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Subject: Re: More Gounod (was Re: Bayreuth)
From: DK Conn <[log in to unmask]>
Reply-To:DK Conn <[log in to unmask]>
Date:Sun, 8 Jul 2018 18:20:46 -0400
Content-Type:text/plain
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As Le Tribut de Zamora was also a Palazzetto Bru Zane production, I think
both it and La Nonne sanglante are likely to be released in the handsome
Ediciones Singulares series (book + CD).  Gounod's Cinq Mars, also recorded
in concert at the Prinzregententheater, has already been released:
http://www.edicionessingulares.com/eess/referencia.aspx?Id=317

For more rarely heard Gounod, look to Odyssey Opera's next season, which
includes both La reine de Saba and Le medicin malgre lui, which, if
Odyssey's past record is any indication, will be well cast.  This is truly
"the little opera company that could".

DK


On Sat, 7 Jul 2018 21:10:01 -0400, Vesna Danilovic <[log in to unmask]> wrote:
>It sounds very interesting though a somewhat odd choice for his last opera.
>I wish I had heard it.
>
>For a long time I thought only of MIREILLE as his lesser known opera, but
>now it sounds almost mainstream by comparison to these rarities. While at
>MIREILLE, the opera I actually very much enjoy, Gounod also tried to bring
>out the "local color" in it, this time of Provençal music. He spent some
>time in Provençe in an attempt to immerse himself in the regional culture
>that he became to love. Mistral, whom he befriended and whose Provençal
>poem he used for the libretto, himself thought that Gounod succeeded at
>that. Reading your review of his LE TRIBUT DE ZAMORA, this clearly was not
>the case with his attempt at the "Moorish" musical effects you mention.
>Still, good to know about this opera as well and thank you for that.
>
>Vesna
>
>On Sat, Jul 7, 2018 at 8:13 PM, DK Conn <[log in to unmask]>
>wrote:
>
>> This was an enjoyable concert performance by the Munich Radio Orchestra and
>> Chorus, led by Herve Niquet.  It's not exactly a masterpiece but certainly
>> worth the revival.
>>
>> The plot, set in northern Spain, is no more (or less) contrived than those
>> of Il Trovatore or Norma.  It involves separation of a betrothed couple,
>> Manoel and Xenia, the intended bride instead having her name drawn by
>> lottery to be part of the annual "tribute" of virgins sent to the ruling
>> Moorish caliph, a result of the Christians losing in the most recent war
>> with the Moors.  The unfortunate virgins are auctioned off; the Moorish
>> ambassador has his eye on Xenia, and vehemently outbids Manoel (who is
>> aided
>> in his bidding efforts by Hadjar, the ambassador's brother, whose life
>> Manoel just so happened to have saved some time previously).  There is a
>> madwoman, Hermosa, who turns out to be Xenia's mother, and who upon
>> recognising her long-lost daughter is returned to sanity (of course).
>> Xenia
>> continues to refuse the ambassador, and Hermosa stabs him.  Hadjar reminds
>> everyone that the mad are blessed and must not be harmed.  With that
>> convenient break, Hermosa, Xenia, and Manoel leave.  End.
>>
>> The work itself is recognisably and tunefully Gounod, with some great
>> writing for the chorus (this must be a fun work to sing).  There is a
>> rousing La Marseillaise-style "hymne national" ("Debout, enfants de
>> l’Iberie"), and during the bidding war over Xenia, the chorus exclaim
>> excitedly as the bids rise higher and higher.  Gounod does use some
>> "Spanish" or "Arabic" effects that I found slightly annoying, but I suppose
>> would have been expected of his time.  Soloists were good though none of
>> the
>> women stood out particularly for me; I thought the men fared better,
>> especially the singers who sang the smaller parts of Hadjar (baritone Boris
>> Pinkhasovich) and Le Cadi (bright-toned tenor Artavazd Sargsyan).
>>
>> DK
>>
>> On Sat, 7 Jul 2018 12:59:57 -0400, Vesna Danilovic <[log in to unmask]>
>> wrote:
>> >I'll have a time conflict with the rebroadcast, but am curious about this
>> >Gounod's rarity. Since you recommend it, could you please tell us more
>> >about this work and your impressions about this performance you suggest we
>> >listen to? Thank you.
>> >
>> >Vesna
>> >
>> >On Sat, Jul 7, 2018 at 12:26 PM, DK Conn <[log in to unmask]>
>> >wrote:
>> >
>> >> If you missed the January live broadcast from the Prinzregententheater,
>> >> another Palazzetto Bru Zane-sponsored Gounod rarity, Le Tribut de
>> Zamora,
>> >> is
>> >> scheduled for rebroadcast at 2 pm today on Slovenian radio (see
>> Operacast
>> >> listings).  The libretto is available on the Bru Zane website.
>> >> DK
>> >>
>> >> On Fri, 6 Jul 2018 20:41:39 -0700, Donald Levine <[log in to unmask]>
>> >> wrote:
>> >> >More then half-way through La Nonne Sanglante and am finding myself
>> liking
>> >> >it very much.  I am curiously drawn to it.  Later.
>> >> >
>> >> >On Fri, Jul 6, 2018 at 7:28 PM Donald Levine <[log in to unmask]>
>> wrote:
>> >> >
>> >> >> I'm watching it now.  An opera I've never heard of - a rare thing by
>> the
>> >> >> way.  So far I'm enjoying it but I love to hear works by a major
>> >> composer
>> >> >> for the first time that I have never encountered.
>> >> >>
>> >> >> Donald
>> >> >>
>> >> >> On Fri, Jul 6, 2018 at 6:34 PM DK Conn <
>> [log in to unmask]>
>> >> >> wrote:
>> >> >>
>> >> >>> The Munich Parsifal has been much reviewed elsewhere and someone on
>> >> this
>> >> >>> list did point out the live radio broadcast.  The video stream is
>> >> coming
>> >> >>> up.
>> >> >>>
>> >> >>> I did post on La Nonne sanglante, with a link to the videostream,
>> with
>> >> >>> nary
>> >> >>> a response.  But here it is again--fans of Faust should take note:
>> >> >>> https://www.youtube.com/watch?v=zRZXPtN128U
>> >> >>> (Operacast notes a broadcast tomorrow of what I believe is the only
>> >> >>> existing
>> >> >>> recording of this work, but Spyres is far superior to the Rodolphe
>> on
>> >> that
>> >> >>> recording.)
>> >> >>>
>> >> >>> Mr. Riggs does yeoman's work, for which I am thankful, in keeping up
>> >> his
>> >> >>> Operacast schedules, which included the Alagna/Lemieux Samson et
>> Dalila
>> >> >>> (still available on demand on France musique) and the Giovanna
>> d'Arco
>> >> (a
>> >> >>> one-time broadcast from Dortmund).  Mr. Riggs leads one to many
>> founts;
>> >> >>> all
>> >> >>> one has to do is actually tune in.
>> >> >>>
>> >> >>> DK
>> >> >>>
>> >> >>>
>> >> >>> On Fri, 6 Jul 2018 12:12:28 -0400, william kasimer <
>> >> [log in to unmask]>
>> >> >>> wrote:
>> >> >>> >On Thu, 5 Jul 2018 19:46:48 -0400, DK Conn <
>> >> >>> [log in to unmask]>
>> >> >>> wrote:
>> >> >>> >
>> >> >>> >>Given that, out of close to 150 posts so far in the 1st week of
>> July,
>> >> >>> maybe
>> >> >>> >>three posts mentioned currently performing singers, why are you
>> >> >>> surprised?
>> >> >>> >>In the past few weeks there was barely any (or no) notice taken of
>> >> the
>> >> >>> >>musically splendid Parsifal at the Munich Opera Festival, or of
>> the
>> >> >>> 200th
>> >> >>> >>anniversary of Gounod's birth (celebrated in style by the Opera
>> >> Comique
>> >> >>> with
>> >> >>> >>Gounod's wonderfully gothic opera La nonne sanglante, with Michael
>> >> >>> Spyres
>> >> >>> >>singing a very fine Rodolphe), or of Alagna's performance of
>> Samson
>> >> >>> opposite
>> >> >>> >>Marie-Nicole Lemieux's Delila, or of Marina Rebeka's excellent
>> title
>> >> >>> role
>> >> >>> >>debut in Verdi's Giovanna d'Arco...
>> >> >>> >
>> >> >>> >Well, since you saw/heard them, go ahead and post about them.  I
>> >> didn't,
>> >> >>> so I
>> >> >>> >can't...obviously.
>> >> >>> >
>> >> >>> >Bill

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