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
As I grow as a writer I find that the a partnership with an editor is a true joy, not a limitation.
ReplyDeleteDear Randy,
ReplyDeleteA safety net gives one the courage to launch out in ways that one might not otherwise consider.
I too enjoy the prospect of a knowledgeable, restrained editor. Hence the key word in your comment is "partnership."
shalom,
Steven