Vyjde další dvd se Simonkem
tedy dvě, ale Dona Carla si možná (?) nekoupím, ještě nevím. Kdyby tam byl i Kaufmann, tak určitě ano,ale s Villazonem to mám z youtube. ale dvd by i s Villazonem byla lepší kvalita, takže bych o tom aspoň uvažovala. Nojo, ale je tam Villazon.aha. uvidíme.
a vyjde Faust a Markétka od Gounoda, ale tam zase má Simon malou roli Valentina, ale měl v tom asi dle recenzí úspěch:-)))) Jinak je tam i Alagna a Terfel a Georghiu.a Sophie Koch.
oboje jsou představení Royal Opera House.
tady "Simon Keenlyside was a rare British singer in a multi-national cast and was an eager, earnest and musically intelligent Posa with true Verdian style, sadly something not the case with all of his colleagues. Notably, his ardent lyricism easily eclipsed Don Carlo in their fist clenching, chest thumping duet ‘Dio che nell’alma infondere’ at the end of Act II."
Píšou , že Simon dokonce zastínil Villazona:-)
"Simon Keenlyside’s terrific Posa sounded virile, passionate and in love (with Don Carlo, of course). Whenever I have seen Keenlyside singing Posa I have fully realised that one of the reasons why Posa wants Don Carlo to go to Flanders with him is to be always by his side, more as a partner than as a friend. This is something that Verdi’s music makes obvious, but many directors and singers ignore."
Hehe:-)))
a taky " Simon Keenlyside does not have a conventional Verdi baritone voice, though he is starting to increase the number of Verdi roles in his portfolio; his plans include further performances as Rodrigo along with Macbeth and Rigoletto. Keenlyside’s characterful baritone does not have the opulence of the ideal Verdi baritone, but he has reached the age where his voice has developed sufficient heft for him to be able to sing these roles in his familiar vividly intelligent fashion without them seeming to over stretch him. In fact Keenlyside made the ideal partner for Villazon, the two voices complimented each other and neither overbalanced the other. Keenlyside’s Rodrigo (Posa) was finely drawn and presented in rather subtler depth that Villazon’s Don Carlo. The two provided a moving duet in Act 2, then in Rodrigo’s death scene Keenlyside showed himself highly aware of the profoundly homoerotic undercurrent which runs through Rodrigo’s relationship with Don Carlo."
a vyjde Faust a Markétka od Gounoda, ale tam zase má Simon malou roli Valentina, ale měl v tom asi dle recenzí úspěch:-)))) Jinak je tam i Alagna a Terfel a Georghiu.a Sophie Koch.
oboje jsou představení Royal Opera House.
tady "Simon Keenlyside was a rare British singer in a multi-national cast and was an eager, earnest and musically intelligent Posa with true Verdian style, sadly something not the case with all of his colleagues. Notably, his ardent lyricism easily eclipsed Don Carlo in their fist clenching, chest thumping duet ‘Dio che nell’alma infondere’ at the end of Act II."
Píšou , že Simon dokonce zastínil Villazona:-)
"Simon Keenlyside’s terrific Posa sounded virile, passionate and in love (with Don Carlo, of course). Whenever I have seen Keenlyside singing Posa I have fully realised that one of the reasons why Posa wants Don Carlo to go to Flanders with him is to be always by his side, more as a partner than as a friend. This is something that Verdi’s music makes obvious, but many directors and singers ignore."
Hehe:-)))
a taky " Simon Keenlyside does not have a conventional Verdi baritone voice, though he is starting to increase the number of Verdi roles in his portfolio; his plans include further performances as Rodrigo along with Macbeth and Rigoletto. Keenlyside’s characterful baritone does not have the opulence of the ideal Verdi baritone, but he has reached the age where his voice has developed sufficient heft for him to be able to sing these roles in his familiar vividly intelligent fashion without them seeming to over stretch him. In fact Keenlyside made the ideal partner for Villazon, the two voices complimented each other and neither overbalanced the other. Keenlyside’s Rodrigo (Posa) was finely drawn and presented in rather subtler depth that Villazon’s Don Carlo. The two provided a moving duet in Act 2, then in Rodrigo’s death scene Keenlyside showed himself highly aware of the profoundly homoerotic undercurrent which runs through Rodrigo’s relationship with Don Carlo."