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
Congratulations! Will there be details?
ReplyDelete~scottgfbailey
Dear Mr Bailey,
ReplyDeleteThank you. Certainly as the date approaches, there shall be more information. Thank you for asking!
shalom,
Steven
Steven,
ReplyDeleteCongratulations! I'm looking forward to hearing more about it.
Congrats!
ReplyDeleteFred and Jeff,
ReplyDeleteThank you both. With your high tolerance of SF, Fred, you may find much to like once it is published. The work has been described by my collaborator as "Alice in Wonderland goes through the wormhole at the edge of expanding space and returns the Count of Monte Cristo." Succinct but not entirely inaccurate description.
shalom,
Steven
Congratulations. I'm looking forward to reading it.
ReplyDeleteGood news...congratulations!
ReplyDeleteSteven,
ReplyDelete"Alice in Wonderland goes through the wormhole at the edge of expanding space and returns the Count of Monte Cristo."
Sounds interesting--part of China Mieville's "New Weird" movement?