A very slow burner

The (not so) recent (anymore) crop of unsatifying Alcinas has made me return to an oldie but goldie, namely the Stuttgart production. And because Catherine Naglestad is holding down the fort in the title role, I then watched a bit of Potato Clemenza specifically for her well paced Vitellia, after which I remembered earworm‘s hint that she is a very good Senta and found myself really enjoying that:

Next I’ve sampled her Wiener Staatsoper Salome and now I know why I didn’t like her voice so much in Mozart: because it is more suited to Wagner and Strauss. I also liked her very slow Vissi d’arte and I’m not a Vissi d’arte fan at all. In conclusion, I think I may be turning into a bif of fan of her. She sounded right in these heavier roles.

About dehggial

Mozart/Baroque loving red dragon

Posted on July 16, 2016, in sopranos and tagged , , . Bookmark the permalink. 2 Comments.

  1. Did you just say NAGLESTAD.
    off to get the popcorn and the confetti
    (I think that Holländer is up in full on YT (it used to be, at least) – I enjoyed the production, too. The Salome is a trip (only the trailer on YT, but that’s already a good glimpse). There are bits of her Siegfried Brünnhilde in Munich a few years ago – perhaps a bit of a stretch. Sieglinde felt like a better fit, but rather Italianate (not in a bad way). There’s a full HD vid somewhere…
    My favorite (live, so I may be biased) performances of her were so far Amelia in “Ballo”, where I found her voice to be a perfect fit (a few opera queens and I may or may not have behaved like a gaggle of Beatles fangirls on the balcony there), and that Alcina – I whoolly agree that she is not a Handelian/Mozartean voice by material and attack at all, but she works that into her portrayals somehow – her Vitellia may not be the most Mozartean, but among the most “Vitellian” (there must be an adjective for this, surely?). Just as her Alcina is not Handelian per se, but is a lot about power and seduction and a Baroque kind of lusciousness, and in the end, ends up being quite Handelian in attitude, if not in style.)
    (never mind me. Shutting up now.)

    • Interesting, I have not thought of her as Amelia but I’m not that versed in Ballo. Definitely her Vitellia is Vitellian, heh, one of the benchmark Vitellias, cold and sarcastic; once you see her at work you never forget it. Yes, she seems able to spin roles in her favour so they are who they are supposed to be but also recognisable as modern characters.

      You summed up her Alcina very well, it’s right on the money though not on the surface. I like her a lot (perhaps my favourite), she somehow uses inner darkness both to humanise the character and to make her strange and remote at the same time. The ending is so good, when she looks like she’s about to do something that nobody quite expects and we’re never told what that might be 😀 fodder for the imagination. Very few productions manage that and with so little too and they were lucky to have her.

      I’d like to hear her live in whatever and see how that works out.

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