Did not expect a German lied to ever sound like that!
He sings very beautifully, but I thought he was singing opera, not lieder. But maybe that is because he is singing in an Italian style? I wonder if you know of Beniamino Gigli? He almost reminded me of him.Oh that is really nice. I think I like the Joseph Schmidt even better.
I'll see who else I can find singing it as well.
Hello, I think Calàf is esfp.How about typing some Opera characters!?
I have some thoughts for Turandot, which I saw most recently:
Turandot - INTJ (lower Fi, but still following what's meaningful to her, Te outer control of the situation, Ni steadfastness in following though with what she believes in, ice)
Calàf - ExFP...? (passion over reason, fire, Fi with following his own heart at possible cost of others' future/happiness even though of course his persistence ends up benefiting everyone, outgoing, headstrong)
Liù - ISFJ (Fe, giving herself up for others/outside reasons, steadfast loyalty, caring, never letting go of past meaningful moments/details)
Ping, Pang, and Pong - such ENxPs
Gorgeous stuff but why don't we give Pavorotti a chance? After he's not the father here.oh look, it's placido domingo being a lecherous schmuck. goodness me what a surprise.
more seriously, this entire sequence is one of my favourite parts of rigoletto and this is one of my absolute favourite stagings of it.
I'd be glad to, I'm just not sure I understand the question. I like Pavarotti, but lately I've been more obsessed with Carlo bergonzi and Giuseppe di Stefano in the handful of operas that I like. Have you been keeping up with the met streams? I am really looking forward to today's because It's dessay and florez in la sonnambula. I liked them so much together in fille du regiment.Gorgeous stuff but why don't we give Pavorotti a chance?
I'm not sure this will make sense, but didn't you refer to Placido as a lech? In Rigoletto he hates leches and is anything but. Pavarotti plays one in the link I provided.I'd be glad to, I'm just not sure I understand the question. I like Pavarotti, but lately I've been more obsessed with Carlo bergonzi and Giuseppe di Stefano in the handful of operas that I like. Have you been keeping up with the met streams? I am really looking forward to today's because It's dessay and florez in la sonnambula. I liked them so much together in fille du regiment.
Exactly. And yes, 24 hours before its gone gets to feel pressure-y. I had some I had to see, but I'm letting a lot of the others go by. Still crushed that I didn't learn about this until after the trovatore and that barber of Seville production had already gone by. I saw the trovatore in a theatre and I have this huge aversion to Anna netrebko, so that one didn't hurt too much. But gah, I would have loved to see that barber production all the way through. I only get the YouTube bits.
So are a few movie stars but we still trust them as actors.Domingo seems have been a pig in his personal life.
My understanding is Verdi made this deliberate by switching voices. I don't know the whole story.Rigoletto is such a complex opera. Nobody in it is straightforwardly likeable. That's one of the things I came to like; the other being, the lead is a baritone for a change.
Dig Lily Pons. My problem is I once listened to a 12" record that ended the mad scene where she realistically sounded mad... the last few notes.. Pons doesn't do that here and I don't know the name of the singer. I want to hear her again but haven't a clue.Lucia is still my crack, of the operas I have been smitten with. It's been a year and I haven't shaken the fixation yet. The last scene belongs to the tenor for once, and it is such a series of arias. Three in a row and they're all amazing
speak for yourself on that one.So are a few movie stars but we still trust them as actors.
he was a really interesting guy by the sounds of it. i was tempted to type him as intj at one point, based on something i read somewhere from one of his letters explaining why he was doing something or other. nothing like specificity if you're going to type random dead people on no solid basis at all, right? anyway, it was something about the why of his approach to explaining whatever he felt strongly about that made me go hmmm. it did have that vibe.My understanding is Verdi made this deliberate by switching voices. I don't know the whole story.
oh my. so clear. such articulation . . . i guess everyone knows lucia for the mad scene, but it's never been my big go-to. guilty secret 1: i love watching dessay act it though, gs 2: i often just skip to the last part, spargi amare lagrimi. i'm only now starting to fall into the grip of argon l'incensiDig Lily Pons.
.My problem is I once listened to a 12" record that ended the mad scene where she realistically sounded mad... the last few notes.
that seemed like a remarkable sound for a cello. am i right? i'm used to hearing a deeper tone with more audible vibration to it. this seemed to have a different texture but idk if it's the piece, or the instrument, or the performer that's responsible.
What an incredible cellist!