LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: Bravo Barenboim - Tristan und Isolde
From: Robert Rideout <[log in to unmask]>
Reply-To:Robert Rideout <[log in to unmask]>
Date:Sat, 6 Dec 2008 18:04:07 -0500

text/plain (72 lines)

  ----- Original Message ----- 
  From: paolo (G. P. Padillo)<mailto:[log in to unmask]> 
  To: [log in to unmask]<mailto:[log in to unmask]> 
  Sent: Saturday, December 06, 2008 5:31 PM
  Subject: Re: Bravo Barenboim - Tristan und Isolde

  I'm always astonished how quickly the hours pass during Tristan und Isolde, 
  and today, the bridge between morning light and complete darkness by the 
  end of the performance was disarming, but not in a bad way.  Not at all.  

  Like Kelly, I was a mess two minutes into the broadcast and found Barenboim's 
  reading exquisite, profoundly beautiful with many colors and nuances where 
  sometimes I feel the music is rushed over, or comes across too densely like a 
  thick Wagnerian goulash.  Here, today, almost every instrument shone in a 
  light that frequently took my breath away in its beauty.  Similarly, his tempi, 
  while sometimes slower than I'm used to, nonetheless offered great variety of 
  sound and speed, with a rubato that felt germane - natural, lingering here, 
  propelling the story forward there.  I truly loved everything I heard coming 
  from the pit today, not least of all the unusual soundscape created by the 
  reorganization of the players' seating.  While some have been critical of this, I 
  found it breathtaking.  


  Hello everybody -

  I listened to every note of it, and thought it a very good performance.

  I'm more in tune with Jim of Santa Fe, though, in my feelings, or maybe
  not so formed feelings, about Barenboim's conducting.

  I think Jim got it just about right, but I'd have to listen again, to be more
  certain of my own sense of it.  What I heard was a brilliant exhibition of
  atmosphere, which is not to diminish that remarkable achievment, at the 
  expense of some clarity.  I heard it as not unlike much of Dr. Bohm's 
  Strauss over the years - riveting, often gorgeous in concept, and not
  always cohesive in its delivery.  I'll take it over the mentronome every 
  time, but there was some "mud" in the mix.  The singers were just fine, if 
  not capable of erasing the best of memories, and the Liebestod was
  particularly affecting.  Lyric singing at its best, in a Wagner opera that
  is too often celebrated for stentorian delivery, and whose exponents are
  rarely able to deliver so finely refined a reading of the final pages.  

  It was a very good afternoon at the Met, and I'm very glad I gave it 
  the time and attention it deserved.

  WQXR  began its post broadcast program with Schubert's piano sonata 595
  in A Major, one of my favorite things ever written and I was very glad
  that I had not turned off the radio.  The first movement is magic.  Wonderful 
  way to end an afternoon of music.  We are very lucky to have all of this stuff.
  Spoiled, perhaps, but very fortunate, and I am grateful for all of it.



OPERA-L official website:
OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager