I saw the first production of Stiffelio back in the early 90s when Jose Carreras came back to the opera stage singing opposite Catherine Malfitano. It was a seasonal production - Jose was pensive, emotionally torn and his voice had a rare vulnerability that made him the ideal Stiffelio. I saw Covent Garden's latest re-run of Stiffelio with Jose Cura singing the title role, Sondra Radvanovsky as Lina. Unfortunately, this was yet another shouting match - hmm, was it my hearing or every body could only sing f, ff or fff? It's the same production as before - which portrayed Protestant New World very well. However, Jose Cura's voice had just too much heroism in it to make him a believable Stiffelio. Sondra Radvanosky's voice was really not to my taste - that weird fast tremolo coupled with a limited range of facial expressions didn't do it for me. It was also my first time seeing Alastair Miles (as Jorg) with long hair!
Sir John Eliot Gardiner and his Orchestre Révolutionnaire et Romantique started this BBC Proms concert with Le corsaire - it was tightly played and a sonorous sound. I wonder whether this was due to the whole orchestra standing up while playing had anything to do with it. It sounded good.
Joyce DiDonato first sang La mort de Cléopâtre - her performance was mesmerising due to her dramatic delivery of text and the wonderful lines. Sir John was ever sensitive to the flow of the music. Dido’s death scene was short, yet no less powerful with DiDonata's breadth of emotions. Some may moan about her over dramatic delivery at the expense of pitch accuracy - but that's just nitpicking.
The second half of the concert was Harold in Italy - a whimsical and eclectic piece that's interesting to listen to - but I wonder whether this should have been played in the 1st half of the concert.
Joyce DiDonato first sang La mort de Cléopâtre - her performance was mesmerising due to her dramatic delivery of text and the wonderful lines. Sir John was ever sensitive to the flow of the music. Dido’s death scene was short, yet no less powerful with DiDonata's breadth of emotions. Some may moan about her over dramatic delivery at the expense of pitch accuracy - but that's just nitpicking.
The second half of the concert was Harold in Italy - a whimsical and eclectic piece that's interesting to listen to - but I wonder whether this should have been played in the 1st half of the concert.
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