Comments on: Just see how I show you my feelings

The Vicar of John Wakefield commented

The Vicar of John Wakefield — Wed, 25 Nov 2009 07:42:05 +0000

“Why do I keep hearing the Vicar say “Hogswill!”?”

Perhaps because so many here keep posting foolish praise of American and Continental singers who sing louder than lovely.

Both LULU and PAGLIACCI, even when done in English, are hardly pukka, though good old Frank Mullings worked up a splendid temper as Canio at the BNOC.

Camille commented

Camille — Wed, 25 Nov 2009 07:08:05 +0000

Thank you, Krunoslav.

I see your point. Der Bajazzo, indeed.

With this in mind I shall take another look and bring along a large grain of salt.

Why do I keep hearing the Vicar say “Hogswill!”?

Lindoro Almaviva commented

Lindoro Almaviva — Sun, 22 Nov 2009 23:29:09 +0000

Have you guys heard that Elisabeth Sordestrom died 2 days ago?

I just heard that. May she rest in peace.

Baritenor commented

Baritenor — Sun, 22 Nov 2009 23:15:57 +0000

Ah my old friend the typo. I of course meant “Barbe-Bleu”. You know, Bluebeard.

Kayla Micreda commented

Kayla Micreda — Sun, 22 Nov 2009 21:39:41 +0000

“Bare-bleau”? Sounds like a Falcon Studios title.

Harry commented

Harry — Sun, 22 Nov 2009 15:11:10 +0000

Richard; Yes Zefferelli did do ‘cuts’ in the film,, but the EMI CDs that were released at the same time ‘as a soundtrack version of the film’ was in fact an uncut version of the score ,and balanced differently…especially for domestic listening. EMI even put out promotional covering notes, to stop any confusion about it. Those CDs can then be considered ‘equally, for comparison’ besides all the other studio made versions of it. They were unaffected -by what had transpired ‘with the film’ regards forms of editing or changed sound balances to match visuals -’blow up shots’ etc.

Von Karajan in his Vickers/Freni video version I believe, -cut a section – in Act3 ( a trio?) . If I am not mistaken it is also ‘out’ of the CD version, released around the same time.

richard commented

richard — Sun, 22 Nov 2009 14:13:29 +0000

Didn’t Zeff also cut the big ensemble in Act 3
also? I remember watching the film in a theater and being really angered by the cuts.

I haven’t seen it since and I pretty much wrote Zeff off after that. He did some really wonderful early work but truly ran out of things to say.

Harry commented

Harry — Sun, 22 Nov 2009 11:26:54 +0000

I rmeber seeing the Zefferelli Domingo / Ricciarelli Otello in a theatre, on a 70mm screen – six track sound….those were the days.

Krunoslav commented

Krunoslav — Sun, 22 Nov 2009 10:55:33 +0000

Largely, indeed, pretentios crap, particularly as regards Adorno’s reductive view of jazz and pop music, and his failure really to engage with works NOT in the German canon.

A student of Adorno once gave a paper I heard speaking about how unprecedented the Opening Scene of LULU — with the plot being adumbrated before the curtain by a v=baritone who goes on to play a treacherous role in the piece –was in opera. He was surprised when I pointed out that Berg and German audiences were very familiar with Leoncavallo’s, um, DER BAJAZZO — and that struck me as typical of Adorno-based criticism.

Baritenor commented

Baritenor — Sun, 22 Nov 2009 08:55:53 +0000

I have the Felsenstein box set, and have so far watched six out of the seven films (the Otello being the only exception, and given that I was planning on watching it this weekend, this review is very well timed) and agree that by and large the films didn’t hold up very well. Don Giovanni is largely forgettable his Tales of Hoffmann uses a bizarre edition of the score that cuts it to shreds, and his Figaro, though it does have some lovely detailed moments, is a bit of a snooze. Ritter Blaubart (Offenbach’s Bare-bleau) is entertaining, but mainly due to the hilarious character work of Werner Ender as the King and the singing of Hans Nocker (who fares better here than he did as Hoffmann and, apparently, as Otello) and Anny Schlemm (She also sings Donna Elvira, less succesfully). His film of Fidelio, on the other hand, despite copius cuts and poor dubbing, works very well (Fritz Lehmann’s conducting doesn’t hurt). The best of the Box Set is definetly THE CUNNING LITTLE VIXEN. Though it is filmed in black and white (and uses a tenor for Fox Goldenstripe, contrary to the composer’s intent) it is a deeply touching, very well done production of the opera. Rudolf Asmus, as the Forrester, gives one of the best performances of the final scene I have heard in any language. Actually, Asmus is a highlight on many of the sets, appearing in all of the operas except Fidelio and Otello as Bartolo, Leporello, The Four Villians and Popolani in Blaubart. What an artist.

If you’re looking to explore Felsenstein’s work, I’d try to find VIXEN on DVD solo (It was released as such a few years back), or try renting the box set. Don’t fork over the cash on this one right away.

midispiace molto commented

midispiace molto — Sun, 22 Nov 2009 08:19:17 +0000

holy crap did you actually review this and fail to mention that it is conducted by Kurt Masur?

Camille commented

Camille — Sun, 22 Nov 2009 07:01:44 +0000

Krunoslav,

I’m sorry but I cannot intuit if you be M or F, so I’ll put you on a default setting….

I am interested in the phrase above in which you say “…on the largely worthless musical writings of Adorno.”
Since I’ve recently purchased, at the intermission of a boring opera performance, a book of Adorno’s, “Sound Figures”, and had planned on giving it to someone as a gift.

Before doing just that, could you tell me something of your objections as to the general opinion of Adorno’s criticism?

Thus far I have picked up the book to read a chapter entitled “Bourgeois Opera”, but somehow am having a time getting into it. Perhaps it is the translation. Perhaps it is me. Perhaps, just perhaps, it is Crap?

This is in a translation by one Rodney Livingstone, Stanford University Press.

My thanks should you care to respond.

Krunoslav commented

Krunoslav — Sun, 22 Nov 2009 06:30:26 +0000

Routine obeisances are paid to Felsenstein’s films by people who should know better and by those who bestow similar praise on the largely worthless musical writings of Adorno.

Maybe the shows played well in house, but the films are largely disappointing. One critic reviewing their DVd issue , Roger Pines, was brave enough to say so in print.

Camille commented

Camille — Sun, 22 Nov 2009 04:57:03 +0000

There was an hysterical article in one of those dreadful Italian magazines, oh OGGI, or something of that ilk, at the time…the title of the glaring headline said “NON MI TOLGO QUESTA CAMICCIA DA NOTTE!!”, i.e., Katia sez, “I’m not going to take off this nightgown!” Guess Franco asked her to.
She didn’t.

It was quite a wonderful film I thought at the time but haven’t seen it again.

One thing I hold against Frengo, even more than those creaky sets in Turandot, is the fact he had the entire Willow Song CUT.

squirrel commented

squirrel — Sun, 22 Nov 2009 04:13:38 +0000

OMG, squirrel shall henceforth be known as Hanns Nocker!

funwithiago commented

funwithiago — Sun, 22 Nov 2009 04:00:33 +0000

Domingo and Ricciarelli did do a movie- a Zefferelli movie in fact! That was more of a big budget affair with multiple locations, sweeping overhead shots, flashbacks and what have you. It felt a little unfair to compare something shot on studio sets with a fancy pants movie version. The versions I mention were also shot on studio sets, but were- in my opinion- much more engaging.

Sanford commented

Sanford — Sun, 22 Nov 2009 03:50:01 +0000

Didn’t Domingo and Ricciarelli also do a movie?

And so far, based on what I’ve seen and read on this site, I’m not impressed with Arthaus

Quanto Painy Fakor commented

Quanto Painy Fakor — Sun, 22 Nov 2009 02:37:27 +0000

Agreed, with all Felsenstein’s genius, most of his Otello film does not stand the test of time. The “fuoco di gioia” chorus, on the other hand, is quite brilliantly done and demonstrates how Felsenstein worked in depth with each chorister. The feelings of warmth and calm after the storm engulf the screen during that music.