#donizetti — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #donizetti, aggregated by home.social.
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Ich war mal wieder im #Opernhaus in #Kiel, habe dort die #Oper „L‘elisir d‘amore“ von #Donizetti gesehen und für #KielErleben darüber geschrieben.
Eine romantisch-lustige Geschichte, schöne Musik, eine fantastische Inszenierung, ein grandioses Ensemble, ein großartiges Orchester und ein Bühnenbild, dem man die Liebe zum Detail ansieht, fügen sich zu einem begeisternden Abend für Opernfans und -neulinge zusammen.
https://www.kielerleben.de/news/lelisir-damore-liebestrank-kiel-verzaubert-10028895.html
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Unser neuer Podcast »Hinterbühne« ist online!
https://www.theater-ulm.de/mediathek/podcast/pod-80d0e048641b98827fe8073c7a18
Vera und Paul sind im Theater auf royale, politische und sinnliche Themen gestoßen:
* die Oper »Roberto Devereux« mit einem Gespräch mit der Gastsängerin Klára Kolonits von der Ungarischen Staatsoper Budapest
* »Mephisto«, die Theateradaption, vorgestellt von Regisseur Malte Kreutzfeldt und den Ensemblemitgliedern Adele Schlichter und Markus Hottgenroth
* sowie das Schauspiel »Fräulein Julie«, in deren Welt aus Verlangen, Macht und Verführung die Podcast-Hosts mit Regisseurin Marlene Schäfer und Ensemblemitglied Frank Röder eintauchen
#theater #ulm #theaterulm #podcast #interview #oper #donizetti #mephisto
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Don Pasquale, 1932
https://www.reddit.com/r/OldOpera/comments/1r548mc/don_pasquale_1932/Tonight, for Valentine's Day, I decided to treat myself to Don Pasquale. I had promised myself I would listen to it, first at Christmas, then New Year, and failed to do so both times. Now, I'm glad I waited. What could be better than my favourite singer in a work by my favourite operatic composer?
Libretto
https://archive.org/details/donizettisoperad00doniWikipedia Link ((since I mentioned it)
https://en.wikipedia.org/wiki/Don_PasqualeRecording
https://www.youtube.com/watch?v=_FeEiRH5ULkUnlike when I first heard the opera, I didn't read the full libretto, just the Wikipedia entry. This is simply because I wanted to enjoy the beautiful voices and music and not be distracted by my screen reader speaking while it was playing, or have to stop occasionaly to read and then listen to more. However, I do remember it, and I love the story itself. It's hilarious, with scheming but no violence or cruelty, just fun. I laughed on a personal note as well, because I myself prefer seniors for partners. I felt sorry for poor Don Pasquale when he saw all of the things being bought and how much money was being spent, but the acting made it extremely comical, and the interaction between him and Norina was priceless.
This was an excellent production, with wonderful sound quality. The only thing that annoyed me was the huge gaps during the record changing. I would expect them when listening to real seventy-eights, not a digital copy. I have never heard this anywhere else, including the 1907 Pagliacci, the much later radio performances of various operas, and even other studio recordings. It was really distracting. The singing, however, was mostly excellent. I say that because although Adelaide Saraceni didn't have an annoying high-pitched, bright voice that gives me a headache (not being mean, it literally does), she didn't really impress me in this role either. I have also heard parts of it sung by Toti Dal Monte and Amelita Galli-Curci, and I wish the latter had been chosen for this recording because she was perfect. I really liked Ernesto Badini and Afro Poli, together and apart. I'm not normally one to gravitate to baritones or basses, but both are worth researching for more recordings. I had definitely heard Afro Poli in the past, so I recognised him, but I had to look up his name. "Cheti, cheti immantinente" made me laugh because it reminded me so strongly of Gilbert and Sullivan's patter songs. Even the plot itself would have been perfect for an operetta. Notice I didn't mention the entire reason for my listening to this opera, namely Tito Schipa! I had forgotten how incredibly small his part was. I'm sure it could easily fit on two seventy-eights. It was, obviously, perfect, but it left me sad and wanting more. It seems that, every time I hear Ferruccio Tagliavini sing something from his repertoir, it's always a big part. I actually heard more of Schipa in Act II of Manon! But, at least it's something, and his arias here were beautiful.
Overall, I would very much recommend this opera for anyone who wants to have fun and laugh. The story, music, and singing are all wonderful.