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
Steven,
ReplyDeleteFord and Conrad actually have three collaborations, which I have read and enjoyed.
_The Inheritors_ main theme is a common one in Ford's writings--the replacement of the old ways in England by the new. In this story, it's by aliens, in _No More Parades_, it's by the new technical classes in England. _In The Good Soldier_ and others, it's by Americans.
_The Inheritors_, in spite of the blogger's comments, is not hard to find. Abebooks has over 400 copies available, so I don't know what he is suggesting.