Cantiam, cantiam, Lucano!

A propos of nothing, except I wanted to re-listen to this somewhat curious scene. Observe how back then it was done of peep show-style and now it’s all fluid sexuality. Let’s do a then and now – sorry for the bad quality video (then and now):



PS: just in case you thought the “blubber of love” in the background was something sprung out of Lauwers’ mind (also sorry for the tenor not staying in tune):

About dehggial

Mozart/Baroque loving red dragon

Posted on November 5, 2018, in baroque, basses, italian opera, mezzos & contraltos, tenors and tagged , , , , . Bookmark the permalink. 6 Comments.

  1. Hehe, had to play the Ponnelle version again, curious scene, curious version, but strangely effective (and is that really Harnoncourt conducting 70s style? ๐Ÿ™‚ Also, in this scene a Tenor Nerone actually works well, vocally). Excellent singing in the Salzburg version, but the abuse keeps me from watching again.

    • Ponnelle was no fool, that’s certain. Yes, it’s Harnoncourt! So flowery, right? And so fast!

      the abuse is silly, I agree. In fact, had I not been there, I think I’d have completely dismissed the production. Too bad. I think Fisher’s the best Lucano I’ve heard so far ๐Ÿ™‚

      • I’m admiring Eric Tappy’s way of moving in that hockey dress ๐Ÿ˜€ Flowery and thick sound esp. the flutes and strings, suits the decadent party atmosphere!
        Yes about Fisher, actually all the smaller male roles are very well cast in the Salzburg production!

        • hockey dress! ๐Ÿ˜€ he did the same thing as Tito. I think Ponnelle only has one set of costumes and he resuses them for all his productions ๐Ÿ˜‰

          • I’m now watching (nearly) the whole thing, and have also digged up Tito with Troyanos’ Sesto, that one is next! It’s all strangely entertaining (and the stage designs ๐Ÿ˜€ !)

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