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Subject: First time I hear of (16)
From: [log in to unmask]
Reply-To:[log in to unmask]
Date:Fri, 29 May 1998 07:26:09 -0400

TEXT/PLAIN (55 lines)

Now, the latest (i.e. June 1998) issue of OPERA NEWS. Most of us will
be already familiar with most of the few recordings listed below, but I
list them nonetheless, because, from instalment to instalment, I have to
be complete.

(1) Stewart Wallace
Bishop, Grove, Gondek, Orth, Jacobs, Very, Maddelena.
San Francisco Opera, Runnicles.
Teldec 0630-15856 (2 CD)
This new opera has been extensively discussed on Opera-L and there is no
need to remind people of the story, context etc... Suffice to say that the
ON reviewer (Robert Hilferty) considers the second act much inferior to
the first, both musically and for its libretto, that he is skeptical about
the *cinematic* approach of the composer and the librettist (as much as he
likes some elements of their final work) and that he characterizes the
performance as *strong* *particularly Robert Orth in the title role and
Raymond Very as his nemesis, Dan White.* In view of a recent thread, it is
interesting to note that he is particularly appreciative of Donald
Runnicles' conducting.

(2) Tobias Picker
Racette, Owens, Bradley, Peterson, Ledbetter, H. Perry, Langan.
Santa Fe Opera, Manahan
Troy 284/5 (2 CDs)
Same introductory remark as for HARVEY MILK. The reviewer (PJS) is
generally pleased with the libretto and the music, concluding that *as an
opera composer, Picker is a natural*, whose work - his first opera -
*fits squarely in the American folk-opera tradition*. The reviewer
pronounces himself very pleased with Racette, less so with the other
singers, especially Curt Peterson (Emmeline's son-husband).

BTW, if you want to read what Pierre thinks of EMMELINE and this
recording, watch future issues of LA SCENA MUSICALE!

(3) Arthur Sullivan
Masterson, Palmer, Reed, Mason, Ayldon.
Royal Philharmonic, Walker
London 455160 (2CDs)
REISSUE (1971)
The reviewer, Richard Traubner, calls this *Phase-4* recording *unneeded*,
going as far as stating tht *the demise of the D'Oyly Carte Opera Company
can trace its beginnings to such recordings as this, documenting some
maladroit choices in casting, chorus, conducting and recorded
atmosphere.* Only Masterson finds grace in his eyes, although he also has
good words to say about the second disc, containing, as fillers, excerpts
from contemporary recordings of other G&S works featuring Masterson and
Donald Adams.

Pierre M. Bellemare
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