parterre box

116 comments

• Baritenor says:

  I really liked the broadcast. Loved the Intermission features, thought the conducting was excellent. Pape was phenominal, DeVol good, Fink more than servicable, and Mattilia exceeding all expectations. Heppner had some issues, but I loved his phrasing.

  on April 30, 2006 at 9:05 PM
• Baritenor says:

  Paddypig-Can you provde a link to the Encore and Premire websites you recomended?

  on April 30, 2006 at 9:34 PM
• Brett says:

  Strange. I saw Ben Heppner in Madison this January, and he was fabulous. I couldn’t hear any real problems with his high range. His masterful Prize Song had the necessary ringing high notes–no cracks or evident strain. However, that was in a theater of modest size with a piano; I’m sure contending with a full Romantic orchestra at the cavernous Met is quite another challenge…

  And daniel, I didn’t give my entire interpretation of the final scene in two descriptive phrases (which unquestionably play a part in her character and I don’t think are exactly dropped). There is certainly a change after she kisses the head of Jokanaan–an extra layer, if you will. Yes, I may have been slightly rash in saying that’s exactly how she reacts. Still, the libretto supports she still thinks pretty highly of herself, though that could have changed back from how she initially felt after the kissing. There is so much at work in the text and music my claims can carry only so much weight, as I haven’t performed a full-blown holistic analysis (not that I haven’t done any at all). But, to clarify, I never thought the beginning of the final scene was just a bratty façade. I just don’t think she is quite so scareable–or, more accurately, that she expresses any fear so directly.

  on May 1, 2006 at 4:42 AM
• Leontyneluvr says:

  I know it is a turn of subject but I LOVED Pape’s voice!!! Gorgeous golden age sound- like chocolate!And I usually don’t thrill over male voices- but damn he turned me on!

  on May 1, 2006 at 5:16 PM
• Leontyneluvr says:

  Anybody have the details on that intermission clip of Caballe? It’s the first time I have heard it- damn she showed out ridiculous-that’s what opera is all about!

  on May 1, 2006 at 5:22 PM
• paddypig says:

  premiere opera recordings, are usually linked by parterre, but the addresse is premiereopera.com and encore can be found at the berkshirerecordoutlet.com website. (berkshire record outlet) I don’t buy any house of opera recordings anymore, both encore and premiere have been consistently better with premiere edging out encore slightly.
  I also agree that Marton’s Elektra was nothing memorable compared to say Nilsson, Varnay or Borkh. One of the hottest performance at the MET in recent years was Jones and Rysanek. after Behrens very variable performances (some nights were good others were awful) with Fassbander’s drag queen rendition of Klytemnestra, the fire on stage between Jones and Rysanek was amazing. They both were in great voice.
  Leontyne was probably the greatest Verdi spinto of her generation, in the tradition of Milanov, someone who could sing the two verdi Leonoras and Aida with style and abundance of voice. They were her best roles.
  To Brett, get the live Nilsson Salome from the MET 65, you will see a difference. She may not have been a subtle actress, but that voice was incredible. I saw her in the concert she did at the MET in the early eighties and with the orchestra onstage, she still drowned them out at the end of the love duet from Gotterdammerung. (with Mandfred Jung)

  on May 2, 2006 at 2:34 PM
• paddypig says:

  THE studio ARIADNE with
  Rysanek was on CD for a short period of time on London in the states and DECCA in Europe.

  on May 2, 2006 at 2:38 PM
• CALLASORPHAN says:

  paddypig, I DO love the Marton/ (dare i say?) Studer Electra with Fassbinder, as moms and Abbado conducting. Marton swinging from ropes and all–I LOVE it

  on May 2, 2006 at 2:47 PM
• paddypig says:

  I guess the problem is that while I liked Marton and always thought she gave good performances, she never really gave me that sense of electricity that the others do. I saw her give many solid performances but while I always enjoyed them at the time, I rarely listen to her recordings (though I have many). There always seems to be someone else I would rather listen to. While her Turandot was wonderful, I still prefer to listen to any Nilsson recording, or Sutherland’s studio performance or Caballe (live) or Jones (with Stratas), same with Salome, prefer, Rysanek or Welitsch and so on and so forth. She was a great voice but not as memorable as many others for me. I guess, while she was a vocal heavyweight, she rarely brought much refinement or insight into her performances, they could be fun but always a little on the crude side. I felt sorry for her when she came back to the MET several years ago, She did a TURANDOT and there was simply no voice left. She was never strong on the artistic side and really could not cover the lack of voice. She had a major voice but when it was gone she had nothing to offer, unlike singers like soderstrom, or Scotto, or Rysanek who were able to add ten years to their careers doing roles that did not require voices in their prime but relied on artistry to give a great performance. I am really not trying to knock her, but there was always some other singer I felt did the job better.

  on May 2, 2006 at 6:09 PM
• CALLASORPHAN says:

  paddypig, I have the same prblem with (gasp!!)- Nilsson. That Elktra from the Met with ticker-tape and all I can’t (gasps galore) can’t stand–o.k. whip me and beat me into the ground but that is the TRUTH!! God I feel so much better that I’ve told the truth (for me)

  on May 2, 2006 at 6:15 PM