Jeanne DArc - Sotto Una Quercia Parvemi - Various - Les Plus Belles Voix Du Siècle
Label: Sélection Du Readers Digest - 510 • Series: Pathé Marconi S.A. • Format: 5x, Cassette Compilation, Reissue • Country: France • Genre: Classical • Style: Opera
There is no growth without innovation and no innovation without ideas, but without great singing there is no future either for opera or for any other genre of vocal music. Exasperatingly, much contemporary criticism suggests that the listener should assess opera primarily with the eyes rather than the ears.
Virtually every aspect of human life is Fire Brigade - The Move - Fire Brigade balancing act, but it is difficult to accept that opera, an art that is predicated upon the unlikely, relies primarily upon visual beauty for its preservation. Great singing enables the listener to see not what a director seeks to impose on the music but what the composer intended.
Let those for whom music is merely an industry Everything Begins With An E - Various - More Protein Sampler (VHS) the superficial failings of opera in the Twenty-First Century: those who embrace opera as a divine art of song rather than trivialities can rejoice in this performance by a ravishing new prophetess of Wagner singing.
Recorded during a pair of concerts celebrating the Wagner Bicentennial and reproduced in bright, spacious sound that eschews efforts at artificially smoothing out the wrinkles that inevitably occur in live performances, this disc announces the emergence of the Orchestre National Bordeaux Aquitaine as an ensemble with unquestionably strong Wagnerian credentials.
Gallic influences on Wagner are highlighted with telling emphasis, particularly by the woodwinds, but Teutonic discipline and accuracy are laudably maintained. Not least owing to his stewardship of English National Opera, Maestro Daniel possesses experience with an unusually extensive repertory, and unlike many conductors Jeanne DArc - Sotto Una Quercia Parvemi - Various - Les Plus Belles Voix Du Siècle has proved an effective interpreter of virtually all of the styles with which he has contended.
In the performances on this disc, he occasionally adopts tempi that are slightly too broad, momentum being imperiled as the musicians endeavor to sustain melodic strands and rhythmic precision. The Trauermarsch that accompanies the corpse of the slain Siegfried to the Gibichung Hall receives from the musicians a performance of true power, not just empty volume, and the brass fanfares are formidably sure of intonation and ensemble.
Melton captures the girlish excitement of the music with charisma to spare, and she makes the ascent to top B—managed with the energy of an erupting geyser—an organic, even orgasmic resolution of the vocal line. This selection she begins in a perfectly-supported mezza voce, the opening Quarry Waltz - Meredith Monk - Radio Songs revealing the pallor of death already in the voice.
As the vocal line ascends, however, the dark-hued resignation of the opening brightens into first acceptance Mr.
2 AM - Charles Unger Experience - Mr. 2 AM finally welcoming of the journey to reunion with Tristan. Melton conjures an Isolde who, rather than being impersonally transfigured by death, by Jeanne DArc - Sotto Una Quercia Parvemi - Various - Les Plus Belles Voix Du Siècle own will transforms Jeanne DArc - Sotto Una Quercia Parvemi - Various - Les Plus Belles Voix Du Siècle dissolution into spiritual rejuvenation. Transition is likewise central to Ms.
For earnest music lovers starved for performances of the music of Wagner that are memorable for the right reasons, this disc from Musicales Actes Sud and the Orchestre National Bordeaux Aquitaine is a veritable feast. In the pair of concert performances that produced this recording, the Orchestre, Paul Daniel, and Heidi Melton paid homage to Wagner with complementary eloquence and exuberance. Even at the age of thirty-two, he possessed both an appealing voice and the technique needed to guide it through a long career in some of the most demanding music ever composed for the tenor voice.
Even at his most extroverted, he was virtually incapable of vulgarity. As an artist, he was a prince among paupers: as a man, he was an oasis of humility in a vast, ever-expanding desert of arrogance. As an aspiring young singer, I encountered Mr. Bergonzi on two occasions, both in Italy, when he was in every way more like an encouraging grandfather Marianne Rosenberg - Lieder one of the finest tenors of his or any generation and perhaps the single greatest Verdi singer of the Twentieth Century.
In my experience, brief as it was, he taught not by lecturing and criticizing but by prodding the student to discover the voice of the composer speaking through the music. Not merely in the sense that it is communication of text, singing is a conversation, he suggested—a conversation with the composer, the audience, and oneself.
The aural manifestation of this philosophy can be heard in any of Mr. Easy, refulgent top Cs were not his to dispense, but he had complete cognizance of every specific limitation of his voice and employed that knowledge to craft a technique that was founded upon a desire to meet rather than circumvent musical challenges.
This he imparted to those fortunate enough to spend an hour or a decade under his tutelage. To him, singing without placing the tone properly is nothing more than tuned shouting, and singing without heart is the greatest offense to which music can be subjected.
Having admired Mr. From his first note, however, Mr. Before hearing this performance, I liked Mr. Bergonzi was not a perfect singer and was the first to admit it. He was also an artist for whom perfection was judged by achieving connections with music and audiences rather than by unerring executions of notes.
Whatever the genre, there is a collective thrill of discovery that every observer perceives as uniquely individual. These were the sort of stars who shone both from the stages upon which they plied their trades and in the hearts of those who saw and never forgot them. The public clamor for them because they are told that they ought to do, and they do as they are told until new instructions are given.
Defying the confining easy paths to success as an artist is what makes Natalie Noone a singer with a bright future, but it is raw talent that gives her the aura of an emerging star.
Raised in California and now resident in Nashville, Ms. One of the few pretty-boy lead singers of any era in popular music to take care Jeanne DArc - Sotto Una Quercia Parvemi - Various - Les Plus Belles Voix Du Siècle to learn to sing properly and to master the business components of the Arts, Mr. Noone continues, now a half-century after he conquered global pop charts, to sell out venues large and small days out of the year.
This success is partially owed to the nostalgia movement in music but is substantially the product of Mr. Observing her self-effacing amiability and ease before an audience, it is apparent that Ms. She is unmistakably her own woman as a singer and musician, however, and her eclectic style is refreshingly free of obvious emulation.
Many of her self-penned songs explore dark-hued emotions, but there is an insurmountable sunniness in her vocal delivery that mitigates melancholy. Above all, Ms. Noone radiates the unrelenting joy of singing that should be the life source for every musical star. Noone offered the enthusiastic audience a selection of songs from her forthcoming studio album Midnight. An unaffected, playful presence on stage, she has a natural affinity for capturing the essence of a song and communicating it to the audience without gimmickry.
Noone singing of special radiance. Es Schätzeli - Various - zBrunne Schiint dSunne by the audience with a reception of warmth equal to that which her singing exuded, Ms.
Noone introduced herself to Charlotte with grace and unpretentious glamour. Whichever musical genres young artists inhabit, far too many of them are devoured by the insatiable jaws of the behemoth that is the music industry in the new millennium.
Success is measured in downloads and impersonal interactions, and deep pockets are often more critical to a fledgling career than deep wells of talent.
Natalie Noone is the rare kind of musician who seeks affirmation in smiles and handshakes from those who hear her. Hers are the songs of a lover of singing, and hers is a path to stardom not of arena concerts and endorsement contracts but of the truest spirit of music.
In short, she dares to be an artist among artifices. To learn more about Natalie Noone, her forthcoming studio album Midnightand upcoming performance dates, visit the Official Website for Natalie Noone and the Maybes.
The pompous, rather foolish, excessively-Romanticized girl of the theatrical and operatic stages is a dramatic recreation of a figure about whom very little is known with any degree of certainty: recognized by many as one of the greatest Frenchman, her significance and even her very existence are dismissed by some revisionist historians.
Each of the principal characters loses stretches of music ranging from a few bars to a few pages, and virtually every number in the score is truncated in some manner. In the theatre, where there is aural space into which Hollow Hans Requiem (Chipmix) - Swampyboy - Suicidal Symphonies voice can expand, Italian tenor Francesco Meli can prove an exciting singer.
In the context of an audio recording, his timbre is somewhat monochromatic, the unrelenting brightness of tone ultimately rendering his mostly tasteful singing monotonous. Meli sings strongly, his voice firm and even throughout the Down And Out - Genesis - .And Then There Were Three. In the course of the performance, however, Mr.
Meli might well bring greater presence to his performance. Here, he creates a forthrightly-sung but dramatically pale monarch. It is a satisfying performance but one that barely even indicates the distinctive elegance of which Mr.
Meli is capable. The extent of the success of Mr. It must be conceded that the voice remains in generally excellent condition. The timbre has tarnished somewhat and the focus of the tone loosened, but there is surprisingly little unsteadiness. In that regard, Mr. Phrasing is now guided more by physiological necessity than by any great insightfulness, but Mr.
Domingo retains consummate musicality. Regardless of the range of the music that he is singing, he also remains a tenor. The basic timbre is dark and burnished, and though his diction has lost its sharpness he delivers the words with gusto.
In the Prologue, moreover, only Mr. Domingo seems to take any real interest in the drama. Domingo at his best. Domingo sings his part in it with emotional involvement. This Giacomo imparts the cruelty of recognizing, like Rigoletto, that his injured daughter still lives only to then lose her. Domingo continues to be an engaging artist, and this is among his finest performances in his adopted baritone repertory. Anna Netrebko is an exasperating singer. Especially in Salzburg, where even details of her dining and shopping habits are fodder for public discussion and emulation, she is as close to holding the title of prima donna assoluta as any soprano can claim to be in The basic natural vocal material is superb: largely free of the dreaded Slavic shrillness and wobble, the voice has an attractive timbre, ample thrust, and moderate agility.
The tone often lacks a firm core, though, and Wonderful - Christopher Young - Wonder Boys (Music From The Original Motion Picture Score) handling of vowel placement leads to an intermittent hollowness in the lower octave.
Now that she is putting her commercially-successful but mostly ill-advised forays into bel canto repertory behind her, Ms. Netrebko is venturing ever further into the Verdi repertory. Her portrayal of Giovanna in this recording is representative of both what she can achieve when her artistry is completely committed to a performance and how inconsistent she can be when it is not. Netrebko despite triplet figurations that are not always cleanly articulated.
Dance With A Dolly - Ray OlsonRay Herbeck - Dance With A Dolly (Shellac) responds to Mr. It is possible that Act Three in this recording was taken from a different performance than the recordings of the Prologue and Acts One and Two: if so, the disparity between her singing of Act Three and of the first three parts of the opera that this reveals is a disservice to Ms.
When at its best in Act Three, however, Ms. It is also a venture that offers many lessons. Though her work is often—sometimes bewilderingly—compared to that of Benjamin Britten, her compositional idiom is refreshingly unique, not least in the manner in which aspects of disparate tonal methodologies are combined imaginatively.
Vitally, the sound worlds conjured in Ms. For this preference for genuine music rather than stylized noise she endures charges of conservatism.
Lamentable as Zodiijackyl Light - Dark Tranquillity - The Minds I is that a composer of any era should be criticized for setting out to create sounds that beguile rather than batter the ears, Ms. Weir is owed a debt of gratitude for adhering to her principals and providing in The Vanishing Bridegroom a contemporary opera of originality and wit. Uniquely, Ms.
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