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 used to go to Borders regularly because it had the best selection of new books, CDs, and DVDs around. But, now I haven't been in a Borders for several years because its inventory is no longer the best in town. B&N, although not having a large selection outside of the best sellers, is still better now than Borders.
ReplyDeleteThere's an independent bookstore still around, although probably not for much longer, that specializes in mysteries, which I visit regularly.
One comment on the article--that looks like a shift from a merchandising focus to a service focus.
ReplyDeleteFew large corporations are flexible enough to change course in a short period of time.
Dear Fred,
ReplyDeleteTo your last comment--true--but when you're in a commodities market, one of the things that markets your commodities are the services that you layer around it. Many companies are feeling this painful crunch in business today.
Shalom,
Steven