Post by tream September 17, 2010 (1 of 24)
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I ordered this today, so it must be out, right? It will be my, let's see, I have two Parsifals conducted by Kna (56 and 62), the Kubelik, the Thielemann, the Barenboim, the Solti, and the Muck excerpts (essential, even though excerpts). Kubelik and Kna '62 are my favorites of these. This Gergiev should be interesting.
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Post by Allen September 18, 2010 (2 of 24)
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Can someone tell me if this is a live recording? I mean I have the applause from the audience, not even once. If I buy any opera, I would like to make sure it does not have such thing.
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Allen said:
Can someone tell me if this is a live recording? I mean I have the applause from the audience, not even once. If I buy any opera, I would like to make sure it does not have such thing.
I am quite the opposite, especially with opera. I think the performers can often be more "up" for a live performance, rather than a polished, edited, multi-take staging in an empty house. The acoustic may well be better with people in the seats, also.
Having attended many live operas, audience reaction, including my own, is part and parcel of the live experience. I love hearing the very vocal approval of the audience in a recording. It helps make it come alive.
Of course, with Parsifal or Wagner in general, we get a more subdued audience reaction only after the act or scene, with none of the interruptions that are typical of Italian opera. But, I love those enthusiastic Bravos, Bravas and Bravi after a great aria in my Verdi, Puccini or Mozart together with chuckles and laughter. It gives it all life and vitality.
That's why the very best way to enjoy recorded opera is a live performance on Blu-ray. I especially love to see and hear the audience response to the performers as they take their bows. It's the way I am used to hearing opera going back to live Met performances on the radio. Without it, opera is too subdued, too canned, too academic and too dead.
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Fitzcaraldo215 said:
I love those enthusiastic Bravos, Bravas and Bravi after a great aria in my Verdi, Puccini or Mozart together with chuckles and laughter. It gives it all life and vitality.
If only opera audiences would wait until *after* the aria/scene - all too frequently they wait until the singer has finished, not the music...
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Polly Nomial said:
If only opera audiences would wait until *after* the aria/scene - all too frequently they wait until the singer has finished, not the music...
Prematurely applauding the end of Act I of Boheme is the worst offense, for me.
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Post by Allen September 18, 2010 (6 of 24)
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rosenkavalier817 said:
Prematurely applauding the end of Act I of Boheme is the worst offense, for me.
hehe, but this almost always is what will happen...
And suddenly you lost that feeling about that sensual quiet night in Paris.
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Post by Allen September 18, 2010 (7 of 24)
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Fitzcaraldo215 said:
That's why the very best way to enjoy recorded opera is a live performance on Blu-ray. I especially love to see and hear the audience response to the performers as they take their bows. It's the way I am used to hearing opera going back to live Met performances on the radio. Without it, opera is too subdued, too canned, too academic and too dead.
I have been to MET many times when I was student in NYC. But still, I only appreciate audience responses in video of live performance. Having it in record is something very different.
Taking the La Traviata from Anna on DG, for an example, the noise on the stage is so distracting, not to say the noise from audience. That is probably the worst Traviata I have had (I have more than 10 different editions for this one), and so I never dare to go to buy her mimi ever since.
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Post by Peter September 18, 2010 (8 of 24)
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You can hear a long excerpt just over 2 1/2 hours into today's CD Review - the sound won't be great :-( but you may get your answer. I get the impression it's a studio production.
http://www.bbc.co.uk/programmes/b00trzbx
"Radiantly recorded...."
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Post by Castor September 18, 2010 (9 of 24)
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Allen said:
Can someone tell me if this is a live recording? I mean I have the applause from the audience, not even once. If I buy any opera, I would like to make sure it does not have such thing.
This recording was made in the Mariinsky Concert Hall between 5 and 13 June 2009 and incorporates live concert performances. There is no audience noise or any applause, so, in effect, it is like a studio recording.The only extraneous noise comes at times from Gergiev.
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Post by Peter September 18, 2010 (10 of 24)
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I didn't hear any audience noises, and the long excerpt included the conclusion with no applause. I guess Castor has a copy already?
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