[Headwear, neckwear, shirtwear, nightwear… Emanuela Galli (Poppea) and Giuseppina Bridelli (Nerone) in Monteverdi’s “L’incoronazione di Poppea”, Schwetzingen 2017]
While we did sort-of liveblog this “Poppea” as it aired on May 7th, the timing was such that many of us could only catch bits and pieces of it, so it’s on the schedule for a more leisurely rewatch tomorrow night, May 26th, at 9 p.m. (UTC+2).
Continue reading “Upcoming Liveblog: The Schwetzingen “Poppea” (2017) tomorrow”
[Quite possibly a set-up one could be cuffed to: Marysol Schalit (Simplicius) in Hartmann’s “Simplicius Simplicissimus”, staged by Tatjana Gürbaca, Bremen 2017.]
Continue reading “White Shirt Monday: Simple Things”
Nice review. If you want to know why it feels familiar, you know where to go (or, my recent English Concert “Ariodante” review has found stunning similarities (minus the fangirling, and really, that’s taking all the fun out of it) in the one posted on OperaToday, and I’m not amused by it).
Tonight, we’ll be doing an impromptu session on structural plagiarism, which, for some of my students, is a concept that is hard to grasp.
Structural plagiarism is if you don’t cut-and-paste directly, but just steal thoughts and structures, specific details or catchphrases from something and use them, deliberately refashioned here and there, as your own work. My students are usually baffled that this can be recognized and called out, but let me give you a perfect example:
Her timbre is incredibly rich and beautiful, though it is never just about beauty. Her voice is a Mahler’d ray of sunshine, bronzen and burnished and deep, joyful in a way of won through anguish. There is that rhapsodic slant that always, and more than in any other singer, reminds me of Fassbaender, not only in tone, but in how she approaches tone as a narration. […] her voice struck me as the serene and the lamenting in perfect balance. She still has that edge of bold recklessness in there, but also so much more gentle nuance.
These are the first lines I wrote on Alice Coote’s singing in my “Ariodante” review. Note the cluster of adjectives (in bold). And now have a look at this:
Continue reading ““Qui d’amor, nel mio linguaggio”: Don’t plagiarize it.”
[“Dell’antro magico”: as a general rule, the mezzo’s stick will always be bigger than yours.
(also, she will get the duet with your girlfriend in the end, while you’re fleecing something in a job you’re not cut out for) End of story. – Kristina Hammarström (Medea) in Cavalli’s “Giasone”, Geneva 2017. – Clip with thanks to the Cappella Mediterranea]
Good grief, in time for the 6-month anniversary of this column, it sure has been a week.
Continue reading “Sound and Clouds and Thunder (26)”
Welcome to the White Shirt live comment thread for Handel’s “Ariodante” from Spoleto (2007).
Since, clearly, we haven’t yet outmaxed our “Ariodante” quote for this spring (Haller! DiDonato! Coote!), we’re adding Hallenberg to our liveblog list, in a staging by John Pascoe and with Il Complesso Barocco under Alan Curtis.
Ann Hallenberg (Ariodante)
Laura Cherici (Ginevra)
Marta Vandoni Iorio (Dalinda)
Mary-Ellen Nesi (Polinesso)
Zachary Stains (Lurcanio)
Carlo Lepore (King of Scotland)
Vittorio Prato (Odoardo)
Libretto: Italian (pdf).
[Bring on a date: flowers, sword, epaulets. Seems to work like a charm. – Marta Vandoni Iorio (Dalinda) and Mary-Ellen Nesi (Polinesso) in Handel’s “Ariodante”, Spoleto 2007. – Photo Credit: Francis Menotti Archive/Giulio Marocchi]
No, it’s still not enough “Ariodante”. Short-notice (though we’ve had this one on the list for a whilte) meet-up for a liveblog of the 2007 Spoleto production with Hallenberg and Nesi tonight, May 18th, at 9 p.m. (UTC+2).
Continue reading “Upcoming Liveblog: “Ariodante” again tonight!”