Cher Public

Broadcast: Oberon

To hear and to discuss: Weber’s Oberon starring Jonas Kaufmann, this afternoon at 1:00 PM.

  • La Cieca

    Welcome to the Saturday afternoon chat, cher public.

    Tomorrow (Sunday 10/15) Pulthunk Jordan de Souza leads a new production of Debussy’s Pelléas et Mélisande opera directed by Barrie Kosky, live from the Komische Oper Berlin, starting at noon EDT.

  • Rinaldo

    What’s the provenance of this performance? Is it the commercial recording conducted by Gardiner? (I started late.)

    • Camille

      yes it is and it such a pleasure to hear it done so well and with such a fine narrator. I think I’ll even break down and seek this one out, as the plot is so thick with thieves, every bit of clarification helps out. The light orchestration is such a relief to listen to. Weber is not Wagner.

      • Rinaldo

        … Though we wouldn’t have Wagner without Weber. This score especially is astonishingly full of “seeds” that took fruit in the later composer.

        I’m very fond of this recording (of all four, actually, but this is the only one in English). I must confess, though, that happy though I am to hear an accent here or there in sung English as long as the expressiveness is right (think what our own singers sometimes do in foreign tongue), there are a few funny moments here in secondary parts. Like the mezzo who rhymes “maid” with “hide.”

        I would love to see Oberon in the theater some day, given the full treatment.

        • Camille

          Thank you for believing in Weber as do I.

          I expect to see and hear Oberon, which I have so loved for so long in a theatre in Heaven, and no sooner. There WAS that webcast back in June or July from München, and for which I was extremely grateful, as beggars cannot be choosers and for me, at least, that was a thrill.

          The great Might-Have-Been I’ve always imagined would have been a production at Covent Garden conducted by Richard Bonynge (who better?) and Dame Joan. As she made a stuPENdous recording of the great Ocean Aria and had sung the title role of Euryanthe and Agathe in Der Freischütz early in her career, I’ve always wondered why in the world they wouldn’t make an attempt, especially as their “home” theatre was Covent Garden, the site of its prèmiere? It would seem a natural undertaking for them and one which would have been easier in some respects than, say, Esclarmonde, of which they both seemed so fond.

          Well, there are a million knowing old sages out there who might have the answer to this conundrum but they’re not talking!

          • I saw it once in Paris, but before I started writing stuff down. As a result, I have only the vaguest memories of it.

  • Camille

    I can’t Jonas to perform for me. What am I doing wrong here? That little deely has gone round and round and round and goes nowhere and I am hearing nothing. Nada.