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One of the two DVDs I possess (the other is The Cabinet of Dr Caligari), and it's a wonderful spectacle. Connolly seems the most masculine of performances - she convinces in a way that countertenors like Scholl who I've seen on video clips don't. She's a wonderful actor. The choreography of Va tacito is hugely entertaining. But, yes, it's long ...Originally Posted by Belgrove
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This will complement very nicely the excellent France Musique "Tribune des Critiques" programme last weekend about Handel's "Agrippina" - neck and neck finish for the classic Gardiner and the brand new Akademie für Alte Musik Berlin recording under René Jacobs. Some fascinating comparisons.
"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9
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Janet Baker with Mackerras. At her peak in this.
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Just 'bumping' this thread in readiness for the programme this morning, by saying that my favourite recording of a single aria from GC is probably "Va tacito" sung by Andreas Scholl but featuring a splendiferous performance on horn by Christian-Friedrich Dallmann of the Akademie für Alte Musik Berlin (Harmonia Mundi), the two soloists egging each other on with ever more cocky ornamentation towards the end. Always gives me a smile and goose-bumps!
"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9
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Why have the many, many miles of Handelian 'opera' become such revered things?
The man churned them out, re-wrote them, tinkered and re-cast etc. It's just clever musical wallpaper while the audiences talked about life, the universe and their dresses and latest amours.
WHY? I just do not get it.
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I've often seen her at the ROH, usually contributing to Insight Evenings. Her style - unfussy, laid back, humorous - came across well in this discussion and, as a discussion, was enjoyable in its own right. However, even with an extended running time, there wasn't as much comparison between different singers in the roles as would have been possible with a traditional 'solo' BaL. I thought the Minkowski recording got short shrift, which is a pity, and am surprised the McVicar production at Glyndebourne didn't seem as well rated, as it's as near to a perfect production of anything I've ever seen!Going to enjoy this. I only own the Jacobs set.
Have we heard from Sarah Lenton before? Wonder who she is....Quick search shows her writing books, programme notes about opera.
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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It was an enjoyable enough discussion about the piece, but it was all a bit scattergun as a guide to what versions are out there and as a demonstration of the relative merits of the performers. "Bit of a shambles" would be an uncharitable way of putting it... Rather too much time spent making jokey comments about the silliness of the plot or of various productions, which I'd have preferred being spent on a slightly more considered 'Building a Library' approach. Wasn't too encouraged at Ms Lenton's ability to tell me something I didn't know when she said "... then the tempi suddenly drops..."
However, good to hear the Mackerras version given full value and not dismissed for dogmatic HIPP reasons, and it has made me curious to see the Copenhagen production (though the audio sounded as if it had been recorded in the 50s, and not very well, I thought).
On a personal note, IGI, I was glad that the Glyndebourne production wasn't raved about - I didn't see it in the theatre, but based on the DVD I found myself allergic to all the quirky, camp glam of it (I have an odd aversion to Sarah Connolly, completely irrational, and Danielle De Niese seemed to me to be a vastly over-rated diva). But all that's just my problem!!
"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9
Full Member
I saw a Connolly/ de Niese performance live (my only visit to Glyndebourne - not the first time round, but a revival with much the same cast apart from Sesto and Achilla) and was completely wowed. It was truly entertaining and the 4+ hours raced by. I think the spirit of that production is captured well on the DVD.
I agree about the Copenhagen sound, which didn't encourage me to investigate further. I'd like to have heard more of the MDG/ Petrou recording, which I recall Hugh Canning giving a very positive review to in IRR, apart from one particular blip in terms of one of Cleo's arias.
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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All too gushing for my taste.
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The Glyndebourne production or this BAL? Or maybe both....
"The isle is full of noises... Sounds, and sweet airs, that give delight and hurt not"
The Tempest, Act III scene 2 ll 148-9
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