Currentzis - Don Giovanni

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No... more... bait...

Why, let the stricken deer go weep,

The hart ungalled play;

For some must watch,

while some must sleep:

So runs the world away.

(Hamlet, Act III, Scene II)

 

Good night.

But go not to my uncle's bed,

Assume a virtue, if you have it not.

(Hamlet, Act III, Scene IV)

 

Fare thee well at once,

The glowworm shows the matin to be near,

And 'gins to pale his uneffectual fire,

Adieu, adieu, adieu. Remember me.

(Hamlet, Act I, Scene V)

 

I know you not bait and yet I know your bait better now than any other

Tobias, Tobias!

VicJayL wrote: I think you

VicJayL wrote:

I think you have taken a Brodsky-style bait Jane.  

Ok - I admit you were right.

I just noticed that a bunch of new names have just registered on this forum. We can look forward to a whole festival of Brodskyesque nonsense in coming days.........

new members

Let us hope Jane that new members are very welcome and hopefully will add new input into this forum which is in serious need of fresh blood. 

new members

Let us hope Jane that new members are very welcome and hopefully will add new input into this forum which is in serious need of fresh blood. 

socratesgwr wrote:

socratesgwr wrote:

Let us hope Jane that new members are very welcome and hopefully will add new input into this forum which is in serious need of fresh blood. 

Of course. I am always ready to welcome new members.........as I have always done in the past. Though in this particular case, even you must admit that there is something a little fishy about our new Hamlet-quoting member. 

Singing

well Parla more than adequate is bit of understatement. I must say i really enjoy the siging also. Diction and accents are very good in my opinion. And not this sweet singing i hate so much. schwarzkopf for instance i cannot bear.

i think the voices in Mozart are not so important as orchestra. I think it should be like voices in orchestra. Its much more modern then. i noe hear the connection to alban Berg why Currentzis mentioned in booklet. 

It is good to have this revolutionary view

Jacobs is also on the track but he is not such a good conductor. And too much emphasis on the singing. 

new blood?

Saying that you need "new blood" in this forum, is something scary for some people. I stated a negative view concerning this recording and some of you attacked!

 

What made a profound impression to me is that in one of the posts a person said that  "All tha old warhorses seem oldfashioned and terribly lump compared to this exciting performance" and that "Guilini klemperer jacobs krips ostman gardiner can all go home." 

 

Nevertheless, nobody attacked this opinion!!! Do we send home Giulini and Klemperer etc because we heard this specific recording??? Do we send home Siepi, Wächter, Dieskau, Pinza, Gobbi etc because you heard the baritone of this recording??

 

Is there something fishy about me that I don't like this recording but everything is ok with people that speak disrespectfully about great artists of the past?

 

You talk in a pejorative manner because of my profile is new? Ok, yours may be older, keep your old age as your strongest argument.

 

I could also speak in a pejorative way and say that maybe some of you are friends of the performers or involved in the management of recording companies and you are ready to discard all the great history of opera in order to promote new mediocre recordings.

 

I think there is something fishy about people that don't want to let others express their opinion and are ready to send home people that left an indelible mark in operatic history.

Understatement or not, you

Understatement or not, you recognise that singing in the Currentzis recording is not at the heighest level. Italian diction is not that perfect, but, most importantly, the voices are not that suitable for Mozart and, when they supposed to be (Gauvin), they are not perfectly good (it might not their fault only).

It is a great novelty for you, Meppo, to claim that the voices are not so important as the orchestra! I think even Mr. Currentzis would not dare to claim this kind of statement. Even in Wagner where, indeed, the voices were meant to be part of the grand scale Wagnerian orchestra, the singers should be exceptionally good and be able to pass through the heavy sometimes orchestral waves and make their indelible mark. However, in Mozart, voices are of prime importance regardless of the orchestra writing. The vocal writing is mostly in concertante or cantabile style, the orchestra, at times, has even a subordinate role to promote the singer's line and many more. In the ensembles, the voices often have a greater role to play than the orchestra (see the Finale in the "Nozze").

I suspect that what happened to you is the usual enthusiasm about specific aspects of this recording (e.g. orchestral playing, fast-forward exciting conducting) that makes you justify even the negative or less satisfactory elements of the whole thing.

Anyway, the significant thing about Currentzis is whether he can create a new school of thinking in performances (of Opera, orchestra etc.) to prove he is the "truth" or he will simply become the "brilliant" maverick, l'enfant terrible, the rebellious conductor and so on. Bon chance a' lui!

Parla

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