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 am as grateful for your enjoyment as I am undeserving of the comparison. :)
ReplyDeleteJeff,
ReplyDeleteI recognize that it was a rather high-flown comparison, but using language and image like that recalls no one more recent. The poems are archaic in the very best sense of that term--not outmoded, but classic--going back to the best in the tradition of English poetry.
In short, I like them a lot and they take a fine ear and sensibility to compose. I'm a sucker for anything that smacks of a more formal approach.
shalom,
Steven