Drugs and other abuse

I saw it many years ago at the Wiener Staatsoper and thought it was a
spectacle, but didn't particularly like it. Are there recordings that
are must haves?
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On Jul 7, 5:09 am, "alanwatkin...@aol.com" <alanwatkin....DeleteThis@aol.com>
wrote:
> On Jul 7, 4:40?am, Mark <mark.clave....DeleteThis@gmail.com> wrote:
>
> > I saw it many years ago at the Wiener Staatsoper and thought it was a
> > spectacle, but didn't particularly like it. Are there recordings that
> > are must haves?
>
> Kubelik with Gedda and Fischer-Dieskau is often recommended. There's
> also a recording conducted by Suitner but I have not heard the latter.
>
> Kind regards,
> Alan M. Watkins

Palestrina was a great role for Julius Patzak and, believe it or not,
Fritz Wunderlich. There are recordings documenting both of them in
the title role-Patzak in Munich, 1951 (MYTO), and Wunderlich in
Vienna, 1964 (RCA).
Best,
Ken
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On Jul 7, 7:49 am, "REG" <Richer... RemoveThis @hotmail.com> wrote:

>I think we've had some threads on this in the past that Mark might >check in terms of opinions; my recollection is that they've been >fairly rewarding threads (ie, older threads)..

Whatever.

>There's a non-commercial Wunderlich, I think,

Yes; it's on Myto. Wunderlich is in wonderful voice (as I recall,
this was his the last new role that he took on before he died. He
sounds, at least to my ears, a little too young and not sufficiently
world-weary.

>and a non-commercial Patzak.

Two, actually, both on Myto. I've heard both, and prefer the 1952
Cologne performance, conducted by Kraus, which is in considerably
better sound. I don't remember all of the details about the 1951
Heger (and I no longer own it), but I recall the the large supporting
cast in Act 2 wasn't as strong.

>I thought it wonderful on cd

That's how I first heard the opera, and I think that it's a perfect
opera for a recording - it's rather static, wordy, and long. Much of
the music is very beautiful, but for a non-German speaker like me, I
really need to have a libretto in hand for this one. The Kubelik is
essential for alert conducting, excellent sound, and a strong cast -
sort of a "Who's Who" of German male singers around 1970, and Donath
and Fassbaender are hard to surpass as Ighino and Silla. I actually
prefer Schreier to Gedda in the title role, but the Suitner recording
is otherwise not nearly as strongly cast, unfortunately. There's also
a live recording (from Vienna, I think) on Orfeo d'Or with Hotter and
Richard Holm in the title role, but I haven't heard it.

>and then when I saw it at the MET from ROH some years ago, with >Gedda in a small role and I think Langridge as Palestrina,

If you saw it at the Met during the summer visit by the ROHCG (1997 or
1998), you didn't see Gedda, since he couldn't make the plane trip due
to illness. But it's a very small role. The Palestrina was Thomas
Moser, who I found a bit dull.

Bill
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On Jul 7, 9:39 am, wkasimer <wkasi... DeleteThis @comcast.net> wrote:

>There's also a live recording (from Vienna, I think) on Orfeo d'Or >with Hotter and Richard Holm in the title role, but I haven't heard >it.

Sorry - it's from Munich, 1963; Keilberth conducts.

Bill
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I think we've had some threads on this in the past that Mark might check in
terms of opinions; my recollection is that they've been fairly rewarding
threads (ie, older threads).. There's a non-commercial Wunderlich, I think,
and a non-commercial Patzak. I thought it wonderful on cd and then when I
saw it at the MET from ROH some years ago, with Gedda in a small role and I
think Langridge as Palestrina, found it much more of a curate's egg, and it
only held my interest spasmodically. Perhaps it was the somewhat austere
production - I think if this works, it really has to be a brilliant and
engaging, and not 'cold' production, which is what this was, and the
Palestrina, for his moments, has to have a purity of sound and a convincing
purity of 'spirit'. You have to buy into it as a kind of archaizing piece to
like it, or I do, and that won't work in the wrong production, or with the
wrong singers, imho.


<alanwatkinsuk.TakeThisOut@aol.com> wrote in message
news:1183799369.612820.114360@n2g2000hse.googlegroups.com...
> On Jul 7, 4:40?am, Mark <mark.clave....TakeThisOut@gmail.com> wrote:
>> I saw it many years ago at the Wiener Staatsoper and thought it was a
>> spectacle, but didn't particularly like it. Are there recordings that
>> are must haves?
>
> Kubelik with Gedda and Fischer-Dieskau is often recommended. There's
> also a recording conducted by Suitner but I have not heard the latter.
>
> Kind regards,
> Alan M. Watkins
>
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On 6 Jul, 23:40, Mark <mark.clave....TakeThisOut@gmail.com> wrote:
> I saw it many years ago at the Wiener Staatsoper and thought it was a
> spectacle, but didn't particularly like it. Are there recordings that
> are must haves?
 >> Stay informed about: Drugs and other abuse 

On 6 Jul, 23:40, Mark <mark.clave....TakeThisOut@gmail.com> wrote:
> I saw it many years ago at the Wiener Staatsoper and thought it was a
> spectacle, but didn't particularly like it. Are there recordings that
> are must haves?

Listening to Robert Merrill's rendition of the National Anthem at
Yankee Stadium..LORD..One of the 5 most gorgeous baritone voices EVER
EVER.
I do have my pangs of guilt,knowing I always criticized negatively his
artistry...but LORD..how can one ever ever forget that voice!!! CH
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On Jul 7, 7:49 am, "REG" <Richer... RemoveThis @hotmail.com> wrote:
> I think we've had some threads on this in the past that Mark might check in
> terms of opinions; my recollection is that they've been fairly rewarding
> threads (ie, older threads).. There's a non-commercial Wunderlich, I think,
> and a non-commercial Patzak. I thought it wonderful on cd and then when I
> saw it at the MET from ROH some years ago, with Gedda in a small role and I
> think Langridge as Palestrina, found it much more of a curate's egg, and it
> only held my interest spasmodically. Perhaps it was the somewhat austere
> production - I think if this works, it really has to be a brilliant and
> engaging, and not 'cold' production, which is what this was, and the
> Palestrina, for his moments, has to have a purity of sound and a convincing
> purity of 'spirit'. You have to buy into it as a kind of archaizing piece to
> like it, or I do, and that won't work in the wrong production, or with the
> wrong singers, imho.

Well, Vienna had a sumptuous production, but I still kept looking at
my watch.
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I bet all of your beloved opera stars had one way or another to do with drug
or alcohol abuse

Just a guess

Time to grow up maybe


"Elektra" <CharlesHandelman.RemoveThis@cs.com> schreef in bericht
news:1183764289.095408.68110@w3g2000hsg.googlegroups.com...
>I see dancer Silas Martins, son of Peter Martins,was arrested for coke
> possession..and will probably be "retiring' soon..well,he is ancient
> for ballet...40...sad..that any artist in the public view would be
> involved in this.....We know of the singers who were involved with
> substance abuse....one of the greatest..Jussi Bjoerling......Sad that
> these great talents have to have been "trapped" but this is not
> limited to music...and it is a sad element in all of our
> population...I have seen it with schoolkids..and even friends...and it
> is insidious in our society....
>
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On Jul 7, 4:46 pm, "gerberk" <gerb....RemoveThis@live.nl> wrote:
> I bet all of your beloved opera stars had one way or another to do with drug
> or alcohol abuse
>
> Just a guess
>
> Time to grow up maybe
>

Wow. Who knew?
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I thought that our staging, which you saw in New York, worked well enough in
a very formal, quite hieratic way - and it's not often I can find that much
good to say about any Lehnhoff production - but that it was, absolutely and
incontrovertibly, the "old" ROH orchestra's finest last gasp in situ before
the closure, with Thielemann conjuring miracles out of the pit. In those
days he was this bouncing, Hanswurst, big kid who delighted in regularly
setting our Philharmonia and ROH orchestras ablaze [ his "Elektra"s at
Covent Garden, and the concert "Ägyptische Helena"s with ROH forces at the
RFH during the closure, were absolute red-letter days, providing the kind
of frisson only Kleiber and Solti used to elicit here ] as well as several
local saunas. Alas, the burdensome mantle of [ insert name of preferred dead
German über-maestro ] and the dreary jockeying for first the Berliners, then
the Bostonians, and enfin, the grim goings-on between him and Barenboim over
their respective opera houses, meant that London slowly dropped off his
radar, and now he's buried in the Munich/Bayreuth axis of evil, quite
possibly never to reappear. Pity....

SJT
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