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
Sometimes I think that McEwan thinks all women discovered the idea of sex suddenly about 1940. His themes of women's sexual awareness ARE better suited for Edwardian times.
ReplyDeleteDear Connie,
ReplyDeleteI blush to admit that I haven't read enough McEwan to even be able to agree. My introduction was _On Chesil Beach_ and I've been disinclined to pursue any others I've picked up to their conclusion. I'm sure they are fine works, but I just haven't discovered the access point yet.
shalom,
Steven