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Speaking of which, the Vienna Philharmonic Orchestra serves in the pit for Fidelio. The music was dry and scrappy, and it achieved nothing like its emotional impact. Near the beginning, the horns did some stumbling, which is rare for the VPO.
It almost made me homesick for the New York Philharmonic. The orchestra was heavy, and loud, too, covering up the singers. The march to which Pizarro and his crew enter was hurried, missing its pomp, swagger, and menace.
Many onsets were faulty, which is, again, rare for the VPO. So did Beethoven. The orchestra played another of those four overtures — the one known as Leonore No. They brought the house down. The last pages of the opera, sad to say, did not shine, bathe, and uplift as they should. They were fast, hard, and undifferentiated. In the title role of Leonore, a. Fidelio, was Adrianne Pieczonka, the Canadian soprano. You have heard bigger Leonores, but few so sincere and affecting.
Florestan was Jonas Kaufmann, the German tenor, a huge star over here and a big enough one in America, too. I have often written of the Cult of Kaufmann. He is a fine tenor, and I have heard him give superb performances, as well as mediocre ones.
The best recordings of Beethoven's Fidelio | ticdeiresganigh.gq
But a cult? In any case, he sang like he deserved one in this Fidelio. He is underpowered for the role: an essentially lyric tenor, rather than a heroic one. Incidentally, an historic heroic Florestan, Jon Vickers, died in July. But he uses to maximum effect what he has. Nor did he strain, on this evening. Or so it seemed to me, from the seats.
I will shaft the rest of the cast to return to the production. Operas usually give directors a lot of leeway. That is certainly true of Fidelio. But there is leeway and there is hijacking.
A longtime patron here in Salzburg reminisced almost tearfully about the s production of Fidelio by Herbert von Karajan who of course conducted too. On the stage at the end, she said, you saw the light and redemption of the music and the story. Everything matched. Now, we should beware nostalgia, and we should recognize that some traditions exist to be junked. But a modicum of fidelity, in an opera production, is desirable, and needed.
My vision of Beethoven's Fidelio
What we do is new! He died last summer. Guth and his Fidelio are not Euro-dreck. Herr Guth is a serious and talented man. But I wish he and his confreres would apply their talents to new works — plays, operas, TV shows, videos? Which, not that anyone asked, is, gun to my head, my favorite opera.
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Consider the plight of Rick Perry. Ever since the former Texas governor launched his campaign for the Republican presidential nomination, nothing has seemed to go quite according to plan. By Kevin D. Black Lives Matter, the loosely organized radical group that sprang up to protest police violence after the Michael Brown killing and similar incidents, is giving the Bernie Sanders campaign fits, Mary Whittall Oxford: Clarendon Press, : Steven Larue London:St.
James Press, Stanley Sadie London: Macmillan Press, : Steven Larue London: St. Interpretation of Beethoven's Fidelio or Leonore and four different overtures Research Paper undergraduate , 20 Pages. Add to cart. Background By the early nineteenth century Ludwig Van Beethoven had been widely regarded as a prolific composer of instrumental music. Sign in to write a comment.
Read the ebook. Economics - Other Benefits of Introducing the Indicator Musik - Sonstiges Ludwig van Beethoven - Fidelio. Musik - Sonstiges Fidelio — Vorstellung eines Schulbuch Musik - Sonstiges Der 2. Satz in Beethovens III.
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