Classical Music II

[Tessar]

I actually rather like Scholl. He has a lot of musicality in the way he sings, IMO, although I can see why some people wouldn't like him .

[hectorberlioz]

You're just trying to make us feel guilty .

Musicality, ok. Power and range...very little. I have a CD of Gabrieli motets. This isn't even a period-performance, and the CT is way more powerful and supple, and musical. More natural-sounding too.

[hectorberlioz]

Over the course of the recording age it's become clear that some composer's are better suited to recordings than they are to concert halls. A lot of critics and writers talk about Gustav Mahler's current popularity as being due to recordings. It might even be safe to say his symphonies would be less performed at concerts if it were not for recordings.

I would say the same principle applies to Handel's operas, to Berlioz's music in general, and some others.

On the other hand, there are some composers who have simply fallen off the ledge of visibility. Carl Maria von Weber used to be a HUGE deal. While there are a good many recordings of his music, you don't see the enthusiastic duplicating of recordings for him. Cesar Franck is another one whose reputation seems to have fallen off the cliff.

Then there are the composers who, despite the jawing and nay-saying of critics, managed to make it into the popular reportory from the very start and to stay there: Rachmaninov and Dvorak.

One thing I haven't seen so far: one label taking up recording all of Meyerbeer's operas.

[Gwaimir Windgem]

It's true, composers just disappear. If you look at old LP's of selections of opera arias, you see a lot of names that you will never see ANYWHERE, besides old LP's of selections of opera arias. They used to be big, but no one knows them any more.

Re: Scholl, I have to say, a lot of the time I find Scholl's ornamentation in da capo's to be rather inane.

His musicality is good, but not exceptional, to my ear. The only countertenors that I particularly care for are Jaroussky and Daniels. (Also, I admit, the hooty old English ones. I Can't really take them seriously, but still have a certain fondness for them.) Max Emmanuel Cencic sounds almost like a female mezzo, which is interesting, but he tends to be a little wobbly.

[hectorberlioz]

Originally Posted by Gwaimir Windgem

It's true, composers just disappear. If you look at old LP's of selections of opera arias, you see a lot of names that you will never see ANYWHERE, besides old LP's of selections of opera arias. They used to be big, but no one knows them any more.
.

Like Cilea. But even he makes other guys seem like shrinking sheep. Consider this old 1950's four-volume paperback set I have, discussing composers from Renaissance to (then) contemporary. Want to know the contemporaries among the titans like Stravinsky, Britten, Shostakovich, and Poulenc? Jarnefelt, Palmgren, Pijper, and Pizzetti. I mean those guys I hadn't even heard of before, and I'm a weirdo for orchestral music and obscure composers. I did recognize Shaporin, Lekeu, and Casella. But even those guys are considered obsolete these days.

[Gwaimir Windgem]

Andreas Scholl sings Va Tacito e Nascosto

Sarah Connolly sings the same

This is why I prefer mezzos-in-pants to countertenors. Sarah Connolly 4eva!

[Tessar]

My argument would be that Scholl has a wonderfully full, creamy tone that floats effortlessly with a spinning freedom that is simply gorgeous. His moving passages are executed with such cleanness that you couldn't fit a hair between the steps, they're so perfectly executed. He emotes with a splendid shading of the tone leaves the listener in no doubt of his vocal prowess.

All of my desire to be a music critic aside...

I'm not trying to make you like him . Music is way too subjective. But I think he's absolutely fantastic, and does a particularly good job in the video you've shown. Which is not to discredit Sarah Connolly's version, since she also does a great job.

[Tessar]

In an attempt to ease the blow of my contrary disposition in my previous bout of loquaciousness...

... >.>

http://www.youtube.com/watch?v=woh1d7QxIKA is hopefully something we can all agree to love .

The second piece is a little awkward... but I can't help loving it. It's funny . The first piece... ah. Gorgeous . All I can say is Jaroussky needs to STOP COMING OUT WITH ALBUMS. I'm going broke.

[Gwaimir Windgem]

Yay, Jaroussky!

Yay, Jazzeverdi! I always liked the idea of jazzing up the classics. It doesn't always work, but when it does, look out! (Look out for the upcoming CD!) I didn't realise he was releasing a new solo CD. I can add this the Ciofi/Daniels/Jaroussky/Genaux/Damrau/Villazon/otherbignames Vivaldi opera for "things to look out for with Jaroussky in them".

I also want this.

I love the bits in the video where Dessay and Haim are singing together. Haim is probably my favourite early music conductor, and it's fun to see them together.

[hectorberlioz]

Originally Posted by Gwaimir Windgem

This is why I prefer mezzos-in-pants to countertenors. Sarah Connolly 4eva!

We are all such dorks. But in an educational way

Originally Posted by Tessar

My argument would be that Scholl has a wonderfully full, creamy tone that floats effortlessly with a spinning freedom that is simply gorgeous. His moving passages are executed with such cleanness that you couldn't fit a hair between the steps, they're so perfectly executed. He emotes with a splendid shading of the tone leaves the listener in no doubt of his vocal prowess.

All of my desire to be a music critic aside...

Hey, you'd fit right in at Gramophone magazine

Originally Posted by Tessar

All I can say is Jaroussky needs to STOP COMING OUT WITH ALBUMS. I'm going broke.

You're talking. You think you've got problems? Consider my desire to obtain ALL Hilary Hahn CDs, all Cecilia Bartoli CDs, as well as gazilions of unknown symphonies, renaissance music, unique Christmas music, and....

[Tessar]

I'm full up on Cecilia. At the moment I can't stand her... Well, that's a lie. I like some of her stuff, but I can't listen to much of her lately... she gets too wild and crazy. I feel like she's not very musical, at least not in the way that I prefer.

OH MY.... That Dessay album looks like it's going to be nothing short of glorious!

P.S. I just read in the comments that Dessay can no longer do those high A's... that's too bad! She's still got an E though from what I hear. Of course it's not the high notes that really, really matter, but it's a shame... I remember she used to say she warmed up to the C above Soprano C every day. :-/

[hectorberlioz]

OK, mister. That was a full-scale war declaration. Repent or DIIIIIEEEEE!!!!!

http://www.carolinasaviation.org/ima...eridanTank.jpg

[Tessar]

Bah. I shall never repent unless I actually change my mind, which I may at some point but I find it unlikely to happen any time very, very soon .

[hectorberlioz]

http://www.blueharvest.net/images/cut/han-torture2.jpg

Don't make me destroy you...

Say that Cecilia Bartoli is the best evah. You know it to be true...

PS: Why isn't the image feature working?!

[Tessar]

We've been over this . Ben made it so that images only work in GM.

Plus come ON. The BEST evah? That would clearly go to Marilyn Horn.

[hectorberlioz]

He did? Well that was pretty rotten of him

Ok, not the best ever. That would be Joan Sutherland. Though Marilyn Horne is definitely right up there with her.

But STILL! >_<

[Tessar]

Wait, do we mean the greatest SINGER ever, or are we talking about Mezzos in particular? I thought we meant Mezzos .

[hectorberlioz]

Marilyn Horne wasn't a mezzo either! So what are YOU talking about? (Was she?! )

Ok, new categories: Best soprano today, best mezzo today, best soprano back in the day, and best mezzo back in the day. I already have mine chosen.

[Gwaimir Windgem]

You forgot CONTRALTOS, bitch!

BST: Dessay
BMT: Genaux, I think...so many great choices, though!
BSITD: Sutherland was a bit clumsy for me, but all told, I guess I have to give her credit. Just please don't say Callas.
BSITD: Horne

[Tessar]

Marilyn Horn was naturally a soprano, but found that she could shade her voice to resemble a Mezzo, and so she chose to fill that role. She's typically hailed as the greatest Mezzo we have record of, and I agree. She is usually called a Mezzo just because those are the roles she filled in operas.

You could, I guess, call her a contralto, although she really wasn't one.

In fact I have a friend a bit like her. My friend can sing the G above soprano C, and the B over an octave below middle C. She sings Mezzo as well, although right now her teacher is trying to get her to do some soprano rep.