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Ralph Moore
Posted by Terence Ollerhead on January 22, 2022, 6:42 pm
Hello
Am I the only one who has noticed that Ralph has not done much Donizetti in his opera surveys? I wonder why, as D is one of my favourite composers, and L'Elisir is a masterpiece.
But while I'm here, I would like to urge listeners to lister to Kuhmeier's / Nott Bamberger Vier Letze Lieder. After Janowitz and Norman, this is the real thing. I (sadly) keep listening to this cycle if I can get past the first two minutes, which often set my teeth on edge. This one doesn't, but I realize this is shallow.
I would also like to say that Haitink's Rosenkavalier is, to my ears, a delight. Yes, it's slow-ish, but Rosen. does have its longueurs.
I can't see what the fuss is about Muti's Verdi Requiem. Just doesn't do it for me.
I thank Mr Moore for making me listen to Rondine, which has made me happier. Sadly, I can't think any opera recording of this repetoire will ever unseat 1950-1990 recordings. The latest Butterfly, with Melody Moore, should never have been recorded.
But then, luckily, I'm not the typical consumer.
Terence
Re: Ralph Moore
Posted by Ralph Moore on January 22, 2022, 11:32 pm, in reply to "Ralph Moore"
Many thanks for those comments and observations, Terence; let me respond to your points in the order you make them.
It is true that I have mentioned only "Lucia di Lammermoor" in my "Untouchable and Most Recommendable Opera Recordings," but I find that Donizetti simply wrote too many humdrum operas. I do agree, however, that "L'elisir d'amore" is a masterpiece and I much enjoy "Don Pasquale", "La fille du régiment" and the "Three Queens" operas. There are often, however, not enough studio recordings to justify a survey and rarer operas I like such as "Lucrezia Borgia" usually have only one or two studio recordings at most or, as with "Poliuto", none. The exception is indeed "Don Pasquale" but looking at those, to my taste very few are of high quality. For the record, I favour the vintage 1932 Sabajno - still in many ways unbeatable - and the 1983 Muti. Perhaps what I should do is a collective survey of favourite Donizetti opera recordings rather than of any individual operas; I'll think on it.
I am familiar with Genia Kühmeier's soprano only via the recording of Mahler's Fourth Symphony she made with Gergiev. I liked her there but wonder whether her voice is not just a little edgy and shallow for the "Vier Letzte Lieder"; in any case I cannot trace the recording with Nott you mention.
I did in fact make a recommendation of the Haitink "Rosenkavalier" as my favourite digital version, even if it is not my overall first choice.
I am not sure which Muti Verdi Requiem you are referring too, but if it is the latest re-release on BR Klassik of the 1981 performance I'll stick to my guns on its merits!
Regarding Puccini, yes; I think the ensemble ending Act 2 of "La rondine" is one of the most beautiful things in opera and the posting of my review of that new "Butterfly" is imminent. I tend to agree that although I enjoyed Melody Moore, it is otherwise negligible.
All the best,
Ralph
Previous Message
Hello
Am I the only one who has noticed that Ralph has not done much Donizetti in his opera surveys? I wonder why, as D is one of my favourite composers, and L'Elisir is a masterpiece.
But while I'm here, I would like to urge listeners to lister to Kuhmeier's / Nott Bamberger Vier Letze Lieder. After Janowitz and Norman, this is the real thing. I (sadly) keep listening to this cycle if I can get past the first two minutes, which often set my teeth on edge. This one doesn't, but I realize this is shallow.
I would also like to say that Haitink's Rosenkavalier is, to my ears, a delight. Yes, it's slow-ish, but Rosen. does have its longueurs.
I can't see what the fuss is about Muti's Verdi Requiem. Just doesn't do it for me.
I thank Mr Moore for making me listen to Rondine, which has made me happier. Sadly, I can't think any opera recording of this repetoire will ever unseat 1950-1990 recordings. The latest Butterfly, with Melody Moore, should never have been recorded.
But then, luckily, I'm not the typical consumer.
Terence
Re: Ralph Moore
Posted by MK on September 26, 2023, 12:21 pm, in reply to "Re: Ralph Moore"
Posted by Ralph Moore on September 26, 2023, 3:24 pm, in reply to "Re: Ralph Moore"
Ah, yes - CD 16; many thanks. Interesting; obviously it is harder to judge just from snippets but to be honest, I find her voice rather heavy and just a little hooty and laboured; not really beautiful of tone. I prefer something rounder, purer, a bit more ethereal and which can soar more easily. There is also to my ears something of an edge in her high notes. Nott evidently has the measure of the music - hardy surprising - and the orchestra sounds lovely. It's by no means bad but I cannot say I would favour it over my own preferred versions.
Previous Message
There are samples of a recording of Strauss' Vier letzte lieder by Kuhmeier/Nott
Previous Message
Sorry, MK - it's not clear if you meant to post that here -or if you did, could you please explain?
Posted by Ralph Moore on February 3, 2022, 2:29 pm, in reply to "Ralph Moore"
Terence, just to let you know that as a result of your prompt, my mini-survey of ten Donizetti operas is being posted this Friday 4th February. Feel free to comment!
Previous Message
Hello
Am I the only one who has noticed that Ralph has not done much Donizetti in his opera surveys? I wonder why, as D is one of my favourite composers, and L'Elisir is a masterpiece.
But while I'm here, I would like to urge listeners to lister to Kuhmeier's / Nott Bamberger Vier Letze Lieder. After Janowitz and Norman, this is the real thing. I (sadly) keep listening to this cycle if I can get past the first two minutes, which often set my teeth on edge. This one doesn't, but I realize this is shallow.
I would also like to say that Haitink's Rosenkavalier is, to my ears, a delight. Yes, it's slow-ish, but Rosen. does have its longueurs.
I can't see what the fuss is about Muti's Verdi Requiem. Just doesn't do it for me.
I thank Mr Moore for making me listen to Rondine, which has made me happier. Sadly, I can't think any opera recording of this repetoire will ever unseat 1950-1990 recordings. The latest Butterfly, with Melody Moore, should never have been recorded.