Courtesy of teresa59, here's the whole of last night's Rigoletto first act live from Mantua, in convenient bite-sized chunks:
**********the rest is over the page*************
interested to hear your views Intermezzo I thought the whole thing was superb settings,direction acting and most of the singing when edited likely to become the definitive film of Rigoletto however is it time for Domingo to hang up his boots while still at the top?
Hugh Kerr |
06 September 2010 at 09:58 AM
After the famous live Domingo Tosca, I had high hopes for this but have come away rather disappointed. The whole production, audio and video, seriously needed to back up ten or twenty feet. This is what live opera must sound like from within the womb of a on-stage diva...
Steve W |
06 September 2010 at 11:38 AM
The vocal recording does seem off I agree. The individual microphones seem to remove all sense of the space they are singing in. Presumably the spaces varied hugely acoustically, billowy halls and such, but whatever method they used just sounds wrong to me (looks almost lip-synched which I suspect is true of the chorus). I can't say I'm that enamoured of the whole production frankly, there's something incredibly unsubtle about the staging and the performances don't exactly set my heart aflame. Domingo could act a great Rigoletto but he's just phoning this performance in.
06 September 2010 at 11:02 PM
I was concerned at Domingo's performance; there was quite some trouble at the end of act 2. Perhaps the close microphones made things seem worse than they were
06 September 2010 at 11:15 PM
I yield to none in my admiration and veneration of Placido Domingo. He's undoubtedly the miracle opera man (in terms of the diversity and size of his repertoire past and present) and he has surely earned a very secure place in opera history. Having said that, I am not so certain he is making the right decisions in singing baritone roles. Something (to MY ears, anyway) doesn't sound right. His singing even in the beginning of his career had a sort of baritone timbre to it, very similar to Jonas Kaufmann. Domingo DID have a valid high C during the seventies and eighties (attested to by Birgit Nilsson, who sang Turandot alongside him), but in recent decades those top B's and C's got shaved off.
Now he's singing baritone roles, but the tenor timbre is still prominent enough to come through in spades, and one is not used to this kind of a sound for Rigoletto, Boccanegra, Scarpia, etc.
Also, having completely exhausted the tenor repertoire (with 131 stage roles in Italian, French, German, Spanish, and Russian),
save for the bel canto, where else is he supposed to go?
Perhaps it's time for him to leave the opera stage, do a worldwide farewell concert tour --- and finally call it quits.
Les Mitchell |
18 July 2011 at 09:33 PM
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