Cher Public

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  • phoenix

    A TALE OF TWO MEISTERSINGERS -- This weekend two Meistersingers were broadcast, one Sunday from SFO last autumn and another Saturday, live from Paris Opera Bastille. Both had the same Walther. I’d like to know if anyone else heard them both and what they thought of these performances.
    -- The Paris Opera Meistersinger can be accessed quickly using the francemusique player:
    Click on the calendar icon to the left of the date at approximately halfway down the page. A calendar will pop-up, click on the arrow arrow to the left of this text. The archive will begin. (I am going through this detailed explanation because I have not been able to get into since Saturday -- I don’t know if anyone else is having difficulty, but something very Gallic is blocking me out -- an old enemy, no doubt).
    -- The audio of the SFO Meistersinger can be accessed here until 30 May 2016:
    -- No long writ of critique & comparison from me, I’ll just say this: Jovanovich sounded kinda old for a young Franconian knight, but Julia Kleiter wasn’t far behind him. Got my gold from Günther Groissböck, not Ain Anger. James Rutherford lacked the warmth, humanity & humor I heard from Gerald Finley. Was very grateful to finally hear Willis-Sørensen -- I would cast her as Kundry & Brünnhilde whether she wanted it or not. The audio sound from SFO over here was touch and go compared to the clarity of the Bastille. Philippe Jordan won the Meister prize -- [Sir] Mark Elder wasn’t even in the running-up.

  • Camille

    Guess I’ll park this one here so LA CIECA will know her advertisers, in this case OPERA LAFAYETTE, are having their intended impact on their targeted audience. Espcially as attendance for the event was rather maigre.

    It gave me the rather felicitous opportunity of hearing a highly unusual and interesting program given by Opera Lafayette at the Rose Theatre this last Sunday night. And I finally got to hear the last act of Cherubini’s 1797 chef d’œuvre, Médée, after having waited another nineteen(!) years to do so—my other Médée, as performed by an group known as Opera Quotannis, had to be cut short that evening as I had an emergency which took me home early, hélas. The other two works on this program were scenes from Martini’s Sapho and Sacchini’s Œdipe à Colonne, about which sad story I had reading up kn a few months back: sad not only as to the ancient Greek moral tale but as to the fate of its fomplser. The opera was to become a big success but the composer did not live to see it and had problems in producing it due to political intrigue at the time of the original premiere.
    As I had had a looooooooong time curiosity about how the opera world fared during the tumjltuous years of The Terror, (as it had fluorished in part due to Marie Antoinette’s patronage in pre-revolutionary days), therefore this program was extremely interesting to me and it was a most grateful experience, indeed.

    I am hoping there may be a review for the performance which, overall, I enjoyed, and will absolutely return to see the Opera Lafayette when they once again return to New York. Bravo to the Maestro and the spirit and enterprise, not to mention their corageous integrity, in presenting these works.

    • Camille

      Proving once again that an iPhone in the hands of an old woman writing in the dark creates mayhem: as in “fomplser” which in my arcane argot would be the word for “composer”. Not to mention my habitual italics diarhhea. Hélas! Pleurez mes yeux…!

      Although, many of the composers I have known have led SUCH precarious existences they felt as they were “fomplser” in life.