I post this because whenever I recommend to anyone the Queen of Night, I always recommend it in the Lucia Popp rendition. It's a matter of personal taste, but what I love about this is that it is somewhat slower than the other versions and as a result, it would seem to me somewhat more difficult to perform and sustain--those high notes in which the Queen's voice becomes the Magic Flute itself are rounded, full, and deep while remaining light and airy. I have read some rather severe criticism of this ritardando; and while it may or may not reflect Mozart's intent, it is certainly within the options for staging. It creates a real vocal showpiece from what is already a magnificent example of same. It really is an amazing example of a virtuoso composition sung by a virtuoso voice. All of which should not be taken to mean that I do not truly appreciate the version posted earlier by Diana Damrau, it's just nice to see what a difference tempo can make. I think we can take
I've tried to read his work, but there's just too much snark for my taste.
ReplyDeleteIf you figure it out, let us know. I don't get him either.
ReplyDeleteI'm not convinced either but I'd like to try. The guidance I was offered was to start with Brief Interviews With Hideous Men. It is on my shelves but I haven't done more than flick through it yet.
ReplyDeleteDear Anthony,
ReplyDeleteThank you. I think I have that one as well. It certainly is more manageable than _The Broom of the System_ or longer, more complex works.
shalom,
Steven