Discover Top Posts Tagged with #barbara bonney

Gabriel Fauré, Requiem in D minor, op. 48 (IV. Pie jesu). Seiji Ozawa, director Barbara Bonney, soprano

#gabriel fauré #requiem in d minor #pie jesu #seiji ozawa #barbara bonney

Instrumental Favourite Whateverday - Part I

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"Favourite" might be a strong word, but it's just too weird to not love.

This definitely stretches my definition of "instrumental", since it features vocals by Michael Crawford and Barbara Bonney for a short portion of the title song section - as if the spa lounge guitar and xylophone effects weren't enough spice.

Stephen Hill joins as Raoul for some equally strange few seconds in the suite's grand finale, AIAOY reprise, which features a theremin (!!) and some extremely rad electric guitar.

Also rather unique is the inclusion of Down Once More as well as portions of the Final Lair.

Quite a rare recording, it seems. I originally downloaded this file from a dodgy website in 2008, and haven't seen it online since.

#phantom of the opera #michael crawford #barbara bonney #stephen hill #instrumental favourites

Veja "Pergolesi - Salve Regina in f/c Minor {Autograph score}" no YouTube

#youtube #music #baroque music #orchestra #choral #vocal #18th century #pergolesi #Andreas scholl #barbara bonney

divas kissing divas collage 1/?

Operablr Pride Month 🏳️‍🌈 - Week #3: La Clemenza di Tito

-> Salzburg Festspiele, 2003

Michael Schade - Tito

Vesselina Kasarova - Sesto

Dorothea Röschmann - Vitellia

Elina Garanča - Annio

Barbara Bonney - Servilla

Luca Pisaroni - Publio

The rest here

-> Opera

We all know I love Mozart, but this opera can't be as great as the famous three comedies he composed to da Ponte libretti. Mostly because Neapolitan style, especially opera seria, is getting too old at that time and we can see it in La Clemenza. Mozart took Metastasio's libretto (bold move I guess) wanted to spice it up with ensembles, action and his BEAUTIFUL, extremely beautiful music, but it wasn't enough for people in 1791 to appreciate it. We can't blame them.

Mozart was created to compose comedies, but I still like this opera. Maybe because it has too many buffa features (obviously, it's still extremely serious) and maybe because it's Mozart. We can't forget about the amazing choir parts and arias, which are stunning.

There's nothing special about the libretto, but it doesn't really have that much boring parts (because of Mazzoli and Mozart, again) and Tito is quite an interesting character. I know this opinion is extremely unpopular, but he really is unusual. I like the rest of the characters as well, especially Vitellia, who has a nice character development (we can't say it about Idomeneo's Elettra) and Sesto - still not sure what's going on in his head tho.

-> The production

It is.. Weird. In some moments I had no clue what was going on on stage. The scenography was very cold. It's just a building with a few floors. I thinks it's supposed to be a museum, but I'm not sure. Sometimes I couldn't hear the singers or choir that well, probably because of the scenography. Singers were just wearing casual clothes. Except Publio and Tito who were occasionally in weird dresses. No idea what is the story behind it but I'm not a fan.

The cast was alright. I think Tito was a bit insane and I like this idea. It suits him. Kasarova is great as Sesto. I think she's my favorite Sesto now! Her singing and acting was flawless. Annio and Servilla had a nice chemistry, Garanča played a cheerful boy pretty well. Vitellia was hot and very charismatic, but vocally it wasn't the best of Röschmann's performances. She had some good moments, but her Non Più di Fiori wasn't as good as I expected it to be. Pisaroni was a good and very sexy Publio. Probably the sexiest Publio I've ever seen (often played by not very young dudes, so it's not so surprising).

-> The level of gayness

No chemistry between Tito and Sesto - pity, because they are my favorite gay opera boys.

But we have two trouser roles, so it has to be gay, I don't make the rules. And the chemistry between the divas was w o n d e r f u l.

BUT we get the gay surprise in this production. Publio! He was slightly turned on by everyone in Act II?! I'm getting some bisexual vibes over here and we're not going to complain, we don't ever expect Publio to be gay (let's be honest, we don't give a shit about him), but here we are!

And who's going to tell me La Clemenza is not gay?