On my way to Alcina tonight, to see precisely these fantastic singers Smorg illustrated in this poetic upload I am borrowing again. I learnt through Willym that these quiet succulent plants were called 'Christmas cactus'. Mine are in a rather cold spot now, they stay there all year round and they are also very faithful. I might get a small one to try another range of colour. To me they look like birds! They might sing...
I cannot write properly about my recent stay in Paris. I had an unexpected huge emotion as I was able, due to the generosity of a good friend of mine, to attend the dress rehearsal of Mathis der Maler on the 13th. I have never felt so moved. I had thought that Waltraud Meier - Marie in last year Bastille performance of Wozzeck, would never be challenged in my heart. Strangely enough, another German singer, a baritone I had never seen on stage and only knew as a lieder singer, managed to beat my record of emotional standards where I had thought Waltraud could not be beaten.
Rossini's Otello at the TCE on the 11th was vocally splendid but not challenging to my inner thoughts! I loved Anna Caterina Antonacci's Desdemona, starting with some shyness, and then she gave a stunning aria in the willow song. Evelino Pido was brilliant and Rossini sounded at his best that night. This demanding opera needs three tenors, and they were all three at their best. This concert version was musically and vocally a success. At the TCE on the 12th, Rolando Villazón's Mexican recital was charming at times but not that interesting. What I enjoyed most actually was cheering him and seeing him at the stage door after the show! He is such an incredibly nice and welcoming person. I do think he has tremendous good will and love to share. Generosity indeed, and I hope his voice will be fully recovered soon. He deserves it.
So here I am still trying to read and listen more and more to this opera by Hindemith. Matthias Goerne as Mathis the painter gave a flabbergasting rendition during three hours, torn between his art, his religious belief and political commitment and his love. His departing from this world, which is the end of the opera, is still on my mind simply because I have never seen such an overwhelming opera ending in soft and yet intense tones, on three alternating notes, hushed by Mathis and hardly echoed by the orchestra. I have never seen either, such a performance from a singer; he was this painter in the same casual clothes and human looks throughout these three amazing hours; his voice, I cannot describe, it is beyond words, totally overwhelming. The setting is a work of art in itself, like this altarpiece which is at the heart of the opera. It is captivating and so much more productive compared to the routine. Hindemith's music was forbidden in 1933 , degenerated... This 'near' creation on the French stage is a big step forward, and I was immensely touched by this production. This musical event is being followed on the classical radio France Musique, from today to Friday, 2PM 'Hindemith en peintre' From my very good spot in the stalls, one of the most expensive seats in the house, I could see the conductor's face: J.CH Eschenbach who really made this unknown music understandable for me. On Dec the 11th it will be broadcast at 7pm on France Musique.
I read on Willym's blog that it is Santa Cecilia today, all the best to this dear singer whom I saw in Montpellier not long ago. Happy day Ceci! You have been chosen by the fairy of music or its saint!
As a child, I knew their voices through radio broadcasts, they were part of the French lyrical world and sang at the Aix-en-Provence Mozart Festival, shortly after its creation. Both Pierrette Alarie and her husband Leopold Simoneau were my parents' favourite singers in this post war period. So these voices were familiar to me. They still are. It is marvellous to see that their LPs are being converted into CDs with efficient sound effects.
René Bianco is also a wonderful baritone whose voice matches so well the delicate tops of tenor Leopold Simoneau. 'Au fond du temple saint' is a soft and progressive duet for tenor and baritone, a fine one to start the night, and rest.
Pierrette Alarie is eighty nine years old, and I do hope she is well. Next year on the 9th of November she will be ninety. When I look at their photo, a small black and white one I think of my parents, and wonder at the look of hope in their eyes. The war was over. Mum would have been ninety two this year. Same generation.
I used to listen to these voices on the radio a lot, as the radio set was the only medium available and very knowledgeable in those days. Here are the two Youtubes from fantastic uploaders who love fine singers.
Grape picking is over. Olive picking is beginning. It is raining quite a lot sometimes. I am off to the City for some live music: Rossini's Otello and Rolando Villazon's recital, both at the TCE. I do not know what to think of his newest Cd Mexico, but I feel like meeting him on his own ground, with a band of chamber musicians he carefully chose: The Bolivar Soloists. That choice shows he does not follow the tradition of the Mariachi and yet keep in touch with tradition with the choice of melodies like Cucaracha'? 'Classical' Mexican tendancy in folkmusic? I guess I will be under his natural charm, because as it is, he is a very charming person and knows how to conquer an audience in a simple gesture. He has the charisma of the great mimes, a look, a move, and that's it! The sunny side of his voice will be at his best in these Mexican songs mostly about the torments of lost love! Well, if it is an exercise of cross-over, at least it will be done with elegance! Rossini's Otello will be most enjoyable, on the paper the cast looks brilliant and that is why I make the journey, and for sure I will get the sun from Mexico... I met this caballero on sunday morning while I was busy looking for "sanguins", he was wearing a kind of sombrero or is it my imagination ?
My yearly journey to where my people have chosen to rest is late; my granddaughters where around for half-term break, so I had no time to set off to this secluded spot. When I came back this evening I got the sad news:the loss of a voice I have loved from records and radio programmes:Shirley Verrett's death added to my sorrowful day, in the same atmosphere of this November week where even if religion is not implied, rituals take place. Rites are important to support our deep pains and sorrows. They kindly soften them. Music does as well. I know Shirley Verrett was a fantastic Eboli and Lady Macbeth. She had her burden, being a black woman singer. On Forum opera one evening some time ago, an admirer shared this beautiful rendition of hers, and I want to recall it tonight: (I am most grateful to Foropera, and think of this beautiful lady tonight for all the joys her voice will give and has given. Opera singers are not always well known and appreciated, so I feel we must go and tell them as much as we can how we love and admire them, go to opera houses as much as possible, and make the most of it when they are alive and sharing their difficult art with us).
La morale est une convention privée; la décence est affaire publique; toute licence trop visible m'a toujours fait l'effet d'un étalage de mauvais aloi. Mémoires d'Hadrien (1951) Marguerite Yourcenar
Some politicians should think twice before talking to the press. Another blow from Mister Berlusconi showing is indecency and complete lack of respect for human beings, including himself first. Here's a link to a very thoughtful post from my blog friend Willym.
