(no subject)
Apr. 3rd, 2004 07:34 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
fajrdrakoIt's all Lionel Luthor's fault I have a new passion. He has a lot to answer for.
Opera.
I've always thought I should, would or might love opera. And then I was disappointed because I didn't. Remember in "Pretty Woman", where Richard Gere takes Julia Roberts to the opera, and says that some people don't get it, and other people get it soul deep? Well, I always wanted to be in the second category, but always found myself in the first category.
I put it down to the fact that I'm fairly unmusical - not tone-deaf by any means, but more geared to the visually complex than the audially complex.
Or maybe that isn't it, either.
When I was a student in London I saw "Madame Butterfly" and "Der Rosenkavalier" and though I enjoyed both the thing that hit me deeply and motionally in each case was the set. (I will ever forget either of them - spectacular and beautiful.) The music? It was there. It was... nice.
I felt I was missing the point.
In New York once I saw "Porgy and Bess" and was a little restless during it. I gues I enjoyed it, but there was no emotional resonance for me at all - even though I generally like Gershwin music. I love Broadway musicals and Andrew Lloyd Weber (most of the time anyway) and I was crazy over "Les Miserables". Plenty of emotional resonance *there*. Maybe there was something wrong with me when it came to classical opera, I thought.
Well... a few weeks ago seeing Lionel in suicidal mode to a backdrop of opera music attracted my attention. Of course it did - it was Lionel! I was curious as to what it was. So I started doing some research. I eventually learned the name of the song (aria?) they used in the show - it was "Je crois entendre encore" from Bizet's "The Pearl Fishers" - and by the time I found it I'd stumbled across such wonderful stuff that I was suddenly passionately in love with opera.
And now I'm trying to find all I can. By raiding the local library for CDs, mostly, though I bought one today - "The A to Z of Opera". A sampling.
I just finished reading the book "Opera for Dummies" (a nice, funny way to start) and listening to the audio-tape of the same - abridged, but with musical selections. My head is swimming. I am confusing Puccini and Verdi and Bellini and good knows who else. (But it's impossible to confuse Wagner with anybody.)
I am also fantasizing about going to see "The Pearl Fishers" in Detroit in June. I don't know if there's any possibility or feasibility, but... I feel as if it's "my" opera because it was my starting point. I want to see it because it's *there*. Will I ever get another chance? But is this a chance at all? Detroit isn't exactly close. Is it a silly self-indulgent whim? Do I really want to go alone, and if not, can I find a friend willing to go with me?
It's playing in New York in 2005. Is that any easier to get to than Detroit?
These are questions to ponder. The only live opera available in Ottawa is amateur; I am more inclined to save money I can't afford for professional opera in other cities than to spend a lesser but still substantial amount for the home-grown non-professional productions here.
So now I'm wondering where should I go from here in my desire for more. What recordings should I look for? I've played the library CD of "The Pearl Fishers" about three dozen times now, and I'm not remotely tired of it yet. After the first dozen times, what seemed like nonsense syllables set to music started to make sense as French words: that was epiphany #1. Epiphany #2 was figuring out that the reason I could understand the other singers but not the version by Benjamino Gigli was because I was trying to understand words in French and he was tricking me by singing it in Italian. But I got wise to his tricks and figured that out, too. "Douce reve" was coming out as "sogno d'amore". Hah! I deciphered the code. This was inexplicably exciting to discover.
But maybe I should move on to another opera. Am I in a rut yet?
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no subject
Date: 2004-04-03 05:44 pm (UTC)no subject
Date: 2004-04-03 05:52 pm (UTC)Oftentimes, local opera companies will have lecture series available to ticketholders, where they discuss the opera currently in production - that's a great place to start learning more. Another good way into opera through the side door would be to check out things like P.D.Q. Bach and Anna Russell - artists who made fun of opera and thereby made opera fun.
Are there types of stories you prefer, musical instruments you favor, languages you like? Those are other good starting places - do you have a period of music which appeals to you the most? Are you interested in the contemporary influences on the music or storyline, or the history of opera itself as an art-form?
What about The Pearl Fishers appeals to you the most, other than the fact that they used it on Smallville? Start there.
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Date: 2004-04-03 05:58 pm (UTC)Very worthy source who can easily ignite passion.
Interesting that it's a Bizet opera in that scene. My fav has always been Carmen. Can't say I like the story much, but great music. I also like Mozart operas, in case you're looking for recs. (Check out the Amadeus soundtrack for sample arias).
It doesn't surprise me that you didn't like Madam Butterfly. I always found it very boring, since I like fire and brimstone type music.
Have fun in this new field :)
no subject
Date: 2004-04-03 06:56 pm (UTC)no subject
Date: 2004-04-03 08:59 pm (UTC)Also, I'd suggest you check out the familiar operas. There's a reason why they've become popular favorites. Tosca, Madame Butterfly (which you've already seen), La Boheme, Carmen, La Traviata (I believe that this was what Gere and Roberts were watching in PW; excellent joke, I thought.) And listen to a few "great arias" or "great moments from opera" recordings just so you become familiar with some of the highlights.
I second the suggestion that you listen to Anna Russell because she's hilarious, particularly her justifiably famous take on Wagner's Ring cycle. And if you want to get into Wagner, specifically the Ring, I would suggest first The Ring without Words (http://www.amazon.com/exec/obidos/tg/detail/-/B000003CUJ/qid=1081054287/sr=1-1/ref=sr_1_1/104-3220724-0299114?v=glance&s=classical) which will give you a wonderful overview of the orchestral treasures to be found there, and then Georg Solti's version of the cycle (http://www.amazon.com/exec/obidos/ASIN/B0000042H4/qid=1081054446/sr=2-1/ref=sr_2_1/104-3220724-0299114) with Birgit Nilsson, Kirsten Flagstad, Wolfgang Windgassen and many more wonderful voices.
In general I'd recommend the following artists: Kiri Te Kanawa, Elizabeth Schwartzkopf, Frederike Von Stade, Dietrich Fisher-Dieskau, Samuel Ramey. They're my faves, but there are many, many other amazing vocalists to explore.
no subject
Date: 2004-04-04 07:38 pm (UTC)no subject
Date: 2004-04-04 07:43 pm (UTC)Good advice. When I was a teen my mother had a friend who was a friend of Anna Russell, and when she did a show in Ottawa we went to it, and got to visit her backstage. I played her album a lot - without knowing much of the background, but still finding it funny.
Are there types of stories you prefer, musical instruments you favor, languages you like?
Um... yes, comic book stories - and you can translate that as 'larger than life' stories; harp; Italian. But my tastes in anything tend to be wide. I can see I have a lot of exploring to do.
Are you interested in the contemporary influences on the music or storyline, or the history of opera itself as an art-form?
Probably the latter, as I am interested in the history of anything. I love the way opera uses exotic locales and historical times - spent time on Friday listening to "Norma", which has the same setting and type of characters as "Asterix the Gaul". Well, sort of. Gorgeous stuff.
What about The Pearl Fishers appeals to you the most, other than the fact that they used it on Smallville? Start there.
Ooh, how I want to see it. Lovely music, interesting location, and it sounds slashy. Moreover one of the main characters is named Zurga - how could I resist a story about a guy named Zurga?
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Date: 2004-04-04 07:47 pm (UTC)Only too easily, and in many ways. What a man.
My fav has always been Carmen. Can't say I like the story much, but great music.
I must listen to it again. I heard it once - it was on TV, and didn't make much of an impression, but that was before Lionel's magic worked on me.
I also like Mozart operas, in case you're looking for recs.
I am, and thank you. Do you have a favourite Mozart opera?
>i>(Check out the Amadeus soundtrack for sample arias).
Good idea! I am surprised to learn that the aria Lionel was listening to ("Je crois entendre encore") is on the soundtrack of the movie "The Man Who Cried" with Johnny Depp. I haven't been able to find it yet but I am fascinated.
It doesn't surprise me that you didn't like Madam Butterfly. I always found it very boring,
I find the plot both distressing and depression. I liked "Miss Saigon" even less.
since I like fire and brimstone type music
So do I!
Have fun in this new field
Thank you! I'm already having a wonderful time.
no subject
Date: 2004-04-04 07:49 pm (UTC)no subject
Date: 2004-04-04 07:53 pm (UTC)I heard a few bits from that and it sounded wonderful. It's on my list of "operas to concentrate on first", assuming whim doesn't lead me astray. I was wondering what Kiri te Kanawa sounded like, since I was looking at one of her CDs in "Music World" today.
It was La Traviatia in "Pretty Woman" - ! I didn't know. That *is* a good joke.
What do you think of Wagner and the Ring cycle? I've been hearing interestingly mixed and varied comments!
The suggestions of artists are very much appreciated.
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Date: 2004-04-04 08:14 pm (UTC)I'm really really poor to, so I understand. But I'm right outside the city, if it does come to pass. ;)
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Date: 2004-04-04 08:27 pm (UTC)IMO, Kiri te Kanawa has the most beautiful voice since Schwarzkopf.
no subject
Date: 2004-04-05 06:59 am (UTC)I'm supposed to like opera (playing the cello and everything), but I've never taken to it. My cello teacher even plays in a local large-scale professional opera company. I haven't played in an opera, but I've played in the pit in several college musical productions.
I've started to warm up to it recently. When DW and I saw Rent awhile back, I knew that the story was basically a modern-day La Boheme. I thought, whoa -- if Rent is this good I wonder what La Boheme is like. I checked the CD out from the library and loved it.
Last week I checked out from the library Operas of Mozart () - a Teaching Company CD lecture course taught by Robert Greenberg. In addition to being a wonderful teacher, Prof. Greenberg explains everything, puts it all in a historical context and lets you in on all the "inside" dirt (e.g. while Mozart was writing Cosi fan tutte -- an opera buffa about infidelity, Mozart's wife was possibly fooling around on him!). The musical technical language is minimal, but the lectures are wonderful. I'm currently on CD 9 of 24 -- CDs 2-8 were spent on Cosi Fan Tutte which I enjoyed immensely. Prof. Greenberg did emphasize to read through and be familiar with the libretto before viewing the opera -- not to catch it on the fly from the subtitles...
p.s. I haven't heard it, but you might like Richard Strauss' Salome. My teacher just finished playing it. The big question in every live performance of the "Dance of the Seven Veils" is "will she or won't she...?".
no subject
Date: 2004-04-05 07:12 pm (UTC)Not me. I'd concluded that since it hadn't happened, it never would.
I heard bits from La Boheme on the Opera for Dummies tape and loved it. I like the sound of that Mozart CD lecture course, must see if I can find it! Today I was listening to "History of Opera" by Richard Fawkes. Lots of great stuff on it. I'm only as far as Offenbach.
As for Salome - Opera for Dummies has a very funny section about all the 'vice and sin' in - Yes, I'm sure I'd like it!
no subject
Date: 2004-04-07 05:09 am (UTC)no subject
Date: 2004-04-09 05:30 am (UTC)Well, the trouble is that the specific production can make a huge difference. I love Carmina Burana, but I can't stand most versions, they all sound boring compared to the one I grew up on (http://www.classical.net/music/comp.lst/works/orff-cb/carbur9.html#rec6). Turns out the one I grew up on is considered one of the best versions.
That means you have to hear different versions of stuff, and possibly learn which singers or types of voices you like. I prefer the lower voices, so sopranos and tenors start at a disadvantage.
My fav Mozart is Don Giovanni, of course, but I also like Figaro and the Magic Flute.
If you want to keep track of the lyrics, you'll probably need a translation. MOzart operas are in Italian or German.
If you like the firey kind, you might want to try Wagner - but he's very iffy and many people dislike him. I also suggest the Russians like Khachaturian.
Also check out Lionel's taste - in one of the S2 eps, i think, Lionel went to or returned from an opera and I think they said which it was, but i don't remember.
A new field is so fun to explore.
no subject
Date: 2004-04-09 11:04 am (UTC)no subject
Date: 2004-04-09 11:06 am (UTC)I heard some Wagner on the radio once (CBC's Saturday at the Opera, no doubt) and didn't like it. But I've heard bits and pieces since that I do like, a lot - and I certainly do like big themes and big music. So the jury is still out. I'm so much a beginner here it's almost embarrassing. I'm still learning really basic things.
Love what I'm hearing, though.
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Date: 2004-04-09 11:14 am (UTC)no subject
Date: 2004-04-09 11:33 am (UTC)no subject
Date: 2004-04-09 11:38 am (UTC)no subject
Date: 2004-04-09 11:41 am (UTC)no subject
Date: 2004-04-09 12:46 pm (UTC)no subject
Date: 2004-04-09 12:51 pm (UTC)Right now I'm listening to Fidelio with Jessye Norman, Reiner Goldberg, and Kurt Moll.
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Date: 2004-04-09 12:53 pm (UTC)no subject
Date: 2004-04-09 12:58 pm (UTC)no subject
Date: 2004-04-09 01:00 pm (UTC)no subject
Date: 2004-04-09 01:21 pm (UTC)no subject
Date: 2004-04-09 01:48 pm (UTC)no subject
Date: 2004-04-09 01:50 pm (UTC)no subject
Date: 2004-04-09 01:52 pm (UTC)no subject
Date: 2004-04-09 01:58 pm (UTC)Tell me, do you like Tallis? Talking of choral work always makes me think of "Spem in Alium", though the Kronos Quartet does a killer instrumental version of it.
no subject
Date: 2004-04-09 02:00 pm (UTC)no subject
Date: 2004-04-09 02:02 pm (UTC)no subject
Date: 2004-04-09 02:03 pm (UTC)O Fortuna is brilliant and the entire in taberna section has always been favoured. (My mom says I'd ask for "bibit" before I could speak whole sentences).
I have yet to find another recording that won't annoy me. I'm so happy I found that cd! It's heartily recommended. :)
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Date: 2004-04-09 02:41 pm (UTC)(Curious, always curious.)
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Date: 2004-04-09 02:59 pm (UTC)no subject
Date: 2004-04-09 04:33 pm (UTC)no subject
Date: 2004-04-09 10:31 pm (UTC)