After wildly successful stage performances at the Edinburgh Festival, Deutsche Grammophon took cast, conductor and orchestra (the English Chamber) into the recording studio to preserve the miracle for posterity. And thank Heaven they did, for Barenboim's Secret Marriage is one of the glittering jewels of DG's operatic back catalogue. This trio is one of the high points of the score, and is actually composed for three sopranos, though Fidalma is traditionally cast with a mezzo (Hamari). Those who only know Mrs Fischer-Dieskau from her excellent Verdi clips on RUclips may be surprised to see her here in a Neapolitan comic opera from 1792, but the fact is that Miss Várady's list of accomplishments on tape includes works by Händel, Mozart, and both J.S. and J.C. Bach. Miss Augér's diaphanous timbre and gift for characterisation are well-known to connoisseurs, and she is ideal here as the sarcastic younger sister Carolina. Frankly, the people (and I have known many of them) who profess an aversion to this enchanting work mystify me; but there you are. De guatibus non est disputandum, as Curly Howard used to say. Thank you, Manoli!
Dear Manoli.We can't ALWAYS meet our tastes I m afraid.Which is quite normal. This drama giocoso from Cimarosa isn't quite of my taste.There are two interesting things about it though.First of all the fact that in the case of this Aria there's supposed to be a soprano and a mezzo and the other part is left opened for a mezzo or a soprano to intervene. Secondly there are two basses in the cast, which I suppose makes you respect the author immensely. By the way I remind you that November the third is getting closer.A beautiful Swan 🦢 is awaiting something no less beautiful from his friend Manoli...❤🎉
Dear Manoli.I feel this a little absent.After having had an overdose of La Gazza Ladra I can tell you that for a person like me Zarzuela and Bel Canto is all I can take.Well ,also your Mozart arias.If I see Siegmund and Sieglinde I will pass. Jason has explained excellently what happened to it in the Twentieth Century.The interest of Deutsche Grammophon.The choice for this trio of a Getman specialist like Varady.And above all,his longing for more sopranos to germanize it more. If we go to the roots.,at the end of the eighteenth century Cimarosa was drunk with Mozart and the Bachs.And it shows.in it's work and it went well for him.But he fooled us.Just like you have.This is no buffa Napolitana.It s a German Wannabe.Its not an ingenious trio.It s an experiment that went well for him. That's why Jason talks about possible aversion.If I go to the theater I don't want to see a movie even if it is Casablanca. It's not aversion, it's not wanting to be fooled. Today listening to Cotrubas who you taught me to love surrounded by FIVE basses,unless you prefer Villabella to be a batitone,I thought about your sweet reclaim for basses in Mozart arias.Whenever you feel sad about it I recommend a mayor dose of Rossini.Although some of them really have it hard trying to meet Maya s expectations of placing music and notes.Dear Manoli,we can't ALWAYS agree.But I know how hard it must be for you to post new things with all your work.And we all should recognize it.❤🎉
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They are fantastic.
Thank you, dear Manoli.
After wildly successful stage performances at the Edinburgh Festival, Deutsche Grammophon took cast, conductor and orchestra (the English Chamber) into the recording studio to preserve the miracle for posterity. And thank Heaven they did, for Barenboim's Secret Marriage is one of the glittering jewels of DG's operatic back catalogue. This trio is one of the high points of the score, and is actually composed for three sopranos, though Fidalma is traditionally cast with a mezzo (Hamari). Those who only know Mrs Fischer-Dieskau from her excellent Verdi clips on RUclips may be surprised to see her here in a Neapolitan comic opera from 1792, but the fact is that Miss Várady's list of accomplishments on tape includes works by Händel, Mozart, and both J.S. and J.C. Bach. Miss Augér's diaphanous timbre and gift for characterisation are well-known to connoisseurs, and she is ideal here as the sarcastic younger sister Carolina. Frankly, the people (and I have known many of them) who profess an aversion to this enchanting work mystify me; but there you are. De guatibus non est disputandum, as Curly Howard used to say. Thank you, Manoli!
🎉 Beautiful as always.
Dear Manoli.We can't ALWAYS meet our tastes I m afraid.Which is quite normal.
This drama giocoso from Cimarosa isn't quite of my taste.There are two interesting things about it though.First of all the fact that in the case of this Aria there's supposed to be a soprano and a mezzo and the other part is left opened for a mezzo or a soprano to intervene.
Secondly there are two basses in the cast, which I suppose makes you respect the author immensely.
By the way I remind you that November the third is getting closer.A beautiful Swan 🦢 is awaiting something no less beautiful from his friend Manoli...❤🎉
Dear Manoli.I feel this a little absent.After having had an overdose of La Gazza Ladra I can tell you that for a person like me Zarzuela and Bel Canto is all I can take.Well ,also your Mozart arias.If I see Siegmund and Sieglinde I will pass.
Jason has explained excellently what happened to it in the Twentieth Century.The interest of Deutsche Grammophon.The choice for this trio of a Getman specialist like Varady.And above all,his longing for more sopranos to germanize it more.
If we go to the roots.,at the end of the eighteenth century Cimarosa was drunk with Mozart and the Bachs.And it shows.in it's work and it went well for him.But he fooled us.Just like you have.This is no buffa Napolitana.It s a German
Wannabe.Its not an ingenious trio.It s an experiment that went well for him.
That's why Jason talks about possible aversion.If I go to the theater I don't want to see a movie even if it is Casablanca.
It's not aversion, it's not wanting to be fooled.
Today listening to Cotrubas who you taught me to love surrounded by FIVE basses,unless you prefer Villabella to be a batitone,I thought about your sweet reclaim for basses in Mozart arias.Whenever you feel sad about it I recommend a mayor dose of Rossini.Although some of them really have it hard trying to meet Maya s expectations of placing music and notes.Dear Manoli,we can't ALWAYS agree.But I know how hard it must be for you to post new things with all your work.And we all should recognize it.❤🎉