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carolineleiden



Posts : 327
Join date : 2011-09-29
Location : Holland

PostSubject: Other voices   12th December 2011, 20:20

All of us here love the voice of Philippe. But I wonder if we have the same taste when it comes to other voices too. Please post your most favourite singers

I have no real top 10 or so. They are equally good in their own right, they all touch my heart.

Carlos Mena, countertenor
Terry Wey, as boy soprano and now countertenor
Ann Hallenberg, mezzo
Hana Blazikova, soprano
Renee Fleming, mezzo

Maria Callas, soprano
Shakeh Vartenissian, mezzo
Boris Christoff, basso


The last ones made a big impression when I was little, but maybe we shouldn't count the ghosts of singers past.

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Artemis



Posts : 590
Join date : 2011-10-26

PostSubject: Re: Other voices   12th December 2011, 23:34

This is a fun game!

I like loads of singers but I'll limit it to ten (verr-y difficult) so as not to bore the pants off forum members!

In no particular order of preference:

Countertenors:

Max-Emanuel Cencic
Paul Esswood (a contempory of James Bowman and far more pleasing to my ears - most forum members will be too young to remember him)

Mezzos:

Susan Graham
Sarah Connolly
Ann Hallenberg

Tenors:

Juan-Diego Flores
Luigi Alva (yes, there was a great Peruvian tenor leggiero before Flores and there are quite a few elderly ladies who are still in love with Maestro Alva)
Topi Lehtipuu

Sopranos:

Montserrat Caballé
Sandrine Piau

Like quite a few baritones but I've exceeded my limit.

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Duffy



Posts : 473
Join date : 2011-01-31
Location : Germany

PostSubject: Re: Other voices   13th December 2011, 00:22

Okay, I also have some favourites:

Baritone: Hermann Prey, Thomas Quasthoff

Tenors: Jonas Kaufmann, Rolando Villazon, the young José Carreras

Sopranos: Sandrine Piau, Kiri te Kanawa, Anja Silja

CT:
PJ of course,
Andreas Scholl ( I'm going to hear him in January, let's see)
David DQ Lee (actually engaged in Hamburg )

David Hansen, a young Australian, often working in Norway. I came across him yesterday.
Please, have a look (and ear)

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Real fun. In Germany we call someone like that a "Rampensau".. stage tiger?
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Saskia



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PostSubject: Re: Other voices   13th December 2011, 18:32

I love the voice of Philippe Jaroussky. —
I compare all others with its interpretation. —
No wonder: I am lost for ever!

There are a few singers with wonderful songs...
they are singing not only with the heart but with soul:

1. Rolando Villazon
(beautiful scenery, he gave everything and was very moved... you will see in the end...)
[You must be registered and logged in to see this link.]

2. Angela Gheorghiu
[You must be registered and logged in to see this link.]
[You must be registered and logged in to see this link.]

3. Placido Domingo
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4. Mark Padmore (tenor / He sings the title very carefully and softly...)
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Very good countertenors are Franco Fagioli and Andreas Scholl ( and more ...!!!)
BUT — Philippe Jaroussky is the GOLDEN VOICE!
It`s not possibel to find a similar voice —
he is unique.

And more...
> Ensemle Artaserse, Alessandro Tampieri
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> Wunderfull... listen to the beginning...his voice is complete alone... give rose
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Jarofil



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Age : 31
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PostSubject: Re: Other voices   13th December 2011, 20:06

carolineleiden,
good post

Saskia,
Angela Gheorghiu and Mark Padmore are wonderful, thank you.

I’m focused on the light "early music" voices, especially the "high" ones, sopranos and mezzos and of course countertenors. I must confess that my serious interest in countertenors caused Philippe. I’m very grateful. thank you He is really my guru in this way.

I love Philippe in duets with Nuria Rial. They suit to each other wonderfully, comparable is another pair – soprano Suzie LeBlanc and countertenor Daniel Taylor, especially this one: [You must be registered and logged in to see this link.]

So my favourite
countertenors:
Philippe Jaroussky
Daniel Taylor
Dominique Visse

sopranos:
Suzie LeBlanc
Nuria Rial
Arianna Savall
Emma Kirkby
and, carolineleiden, of course Hana Blažíková, especially her Maddalena: [You must be registered and logged in to see this link.]

mezzos:
Cecilia Bartoli wink
Vivica Genaux

and also one Czech baritone:
Tomáš Král
[You must be registered and logged in to see this link.]

It’s a big difference between the recordings and live performance. But as I didn’t have an opportunity all of them to see and hear live, I mixed them to this list.
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Vivaldi



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Join date : 2011-08-06

PostSubject: Re: Other voices   13th December 2011, 20:19

OMG this is going to be a VERY long list......

Callas
Tebaldi
Jussi Bjorling
Renata Scotto
Pavarotti
Carreras
Domingo
Lucia Popp
Ferrucio Furlanetto
Angela Gheorgiu
Fleming
Netrebko
Garanca
Christa Ludwig
Von Otter
Barbara Bonney
Jonas Kaufmann
Villazon
Juan Diego Florez
Joyce Didonato
Jessye Norman
Bernarda Fink
Ian Bostridge
Peter Harvey
Natalie Dessey
Caroline Sampson
Emma Bell
Sandrine Piau
Toppi Lehtipuu
Waltraude Meier

and also
Carlos Mena
Michael Chance
James Bowman
Andreas Scholl
David Daniels
Jochen Kowalski
Laurence Zazzo
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Vivaldi



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PostSubject: Re: Other voices   13th December 2011, 20:40

And sorry for all those I forgot like
Mariusz Kwiecien
Cecilia Bartoli
Nuria Rial
Suzie LeBlanc
Maie Nicole Lemieux
Sonia Prina

And many more...... friends
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karenpat



Posts : 246
Join date : 2010-02-20
Age : 31
Location : Norway

PostSubject: Re: Other voices   14th December 2011, 06:11

I'm with you, Vivaldi...my list would also be very long...let's see.

Countertenors:
Matthew White
Iestyn Davies
Bejun Mehta
Max Emanuel Cencic
Carlos Mena
Robin Blaze
Lawrence Zazzo
Tim Mead

Sopranos:
Natalie Dessay
Susan Gritton
Carolyn Sampson
Julia Lezhneva

Mezzos:
Joyce DiDonato
Magdalena Kozena
Vivica Genaux

Tenors:
Juan Diego Florez
Jonas Kaufmann
Richard Croft
Ian Bostridge
Cyril Auvity

Bass/Baritones:
Christopher Purves
Erwin Schrott
Ildebrando D'Arcangelo
Gerald Finley
Florian Boesch
Ruben Drole
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http://www.karen-patricia.com
Rosamunda



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PostSubject: Re: Other voices   14th December 2011, 12:27

Saskia writes:
I love the voice of Philippe Jaroussky. —
I compare all others with its interpretation. —
No wonder: I am lost for ever!

Et moi aussi!!
This is it!!
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Pilarddcc



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Age : 38
Location : Spain

PostSubject: Re: Other voices   14th December 2011, 19:22

lol I agree I only have one heart and it is for Philippe give heart
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Rosamunda



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PostSubject: Re: Other voices   15th December 2011, 17:07

Of course I like other many music and other many singers. Yesterday was a joke (but in the background, background, entirely true smile )
For example: I just saw, once again, one of the versions (year 2007) more attractive that I know of "Rosenkavalier" of r. Strauss, with a first act in a very suggestive atmosphere and a wonderful final trio.
In this version I really love Anne Schwanewilms (the Marschallin), who sings a beautiful, generous, melancholy and abandoned mistress. Precious.
Y I also like very much Anke Vondung (Octavian) who sings his role of lover teen with a beautiful voice of mezzo, fun, charming, and in the end, cruel.
Director: Fabio Luisi
Coro and Orchestra of the Opera of Dresden
But…...(this we ask all you): what would Philip with the role of Octavian? It is too sharp for him?.
To me I'd love to see it to deploy all his seduction between these two characters who love him. Poor Marschallin in the arms of Philip!
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Pilarddcc



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PostSubject: Re: Other voices   15th December 2011, 17:40


ROSAMUNDA: Your Rosenkavalier sounds very appealling to me inlove

But I do not have any actual knowledge about the suitability of that role for Philippe's voice...
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Vivaldi



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PostSubject: Re: Other voices   15th December 2011, 20:30

Rosamunda wrote:
But…...(this we ask all you): what would Philip with the role of Octavian? It is too sharp for him?.
To me I'd love to see it to deploy all his seduction between these two characters who love him. Poor Marschallin in the arms of Philip!

Too high, too long, too dense an orchestration for the voice of a countertenor.
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Vivaldi



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PostSubject: Re: Other voices   15th December 2011, 20:35

And of course Rosenkavalier is a great masterpiece though it has its share of longuer...
I know the Luisi/Schwanewilms production but didn't really like it. I'm not so fond of Schwanewilms. I p refer the old Kleiber from Munich or Solti from Covent Garden or Thielemann from Baden Baden with my beloved Renee Fleming.
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Rosamunda



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PostSubject: Re: Other voices   15th December 2011, 21:18

It is true, Vivaldi, this character is excessive for a countertenor. I think that I lose my head when it is Felipe.
On the other hand Anne Schwanewilms isn't my favorite, but in this role his melancholy and the slight decline of its beauty move me more than Renée Fleming, much less subtle in my opinion. I am very sensitive to the nuances of interpretation.
I didn't say anything of the director or Orchestra and and in this I think you are right.
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Artemis



Posts : 590
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PostSubject: Re: Other voices   15th December 2011, 21:25

Vivaldi wrote :

"Too high, too long, too dense an orchestration for the voice of a countertenor" -

to say nothing of going against the express wishes of the composer who paricularly loved the female voice!
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Rosamunda



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PostSubject: Re: Other voices   15th December 2011, 23:03

Artemis: Also you have absolutely right.
But... I repeat what I said a little earlier: lose my head when I think about Felipe. I'm sorry.
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Artemis



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PostSubject: Re: Other voices   16th December 2011, 13:03

That's OK, Rosamunda. We all have the same "tender spot" (otherwise we wouldn't be posting here!) but really there is no shortage of rôles that he can sing without foisting Octavian on him.
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Vivaldi



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PostSubject: Re: Other voices   16th December 2011, 16:48

Artemis wrote:
Vivaldi wrote :
to say nothing of going against the express wishes of the composer who paricularly loved the female voice!

Interesting, I didn't think Strauss considered a possibility of having a male voice since CT didn't exisit at the time, castrati neither (Moreschi died in 1922).
BUT Handel also prefered female singers in some of his male roles and these roles are entrusted to CT and we all like it (like Solomon or Nerone in Agrippina if I'm not mistaken).
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Artemis



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PostSubject: Re: Other voices   16th December 2011, 17:38

Vivaldi,

Sorry, Vivaldi, I didn't make myself very clear. Strauss never considered the possibility of a CT for Octavian since, as you say, they were unknown in opera at the time. They did, however, exist - certainly in the UK, in an unbroken tradition, where they have always been (and still are) used in church choral music. Henry Purcell sang both countertenor and bass! Strauss wanted to restore the Mozartian tradition of the "trouser rôle" - he could, of course, have given Octavian to a tenor - but it's well known that he did love the female voice - how else could he have written that glorious final trio? And, please, don't anyone dare suggest Philippe for Cherubino or I'll be outta here!!

A.
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Vivaldi



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PostSubject: Re: Other voices   16th December 2011, 18:59

Rosamunda wrote:
On the other hand Anne Schwanewilms isn't my favorite, but in this role his melancholy and the slight decline of its beauty move me more than Renée Fleming, much less subtle in my opinion. I am very sensitive to the nuances of interpretation.
I didn't say anything of the director or Orchestra and and in this I think you are right.

As much as I love Fleming, I'm not that fond of her Marshallin. To be honest I watched it only twice but I can say that her interpretation is different, quite unique actually, because she sings it through her own age i.e 50. Thus she is really getting old and bitter without the usual twinkle in the eyes and the irony, and she has less patience for Octavian. IMHO it's a great idea and a very reasonable interpretation. That being said the idea is good but the execution is not and I can't even say why. There is some reserve between the singer and the character and as you said certain lake of nuance. I have to watch it again to find out what is missing.


Last edited by Vivaldi on 16th December 2011, 19:01; edited 1 time in total (Reason for editing : changes)
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Rosamunda



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PostSubject: Re: Other voices   23rd December 2011, 22:32

Pilarddcc: I have read on this topic and another that hitherto had not you been interested much much classical music or maybe Opera.
Well. As this is a wonderful world and you have in Felipe the best guide you can imagine, at this time I will try to collaborate with him for you: you know that at the Salzburg festivals of the year 2012 our very beloved Felipe is going to sing the role of Sexto in the Hándel “Giulio Cesare":, surrounded by a marvellous companions : To begin to know what Philip is facing and how is this splendid Opera think that you should get the version directed w. Christie for Glyndebourne (2005), that is, in my opinion, the best that I know, brilliant, hilarious, mocking, delightfully incongruous and beautifully sung in all the papers.
Sarah Connolly, with his beautiful voice and a total cockiness, sings a tremendously convincing Emperor.
Danielle Niese, that looks like a lot Jeniffer Lopez, sings a Cleopatra nearly of American music, but with a cheeky and a knowledge of the role that make it perfect. I do not like D. de Niese, but here is much better that it was Natalie Dessay in Paris last year. A personal opinion is, of course.
Christophe Dumaux, CT, away his role as Prince unbearable and cruel, the same will sing in Salzburg with Philip.
And Sexto: This teen character, bewildered, almost just out of his mother's arms, but somewhat swaggering and unconscious, is represented by Angélika Kirchschlager in an exciting way. It is a wonderful role of Sexto, to me I love all your speeches and I think it's an ideal character for Felipe. Vivaldi could tell us something about this, because last year heard it in Paris.
Everything else is great and there are some absolutely great scenes such as, for example, the choreography of "Va Tacito".
We have seen how Philip sang "L´angue offeso" in La Coruña, with an energy, an ira and a determination that left no doubt as to the intentions of Sexto.
I´m sure that you'll love to see this DVD (OpusArte) and "Va tacito" give you turns over his head for a long time.
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Artemis



Posts : 590
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PostSubject: Re: Other voices   23rd December 2011, 23:11

Rosamunda,

I love this Glyndebourne production too. Although I'm not too keen on Daniele Deniese as a singer, the rôle of Cleopatra fits her like a glove. Strangely, Sarah Connolly (one of my favourite mezzos) is much more convincing and authoritative as Cesare than Andreas Scholl (in the Copenhagen production). When she sings "Va tacito", you just know that Tolomeo doesn't stand a chance and is about to be toasted! And Dumaux (who loves to play naughty boys) has a ball as Tolomeo. I like the countertenor who sings Nireno (Rachid ben Abdeselam?) too and he has great Bollywood dancing skills!

I have tickets for Salzburg and can't wait ...
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Vivaldi



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PostSubject: Re: Other voices   24th December 2011, 11:16

Regarding Giulio Cesare I think one should have both DVDs. Mcvicker's production is a delight and very thought-through. Everything has a meaning, and the often use of dances is fantastic. Negrin's production is less lavish and more spontaneous buth effective even so and some scenes like "va tacito" or "belle dee" are gems.
Musically speaking Christie is perhaps little better but Mortensen is very good. Shcoll is more a galant than a hero, ironically Connolly is the more masculine. De Niese has some good moments specially theatrically, but overal she is no comperison to the exquisite Inger Dam Jensen, same goes to Kirchschlager/Semmingsen. The two duets "son nata" and "caro-bella" are the highlights of the Copenhagen production. Just listen to the voices of Jensen and Semmingsen interwoven in each other. I like both Dumeaux and Robson as Tolomeo the first young and spicy and noisy with his full-blown resonant voice, the latter authorative and dangerous under the mask of old and comic.

As Rosamunde mentioned I saw Jaroussky as Sesto last year in Paris. He was at the hight of his vocal prowess and artistry. Actually it was the first time I completly enjoyed this role. Since the opera started so late in the evening we were asked not to applaud after the arias (imagine not to clap to Bartoli!!) but after the unsupassble rendition of "cara speme" there was the thunderous ovation imaginable. While he sang it you could even hear the walls crying out loud of resonance, so it was obious we should have voiced our appreciation.

And here is a little present from me to you for Christmass: a private recording (not made by me) of the 12.2.2010 Giulio Cesare concert(where the audience was silent as requested...):
Part one: [You must be registered and logged in to see this link.]
Part two: [You must be registered and logged in to see this link.]
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Pilarddcc



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PostSubject: Re: Other voices   24th December 2011, 13:01

Dear Rosamunda! I¡m more than happy with your Christmas present! friends

Artemis: You luchy gril, I would love going to Salzburg. swoon

Vivaldi: Thanks for that authoritative post! And, of course, for the links, I'm going to enjoy them during Christmas day reverence
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tuffy942



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Location : miami and chile

PostSubject: Re: Other voices   24th December 2011, 15:35

I have been waiting for over a year to see Felipito as Sesto and I will have my wish finally, TWICE!!!On the 25th and the 27th of May. With my best friend. I would love to know who else will be there so I can treat you to a Kir Royale!!! drinks happy
So it will be Connolly as Cleo???Or did I misunderstand???
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Pilarddcc



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PostSubject: Re: Other voices   24th December 2011, 16:29

That's great, Tuffy, I saw that the opera is sold out! You're so lucky, plaese take pictures and etc...


Espero que disfrutes de unas estupendas navidades en familia kiss
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Artaserse



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PostSubject: Re: Other voices   24th December 2011, 20:20

OK, but the first Sesto was also a woman- Margherita Durastanti , and that at the time of the greatest choice for castrati .... ( Nerone , too)
So, maybe Mr. Händel wantet already something similar like Herr Mozart later ?
I saw once one witty staging of " Giulio Cesare", where Sesto disguised himself as a girl form the harem of Tolomeo - to execute his act of revenge! That could be an really reasonable point of view for this choice also by Mr. Händel. wink
I can hardly imagine Octavian singing by a counter just because of a very demanding vocal part, but not Cherubino! As the role Octavian would be perfect for a man, but too hard to sing.
I was so fortunate to see Philippe as Nerone in Madrid where he is more than convincing as well as singer as also as actor , so I ´d prefer him in all the " breeches- roles ". Sorry, I´m prejudiced because of being.....you know.... inlove

________________________________
Händel for President!
Jaroussky pour le Ministre de la culture!
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Artemis



Posts : 590
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PostSubject: Re: Other voices   25th December 2011, 11:34

Vivaldi,

Thank you for the wonderful Christmas present to us all which I shall listen to more at leisure later. A friend gave me a "bootleg" of this performance but it isn't such good sound quality. I think Philippe was born to sing Sesto and if he is half as good in Salzburg as he is here, I shall be fainting Farinelli-groupie style all over the Haus für Mozart!

I have both the Glyndebourne and Copenhagen DVDs of "Cesare" and they both have their separate merits, although I must admit to a slight preference for Glyndebourne if only for Sarah Connolly's performance. Forgot to say that although I love Rachid's Bollywood-style dance, vocally I prefer Michael Maniaci as Nireno. I find Christopher Robson's Tolomeo repulsive and creepy, but I guess that's the idea!

Mr. Artaserse,

I don't really mind if a male rôle is performed by a countertenor or a mezzo as long as it goes to the performer most likely to give a good vocal performance. We're very lucky that we have so many really good countertenors now; this was not the case when I was young, so I guess I got used to seeing "Cesare" as a trouser-rôle. I would just love to see Philippe as Ariodante but Philippe himself says that he would not be up to the task, so I'll settle for Ann Hallenberg (who is fabulous). I also saw Philippe as Nerone in Madrid (twice!) and thought he was wonderful but it's interesting to compare his performance with that of (mezzo) Alice Coote on the Glyndebourne DVD. Alice brings out the more thuggish side of Nerone! I'm going to see Cencic as Nerone in March and look forward to seeing what he will do with it. Maxi breaks all the rules as he is a fabulous Oreste in La Belle Hélène!

I've always loved countertenors but it's really only comparatively recently that they have been so widely accepted. When I was young, countertenor concerts had all the allure of an Alcoholics Anonymous meeting and if a "nicely" brought up young lady had a penchant for men with high voices, she kept pretty quiet about it!


Tuffy,

Do not worry, the cast at Salzburg is unchanged. We were discussing the merits of the performances of "Cesare" available on DVD.

Believe it or not, I have a Christmas dinner to attend to, so I'd better get outta here!

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Pilarddcc



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PostSubject: Re: Other voices   25th December 2011, 17:51

Artaserse. I'm prejudiced too.. give rose

Artemis: good post I'm learning a lot!
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Vivaldi



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PostSubject: Re: Other voices   25th December 2011, 19:06

Artemis,
Ariodante and Nerone are both very high for CT, but the first is much longer and much more taxing, so it's very wise of PhJ not no touch it. Virgin will release the Madrid Poppea so we could all enjoy it. It's pity though that there is no planning to release the Liceu Poppea with Connolly and Miah Person.
[You must be registered and logged in to see this link.]

I like very much what Coote does as Nerone. She is a great singer and it's pity she is not recorded/filmed more often.

Vocally speaking Chris Robson does not even come closer to Dumeaux's singing, but as with his Unulfo from Munich, it's true theatre, it's characterization in the full sense of the word, (the loathsome David Alden at his very best) so I can accept his stiff and coarse old voice.
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Artemis



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PostSubject: Re: Other voices   27th December 2011, 11:07

Vivaldi,

Nice videoclip. Hideous costumes, though! Thank you. I didn't know this production. Why did it take so long for people to realise what a truly great mezzo Sarah is? It's a mystery to me ...

Re: Christopher Robson's "stiff and course old voice" - I agree - he's still a first-rate artist but nobody could pretend that the voice was attractive any more. I think the countertenor voice is a particularly fragile one and has a much shorter "shelf life" than other lyric voices. I do hope that Philippe will realise when the time has come to call it a day. I think he will; he's a bright boy! In the meantime, I hope he'll continue to delight us for as long as possible. I've always loved Michael Chance but, in my opinion, he should have stopped singing a couple of years ago. I don't think the countertenor voice even "sits well" on men past middle age. Can you imagine Philippe singing "Sento in seno" in his fifties? If he is, luckily, I'm unlikely to be here to see it! James Bowman had an exceptionally long and distinguished career, but it was precisely that - an exception. Oddly, much as I've always admired Bowman as a great artist and realise that he opened up new ground for countertenors, I never liked his voice all that much (always preferred Paul Esswood). For me, Bowman's voice always had a slight "hooty" quality - which is what people who can't stand countertenors say they don't like!

Anyway, this is only my opinion, so you can shoot me down if you like!

A.
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Vivaldi



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PostSubject: Re: Other voices   27th December 2011, 17:02

Dear Artemis, I don't shoot people who like CT, even if they don't like James Bowman give heart

The Liceu Poppea is a production of David Alden. There where times that he practically owned the Israeli Opera (where I live) and we had to suffer his horrendous productions for half a season. I thought Poppea was brilliant (so is his Rodelinda from Munich with Chance). I guess he knows his way in Baroque.

I don't know how often Christopher Robson performs, certainly these days (Rodelinda was filmed in 2003 and Cesare in 2005). No doubt he was hired as a character singer because of his great stage skills and not by his singing. At his prime like in Xerxes from ENO (1988) he had gorgeous voice.

As a CT myself I do think that this voice dies earlier than other voices, at about 50 it's practically over. James Bowman was really an exception though in his last concert here in 2007 he was hardly on form, and actually he is not at all in his best in Handel's Esther with Cummings recorded in 2002, but he is a great artist and I love him and I have many of his recordings. Pity though he was not more daring expressively and in dacapo ornamentation. Michael Chance is a really sad case of premature voice decline. At the early 1990's he was phenomenal, but from 1996 onwards there was a serious decline in his vocal resources. I first heard him live in Israel that year and it was good but his subsequent recordings were not at all good. He used to sing here a lot, the last time 2 years ago was hardly bearable. I once saw a very honest interview with him and he said that over the years he gets less and less invitations to sing. Poor but alas true. Andreas Scholl and Pascal Bertin are more examples of early voice decline. Will PhJ sing well after 50? I truely hope so, no one can know. Lets say that as a first step of wisdom he should withdraw from the very high roles of mezzo.
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Rosamunda



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PostSubject: Re: Other voices   27th December 2011, 18:07

Vivaldi: I did not know at all this version of "L´incoronazione di Poppea" of Barcelona, and I stay with many, many want to see it whole. Bothers me putting in scene and the direction of actors because I believe that the regista has squandered the talents of both singers. shock
But ... this is a curse that haunts me in almost all the operas I see.
Sara Connolly I love when he sings Handel, Mozart, Strauss….., and in addition to his beautiful voice, famously used, has a special talent for acting and a physicist, strong and sensitive that make it very suggestive in the roles of trousers.
The Sexto sang this year in "La clemenza of Tito" in Aix-en-Provence, was beautiful, elegant, helpless before Vitellia and torn between her and Tito. He sings wonderfully well and acts almost at the same level.
I have not been able to enjoy your Christmas, , Vivaldi, because I want to hear it full time, only I and "Giulio Cesare", without limited time and no one to stop me. But thank you very much and when I hear, I'll tell you what I think.
give rose
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SJuli



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PostSubject: Re: Other voices   27th December 2011, 22:51

I assume there must be a few people here who love countertenor voice wink -- do you know this guy? I just love to listen to him! (OK, I admit I know him, so I'm biased... blush )
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Artaserse



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PostSubject: Re: Other voices   28th December 2011, 00:08

SJuli

Thanks for the link - really nice voice, good trained, smooth , flexible and mellow as well.
( The highs are a bit too artificial to me, he is definitely an alto. blush )

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Jaroussky pour le Ministre de la culture!
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Artemis



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PostSubject: Re: Other voices   28th December 2011, 18:40

Sjuli,

Thanks. Barnabas has a really nice alto voice - particularly suited to the religious repertoire, I think. Has he made any other recordings of non-religious works?

A.
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SJuli



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PostSubject: Re: Other voices   28th December 2011, 20:40

He sang in productions of Budapest Chamber Opera, some of which were also recorded on CD. I'm not sure this is all but there is a Vivaldi Il Tigrane recording (he sung Clearte) and a Galuppi La clemenza di Tito (Annio) - one aria here:
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Oh, and here is the inevitable Sound the trumpet from a more recent live concert:
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Artemis



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PostSubject: Re: Other voices   29th December 2011, 21:26


SJuli,

I liked this even better. I've seen Vox Luminis many times but never with Barnabas; I'll look out for him from now on.

A.
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carolineleiden



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PostSubject: Re: Other voices   12th January 2012, 11:38

Another one that Serenaluce has shown me:

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Jose Lemos.

I know nothing of him. But it is like hearing... well, me in my lower/middle register when I'm not forcing anything, just having fun. shock And I'm a girl!

Edit: Ah, he is with the Baltimore Consort and he has done Alessio with Philippe.


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Pilarddcc



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PostSubject: Re: Other voices   12th January 2012, 11:52

This is Spanish-Sephardí music, it is very beautiful! flowers
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Artemis



Posts : 590
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PostSubject: Re: Other voices   12th January 2012, 12:56

Jose Lemos was also Ottavia's nurse in the Madrid production of "Poppea" - a little miscast, I thought, as he didn't sound at all like a frustrated spinster! Lucky Carolineleiden, I'd love to sound like Lemos when I sing but unfortunately, I sound more like Florence Foster-Jenkins ...
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Artaserse



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PostSubject: Re: Other voices   12th January 2012, 14:27

Artemis

Yes, this nurse in Madrid was a bit too funny...but who knows, perhaps she wasn´t a " frustrated spinster" anymore? Laughing

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Artemis



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PostSubject: Re: Other voices   12th January 2012, 17:24

Mr. Artaserse,

I'm not sure that Ottavia's "nutrice" is actually a spinster, but "frustrated" she certainly is and very envious of Drusilla's heavy date with Ottone!

Arnalta is not married though, is "she"?

A.
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carolineleiden



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PostSubject: Re: Other voices   12th January 2012, 18:36

Ah, that's where I heard him too then. In Adagiate Poppea! I like singing that song as well. It fits my voice. But I only have the upper half of his range.


Nurses were usually mothers who took on another baby to feed. Often the children grew up together in the house of the master. In later times children were sent away to live with the nurse, until they were about 6 years old when they were taken back to live with their real parents again.

In the first case the nurse never saw her husband again. Often he was dead anyway and becoming a wetnurse was a means of survival.

In the later case the nurse child had an extra mother and father and a whole family, often in a quite humble position. But he suffered a big shock when he was brought back to his biological parents.

So Arnalta was probably a widow. And maybe her own child lived, and maybe it had died. Children did that a lot, in those days. With the Romans even more. They had the nasty habit of throwing unwanted children on the citydump. The father decided after birth if the baby would be accepted or killed.
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Artaserse



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PostSubject: Re: Other voices   12th January 2012, 18:45

Artemis,

Look, " nurtice" means " wetnurse"....to be " wetnurse" you need to have some mother- milk, that means, you have a baby. Being a spinster and having a baby is quite impossible, isn´t ? roll eyes

If la Nutrice as well as Arnalta were " wetnurses" of Ottavia and Poppea, so they could be widows ( for example).
A bit different would be if they were some kind of "dueña" - dueñas were older and unmarried companions for the young ( and mostly beautiful ) ladies - so they could be also " frustrated spinster" as well !

In "Poppea" we have certain " pairs" of personages, quite refined "coupled", especially in this performance... I´d say, even "triangles" : Poppea- Ottavia- Drusilla, Arnalta- Nutrice- Seneca, Nerone- Ottone - Valetto, Seneca- Nerone- Lucano, Gods, too.

reverence

P.S. Wow- Caro was faster and precise. friends

________________________________
Händel for President!
Jaroussky pour le Ministre de la culture!


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Vivaldi



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PostSubject: Re: Other voices   12th January 2012, 18:45

WOW! He is amazing!! I wouldn't guess that's a man singing, and I recognize a CT voice even in deep sleep.
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carolineleiden



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PostSubject: Re: Other voices   13th January 2012, 10:01

Vivaldi, another surprise for you!
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Duffy



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PostSubject: Re: Other voices   25th January 2012, 09:44

Hello to you all,
I just came back this morning from a concert of Andreas Scholl in Frankfurt, a "Liederabend" accompanied by Tamar Halperin on Cembalo and Piano. I wanted to find out about his voice. Some critics said that there is not so much time left for him, he is sick quite often and so on. I saw some YT Videos from the Met (Rinaldo), and there were so bad parts amongst them that I thought I should take the chance to hear him before it's too late. It was really beautiful, he sang Purcell, Dowland, Haydn, Brahms and Scottish traditionals as well, the voice was full of power and beauty.
But for me personally there is one difference: NO MAGIC. The barrier between singer and audience persists, he doesn't drift into the context, it is always Andreas Scholl singing and the audience stays where it is. Nevertheless, people were quite excited and the line was very long after the concert. Very sympathetic, very tall guy.
What has to be added: Andreas Scholl is often clearing his throat , sometimes in the middle of a phrase and he does some kind of stretching exercises on stage. It seems, Philippe is a phenomenon? I've never seen or heard such things from him.
Conclusion: Buy "O Solitude", the CD is gorgeous, but save your ticket money and go to Philippe, let's all get enchanted!

BTW there were mics!!!! But I couldn't say if he was amplified.
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Pilarddcc



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PostSubject: Re: Other voices   25th January 2012, 10:32

Duffy:

I love Scholl in Paris' concert with Jaroussky. Purcell is one of may favourites and I feel so touched by his interpretation. In "My dearest, my fairest" both voices are incredible beautiful I feel like melting...So you don't think that Scholl is in decadence, I'm glad to know! I should buy Oh Solitude...you're right!


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