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,
ReplyDeleteI haven't read it and really had no intention of reading it, but now my curiosity is aroused.
I do remember reading one of the "Penrod" books many years ago when I was a child. I think it was called _Penrod and Sam_, but I wouldn't swear to it. I guess I was too young to pick up on the racism at that time, or it was so long ago that I forgot it.
That's quite a challenge that he has embarked upon. Perhaps if I ever find that my TBR bookcase has an empty shelf or two, I might consider it. One question would be, should I read all of them, or just the ones that I havn't read yet?