How quaint! or what others think

Our opera-buddy group can turn into an echo chamber at times, hence Why other people love opera. In the interest of balance I thought I’d point out a couple of recent reviews that present the exact opposite view to mine:

ENO’s Rodelinda

Glyndebourne’s Hamlet

Perception is a funny thing, innit?

About dehggial

Mozart/Baroque loving red dragon

Posted on November 17, 2017, in baroque, contemporary operas and tagged , , , , , . Bookmark the permalink. 2 Comments.

  1. before i clik on these, just wanted to add i read a review last week of Stutzmann’s Händel messiah in DC where the reviewer calling SM lacking dimension/depth/expression, quote “more unfortunate still was the paucity of her dramatic depth”. oh jeah, the person’s key point was NS’s take had “Vibrancy and dynamism at the expense of the majesty of the sacred.”

    i think these people had some notion/recording in mind and any variation is a violation of principles.

    • a review of the Haim’s Trionfo I read yesterday said something along the lines “Dessay must be the best Baroque singer because she sounds like an angel; Hallenberg and Prina were good too”.

      Vibrancy and dynamism at the expense of the majesty of the sacred

      that’s kind of funny, because I thought her “Erbarme dich” was ALL about the majesty of the sacred 😉 whereas Galou sounded like she’d never heard of god in her life 😀

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