I'd agree that the voices are rather more prominent than they would be hearing it in most opera houses, but perhaps it's closer to how the Bayreuther Festspielehaus would sound?
-
-
Lots to enjoy. Kaufmann in terrific voice - Westbroek takes some getting used to. My only minor gripe is with Kaufmann's opening line: Wes' Herd dies auch sei, hier muss ich rasten - lacked the sense of weariness and being totally worn-out. He sounded as if he'd just stepped out of the shower, ready to face the day with all its trials and tribulations. I like the voices being closely miked.My life, each morning when I dress, is four and twenty hours less. (J Richardson)Comment
-
At last! An intelligent interview with musicians as they leave the stage/platform after a performance. After the usual gushing BBC interviews ("how do you feel after singing Siegmund/playing the concerto/winning the competition", etc) we got sensible questions from Domingo. Could the BBC afford to hire him for the Proms interviews? Thought not! OK, so it's back to the gushing!Comment
-
-
The Bayreuth sound has more halo - voices sound a proiper distancfe away but not swamped at all - the whole effect is more theatre and less radio, and actually the balance is pretty good.
I'm afraid, for me, Terfel just does not have all the notes for the Die Walkure Wotan. Stephanie Blyth is the ONLY one there with a truly noble voice apart from Kaufmann. In Act 2, Levine seems be letting the singers work the drama rather than running them. Great bottom brass and cello work.Comment
-
If you're referring to the usual gushing interviews during Met broadcasts they are the responsibility of the Met, not the BBC. I've not heard interviews like that during BBC broadcasts.Originally posted by VodkaDilc View PostComment
-
...Am enjoying the Broadcast though- Is that Bryn?Comment
-
No, I was comparing the American interviews with the awful BBC stuff often seen on tv concert or competition broadcasts- often with young interviewers pouncing on the musicians as they come off stage. In my experience the American broadcasts get it right!Originally posted by Flosshilde View PostComment
-
I disagree - the BBC gushers are outclassed by the Met inteval interviews
Comment
-
I'm afraid (well, no, I'm not actuallyOriginally posted by DracoM View Post
) that I find Terfel hard to take. He seems to have one mode of expression - aggressive & harsh. I hope he manages to find some tenderness towards Brunnhilde at the end.
Comment
-
I just hope it ends soon. I tuned in for Hear & Now, not this megalomaniacal stuff.Comment
-
Too bad, Bryn - next week it's Parsifal
Comment
-
Have you seen his Sweeney Todd?Originally posted by Flosshilde View PostI'm afraid (well, no, I'm not actually) that I find Terfel hard to take. He seems to have one mode of expression - aggressive & harsh. I hope he manages to find some tenderness towards Brunnhilde at the end.
Hannibal Lecter-a-go-go - subtle it was not
Comment
-
At least there should be a reasonable estimate as to the extent to which the E.N.O. performance drags on. How did the NY Met/EBU manage to underestimate by half an hour tonight? It's not as if it's the first time Levine has conducted it.Comment
-
IMO, Terfel was a big disappointment all snarl and no subtlety. I thought Kaufmann and Stephanie Blythe sung him off the stage. Voight sounded so unbelievably matronly and deffo wobbly at the top. Don't like Levine's pacingm, but for me the big stars of the show were the orchestra who played fantastically - a few trrumpet wobbles now and again, but very fine playing indeed.Comment
Comment