I have to say I'm impressed by your taking the trouble to find, listen to and provide an assessment of Sir Georg Solti's live ROH Carmen in so short a period of time. It's a while since I played it, mind. I've often wondered, as other people have, why Solti chose Troyanos instead of Verrett. Was it perhaps a contractual matter or simply one of preference for one artist's interpretation over the other? I suppose we will never know, not that it really matters after all these years. For sure, Verrett's Carmen surprised me on first listening as somewhat aggressive - certainly not a women to be trifled with. I had a chuckle at your "harridan" comment, though.
I must rehear the recording to pick up on the mangled language you found. I suppose I've got so used to hearing what I would kindly describe as accented, odd pronunciation either in-house or on recordings that my ears, rightly or wrongly, tend to filter it out whenever I can. I know some people's tolerance levels cannot overlook indifferent, mispronounced foreign languages either spoken or sung. As you point out, it's very noticeable when you hear someone like Sir Thomas Allen in comparison to Domingo, thinking about the studio recording and as you know, there are notable examples of a few Don José's mangled French on recordings.
I have just finished reading your Magic Flute reviews. I'm very fond of the second Karl Bohm recording you nominated as a first choice too. Amazingly, I still haven't heard the much-lauded Klemperer version or indeed Solti 1.
I have to say it's so much fun reading about the artists you don't care about and recordings you describe as ones to avoid. Notably, Schreier, Araiza, Gruberova, Gedda, Bruson (in other reviews) and even Schwarzkopf seem to get a drubbing. Liking or disliking certain artists is a personal thing, of course, and I'm pleased you go to the trouble to explain what it is about them you find wanting.
Confession time. I used to pore over your reviews line-by-line. Of late I tend to cheat and scan down to your recommended choice/choices to get a feel of where you are coming from. I know - it's a bit like reading the concluding pages of a book but I do go back and read the whole review afterwards.
Strangely enough, although I've seen a couple of filmed performances of the Magic Flute on tv and own several recordings, including a couple of HIP versions which are not to your taste, I have so far not had the inclination to see a performance of the work in the opera house. My loss I know.
Once again, thank-you for sharing your thoughts as I know it takes a lot of concentrated listening and effort to write up.
Kind regards,
Steve
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