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
Thanks for posting these.
ReplyDeleteUnfortunately, those prone to uttering such profundities never understand the significance of what they've just said, even when it's pointed out to them. I know--I've tried and failed to get them to understand.
Dear Fred,
ReplyDeleteYes. I just had a similar experience on the legal side when I was required to sign a document that basically said that I was not required to sign this document. When I pointed this out to the originator of the document he at least acknowledged and provided a graceful out. But when it comes to deeply held positions, too often we are reluctant to examine what exactly it is that we have just said.
shalom,
Steven
Yes, especially when one feels it might weaken one's position.
ReplyDeleteSometimes I think many of us would rather be thought a fool than admit we are wrong.