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  1. #641
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    Camarena has engagements right after this, but it's not unknown for a house to release a singer from a contract if a major house asks, especially with shout-outs during an HD from Gelb and Camarena thanking the house for allowing him to sing.

    As it turns out, it won't matter.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  2. #642

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    Kwanfan,

    Thanks for the tip about the Opera Database; I'll check it out one of these days.

  3. #643

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    I saw Brownlee as Tamino in The Magic Flute a few months ago. He was good, but I don't recall being particularly wowed by him. Rodion Pogossov as Papageno and Janai Brugger as Pamina stood out much more vocally. But that also tends to be the case in Magic Flute; I never think of Tamino as having a lot of standout vocal numbers.

  4. #644
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    Tamino's opening aria is often included in tenor greatest hits compilations and is one of Mozart's most famous, so Brownlee obviously didn't make much of an impression.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

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    Tosca is on PBS here! I found this out from a Facebook thread where some men from my church were talking about baseball. True story. It's going to air again tonight, so I get to DVR it!
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  6. #646

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    Quote Originally Posted by kwanfan1818 View Post
    Tamino's opening aria is often included in tenor greatest hits compilations and is one of Mozart's most famous, so Brownlee obviously didn't make much of an impression.
    Obviously not. I assume you're referring to Zu Hilfe!, which I don't think is technically an aria, but is the sequence when Tamino is being chased by the monster. If so, I'll admit that the opening of the production of the Magic Flute I saw was so different than most that I can understand why the singing may not have made much of an impression. The performers were interacting with projected animations and it took a while to get over how mesmerizing the staging was.

    Quote Originally Posted by Wyliefan View Post
    Tosca is on PBS here! I found this out from a Facebook thread where some men from my church were talking about baseball. True story. It's going to air again tonight, so I get to DVR it!
    I'm still disappointed that they didn't air Radvanovsky's Tosca.

  7. #647
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    Quote Originally Posted by reckless View Post
    Obviously not. I assume you're referring to Zu Hilfe!, which I don't think is technically an aria, but is the sequence when Tamino is being chased by the monster. If so, I'll admit that the opening of the production of the Magic Flute I saw was so different than most that I can understand why the singing may not have made much of an impression. The performers were interacting with projected animations and it took a while to get over how mesmerizing the staging was.
    Zu hilfe is the opening. He sing the aria, "Dies Bildnis ist bezaubernd schön," right after the Queen of the Night appears and shows Tamino Pamina's portrait:
    Fritz Wunderlich's version
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  8. #648
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    Speaking of the Magic Flute, I'm off to the Washington Opera's production at the Kennedy Center for it on Wednesday.
    Congratulations 2014 World Ice Dance Champions Anna Cappellini & Luca Lanotte!!!

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    Quote Originally Posted by BlueRidge View Post
    Speaking of the Magic Flute, I'm off to the Washington Opera's production at the Kennedy Center for it on Wednesday.
    Awesome! Have fun!

    ETA: Interesting article here about the new crop of tenors: http://www.nytimes.com/2014/05/05/ar...bel-canto.html
    Last edited by Wyliefan; 05-05-2014 at 06:50 PM.
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    Charter member of the "We Always Believed in Ashley" Club and the "We Believe in Ricky" Club
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  11. #651

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    Thanks for the articles, WF. Its a little odd to hear Florez called new. I've been wondering how long he will last. I am not familiar with male coloraturas of the past but somehow it seems they would burn out fairly fast... at least if those high Cs are to throats anything like what quads are to bodies other than Plushenko's. But maybe it is a Q of technique.

  12. #652
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    I went to Seattle to hear Seattle Opera's "The Tales of Hoffmann," which was beautifully sung and brilliantly directed by Chris Alexander. I've always been neutral on the work, and I might have skipped it had Bill Burden not been singing Hoffmann. I never knew anything about it, and I have a lot more respect for it having learned that Offenbach wrote over four hours of music, including what seems to have been a brain dump for Act III, and then died before he could do his usual Broadway-like approach: chop, re-arrange, write new stuff, streamline, get audience feedback, rinse and repeat. Every performance has been what someone else tried to make of the music and libretto he left.

    Tonight I went to hear Vancouver Opera's production of "Don Carlo." Night and day. I realize there's a lot more to work with in Hoffmann, but the direction was of the lurch-and-freeze school, and the mechanical doll and the robot in "Hoffmann" were more lifelike than the characters in this "Don Carlo."

    There were some vocal brilliant performances, by tenor Andrea Care (Don Carlo) -- not remotely subtle, but the only thing subtle about this alternately whining-about-his-love-life and acting-all-hot-headed-about-politics-but-it's-really-about-Daddy character who rarely uses his indoor voice is in the final scene with Elisabetta -- baritone Brett Polegato (Rodrigo) -- Gregory Frank (the Grand Inquisitor), and the chorus and orchestra. There were also some really well done smaller roles. However, for much of part one (Acts I-II), my ears were bleeding. I'd heard the soprano (Elisabetta), mezzo (Eboli), and bass (Philip II) before, and they were very good to excellent, but the soprano sounded much better in the Wagner I heard her in. They perked up a bit for their big numbers in part two, and I could see what they were trying to do with the vocal line to interpret the text and music -- this was often thoughtful -- but the roles were not a good fit for them for the entire opera. I originally planned to go tonight so I could see it again, and that's not happening; I like "Don Carlo" too much, and I'd rather stay home Saturday night and listen to the Hoffmann radio broadcast on KING-FM.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  13. #653
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    Thanks for your reports, kwanfan1818. I love Tales of Hoffman and Don Carlo. The Magic Flute, not so much.

    The Washington Opera did a nice job of it and I liked aspects of the production although some of the projections I thought made it just too busy. I enjoyed hearing it in English, although a lot of the humor seemed quite stale to me. I rolled my eyes more than a few times. I really liked the soprano, Eri Nakamura, who is making her U.S. debut in this. I was disappointed that for my performance we did not get Joseph Kaiser as Tamino, we had Paul Appleby and he was okay. The Queen of the Night was Shantelle Przybylo, and she did quite well. Loved her costume.
    Congratulations 2014 World Ice Dance Champions Anna Cappellini & Luca Lanotte!!!

  14. #654
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    "Shantelle Przybylo" -- she's Canadian, so I can't begin to guess how she pronounces her last name, but have a better idea how much it's misspelled, no matter how she says it.

    I think Magic Flute is one of the hardest operas to pull off, especially for adults. It's too bad you didn't get to hear Kaiser.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  15. #655
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    With this afternoon's performance, Joyce Di Donato is retiring the role of Cenerentola. There is death in my soul.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

  16. #656

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    That explains why she was crying during the curtain calls. A bad thunderstorm roared through Brooklyn this afternoon and BAM lost the broadcast signal for 20-30 minutes. Luckily, most of it was during the intermission, but we did miss a chunk of the ball scene. Otherwise, a fine time was had by all.

    We do have La Donna del Lago to look forward to next season. I saw City Opera's production in the late 90s, and I'm looking forward to the new Met production.

  17. #657
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    If you lost intermission, you missed the interview where she said it was her last Cenerentola .

    I think Voigt should be the permanent guest host, or at least be the host anytime they even think of Renee Fleming. She did a wonderful job today, and she actually talks to the singers as if they have brains.

    Plenty of male eye candy today. Happily they all could sing.
    "The team doesn't get automatic capacity because management is mad" -- Greg Smith, agile guy

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    I would be pleased if Voigt turned her talents to speaking roles and stopped singing.

    Emason: I saw La Donna del Lago at NYCO too but more recently - loved it. I especially loved a phenomenal big-voiced mezzo named Laura Vlasak Nolen (in a lead pants role) who I was sure would be the next big thing in opera. She just seems to have disappeared. I hate it when that happens.

    Kwanfan1818: I agree re the difficulty of producing The Magic Flute. I avoid it. There is a marvelous excerpt from it, a marionette version IIRC, in Ingmar Bergman's Hour of the Wolf. That is as much of The Magic Flute as I need to see. (I am happy to listen.) The Cunning Little Vixen is similar. The cartoony productions don't put across the magic of the music.

  19. #659

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    Yes, I did miss that part of the intermission. We got the signal back just before Voigt interviewed Pisaroni et al.

  20. #660

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    Well, I learned today that operas where everyone stands around repeating everything twenty times are not really my favorite kind of operas. The singing was beautiful, though. And Juan Diego Florez is quite the hottie!
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