the clothings, in bad ways
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this is Vienna DonG levels.
Well, at least there are not wigs involved.
Oscar Wilde clearly isn’t very apt at stage dying.
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so he can sing more quietly, but it still does not sound free on top because it is so boom-boxy.
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but she can sing along softly!!! and nice!
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wow, that’s some reaaaaalllly nice soft singing lines she’s pulling
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yes, loooovely.
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evil old lesbian in Oscar Wilde’s dressing gown is also over the tenor singing.
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and now she has to pray to her dead mother to stop her dad from doing something stupid – not exactly agency, but she is not just standing around crying.
(tenor is singing: “Kill me now”, but nobody takes him up on it)
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what’s his problem? wow, this is the definition of park and bark staging? you know what, may be that staging in Belgium (where she made her debut) is better? (has to be?) this is her 3rd time singing it..
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ah right, uxembourg, too, right?
(and Antwerp will definitely have been more of an actual staging).
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Park and Holler.
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to our relieves, curtain has come down. should we push to the finish line with this screamfest? or you’d like some ACA’s shoulders?
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(and ∂ ?)
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let’s finish the park and screech and then reward ourselves with some ACA?
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2:00:40.
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am there!
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OMG, more head gear, now my fruit basket? no, my fruit basket is better than this!
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this is an insut to all fruit baskets.
aso, where did they get the 60s linoleum hallway pattern of Tenor’s coat?!
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okay, some mistreated Eastern European folk festival threw up all over that dress but I will admit that I am distracted by that descending mezza voce line MP just got to sing.
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that’s some SERIOUS soft descending lines!! like serious! love!
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me too!!
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okay, so we survived this Rocky Costume Horror Show… but I’ll take those descending lines with me 🙂
So. ACA’s
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why can the soprano not wear the tenor’s boots? And NO bridal fruit basket?!
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well, i put up Smeton’s clip, she can always take a look and ponders what Romeo could look like…
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true, those boots would work for Romeo, too.
So, about ACA’s delts…
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mercifully it’s over!
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how are you doing? we have 2 more clips left (6min and 12min), can you handel both? or just one? one is of ACA’s seroius shoulders (which i’d be willing to skip because we can put it back into any program….) and one of SM’s very serious piano singing (and very curious staging… though it’s a long 12min aria..)
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yes, sure!
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20 more minutes is okay, then I sleep.
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ACA! (i confess to have been trying to look for better res.. but perhaps this is better for us to still survive…)
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ready when you’re!
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starting!
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(the tenor is our Ulisse in Hamburg, Kurt Streit)
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I barely recognized him!
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who cares about him, shoulders @-@ !
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and phrasing!
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oh, the “Spietati” moving into the reprise. great!!
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but the close-up shoulders are really, really, REALLY distracting.
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and the ornamentations at the end there
and the arm extensions.. (sorry)..
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dress would also look good on other sopranos.
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and scowling, and telling him that if she marries him, he’d marry his own death.
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phrasing!
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now that is a better dress. What there is of it, anyway.
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(shoulders @-@ )
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@_@ indeed.
(but this is not Medea, so no killing children, please)
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(no, no killing here, she’s playing the mind game the other way)
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i confess to be drawn to this clip for more than just singing..
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put a printout of that next to my pull-up bar.
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last clip of the program! this one, i have ideas about what’s going on, but i’d like very much your expert opinion!!
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okay, post away!
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(still there? the clip disappeared on this comment section..)
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it should be back!
I tried to answer really quick to a comment and accidentally trashed it, Had to go back and rescue it.
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but I copy all the clips into an extra window 🙂
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not sure why Neris has to take off her jacket, but I will not complain.
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(she didn’t take it off, Medea took it off for her, after hearing the first “si”, then then 2nd “si”, then reached over to caress her face, then looked, then took off, then lied down.., that’s the sequence..)
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and there’s really no reason to dress her like this as Neris (in suit & whiteshirt), then have this sequence.. and the way Neris reacted, pulling on the collar.. actually already pulling on the jacket when Medea was resting on her shoulder…
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yes, smal sublte moment of being conscious of the undercurrent!
off to bed over here on an intriguing note. 😉 Thanks for a Verdi & Monteverdi night!
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good night to you! am off to get my milk tea, then start the day. will revisit Monteverdi and shelf Verdi away 😉 .
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there is first face caress, then leaning head onto shoulder – and Medea is already short of a psychotic break, here fantasizing about a memory of wearing that dress with Jason? – and the whoe oper ais Jason cheating on Medea and leaving, and here is Neris saying she will always be there…
And Nris gets caught up in the moment, too? Looks as if she is half pondering to unbutton her collar? Or being conscious of her dress stye?
And then, after moving away and breaking the moment, Medea is picking up on it and perhaps uses her as a stand-in for Jason? And Neris may not be all THAT adverse to the tension? Interesting.
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jeah, i was just curious about the staging idea for this..
in any case, this might be the limit for you as far as Medea is concerned 😉
that aria is quite nice though, solo bassoon. i’ll let you zz while i ponder some more.. acting is nice (a bit underdeveloped in this scene, hihi) .. phrasing is nice too..
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starting.
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i included a tiny bit of Medea’s music at the beginning to feel the switching in mood!
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that is some hardcore phrasing from the start!
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i hope you can survive the clip ok. the conducting is a bit slacking.. but at least he’s not hindering her
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also the glasses and the suit.
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Christof Loy stage director
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okay, that explains it.
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any idea about the jacket? i’m actually more confused why she (Neris) kept pulling on her shirt collars as if trying to keep it from being unbuttoned..
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well Neris all “I’ll stay with you forever” (and so will my shirt”?)
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well, in the end she leaves becaus she wants to save the children. Which is understandable.
And this shirt is also distracting.
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no no, i’ll let you at your leisure time to go back, but i still would like to understand Medea’s look just before and when she took that jacket off, it was very precise! and since i’ve watched this clip a lot (cough) i’m getting more and more confused about the staging idea.. particularly Medea’s decision
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ah, Loy. One can count on the White Shirts with him.
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but jeah. i think 1 sit on this and you miss about 90% (i tell you, i’m reading into this more than i should be) hiih.
thanks for surviving this with me! was a fun program no? except for that screamfest.. as much as i like seeing/hearing MP, that’s really is my limit..
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yes, the excertpts were really the limit, too bad.
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also putting the jacket back on: nice moment.
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