I have not heard of Thomas Ades--but I guess I should have: his writing is just flawless! This is just brilliant music in every way. I love the counterplay between the orchestra and the voices, and the orchestration is extremely well executed (nice use of woodwinds and other color instruments--and percussion, too). I especially like the expanded tonalities, and how fast they migrate from one center to another, then return. I don't like the written female voice part--too high for my taste.
I feel like they're just making up the words and melody as they go. Clearly I don't know enough about music to be able to appreciate this, but I will acknowledge their talent in being able to pull it off.
I heard today that next saturday (when the opera is performed in the Concertgebouw in Amsterdam at 14.15) Ms. Sieden en Mr. Keenlyside will be singing the soprano and bass part, led by Markus Stenz. Looking forward to it !
Wow. Props to Ms. Seyden for being able to pull those lines off with pin-point accuracy. My question is, who else is gonna be able to sing that as well as she did?
Who knows. When I saw this opera in Santa Fe they flew her in to perform it. She's amazing, for the final scene I was able to stand right next to her hearing her sing these amazing notes! I'm sure there's someone out there that can perform the part as well.
the premiere of the tempest in lübeck will be on march 12th. Louise Fribo will perform as Ariel. no idea what I have to expect since I've never heard this opera before. but I'm looking forward to seeing it!
@HerrWozzeck All praise to her! But in fact the standards of modern singing are so high these days that there are dozens of performers who could do this role :) For example Susanna Andersson who sang in LE GRAND MACABRE in London, or Tatiana Kuinji who created the title role in Schedrin's LOLITA, or Marina Andreeva or Anna Grechishkina.
She's on pitch, if you play through the vocal score. As for the words, Ades sets Ariel as a sort of quasi-instrumental part to show that Ariel is not human, like everyone around her. As the opera goes on, she becomes more intelligible in general, as she becomes closer to being free (except for outbursts of leaps, which always define her character). Keep in mind the word will be projected above the opera :D
Thank you for posting this wonderous composition and performance. What is the duet called?
ABOCHITO 1 month ago
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This is so scary..
KathrynLouise44 3 months ago
I like the effect of the ridiculously high soprano part but it makes the words completely unintelligible.
joshisanonymous 4 months ago
Disgusting...
Vladikism 8 months ago
The ariel part is unlistenable...
sas147741 8 months ago
I have not heard of Thomas Ades--but I guess I should have: his writing is just flawless! This is just brilliant music in every way. I love the counterplay between the orchestra and the voices, and the orchestration is extremely well executed (nice use of woodwinds and other color instruments--and percussion, too). I especially like the expanded tonalities, and how fast they migrate from one center to another, then return. I don't like the written female voice part--too high for my taste.
callmeBe 9 months ago 2
@caekface The composer is Thomas Ades, not Gerald Barry. FAIL.
packband88 10 months ago
wtf man. how do you listen to this kind stuff. i've always found operas extremely annnoying
fuckliao 11 months ago
I feel like they're just making up the words and melody as they go. Clearly I don't know enough about music to be able to appreciate this, but I will acknowledge their talent in being able to pull it off.
rumilization 1 year ago
If it was broadcast, I don't see any reason why it couldn't be released on DVD.
Was this just taped from TV? Is there a complete copy anywhere?
dbryandolman 1 year ago
doesnt inspire me.........seems like a lot of screaming......
papoocanada 1 year ago
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Sorry but... Fucking annoying and gay beyond belief
thisisthewhay 1 year ago
Cornelia should aggree in hearing and seeing "the wonderful production in Frankfurt-am-Main" (LudiPetit) with The Women.
joerghauf 1 year ago
Come and see the wonderful production in Frankfurt-am-Main, with Ms Sieden, opening night on the 10th of january 2010!
LudiPetit 2 years ago
there was an opera which came out about the same time-`Petra Von Kant`- -that`s fantastic.
japanesesweet 2 years ago
who is singing the bass part ?
whybiebee 2 years ago
Simon Keenlyside
simonmech 2 years ago
Comment removed
whybiebee 2 years ago
I heard today that next saturday (when the opera is performed in the Concertgebouw in Amsterdam at 14.15) Ms. Sieden en Mr. Keenlyside will be singing the soprano and bass part, led by Markus Stenz. Looking forward to it !
whybiebee 2 years ago
Wow. Props to Ms. Seyden for being able to pull those lines off with pin-point accuracy. My question is, who else is gonna be able to sing that as well as she did?
HerrWozzeck 2 years ago 6
Who knows. When I saw this opera in Santa Fe they flew her in to perform it. She's amazing, for the final scene I was able to stand right next to her hearing her sing these amazing notes! I'm sure there's someone out there that can perform the part as well.
simonmech 2 years ago
She's also gonna sing it in Frankfurt, Germany 2010, so, maybe she has found her new perfect role ;)
moew99 2 years ago
the premiere of the tempest in lübeck will be on march 12th. Louise Fribo will perform as Ariel. no idea what I have to expect since I've never heard this opera before. but I'm looking forward to seeing it!
:-)
soldier1286 1 year ago
@HerrWozzeck All praise to her! But in fact the standards of modern singing are so high these days that there are dozens of performers who could do this role :) For example Susanna Andersson who sang in LE GRAND MACABRE in London, or Tatiana Kuinji who created the title role in Schedrin's LOLITA, or Marina Andreeva or Anna Grechishkina.
MoscowMaestro 1 year ago
@HerrWozzeck Hila Plitmann?
Sousaphonics 1 year ago 8
@HerrWozzeck Hila Plitmann can watch?v=xDH6bS5OJfs&feature=player_embedded
RollerCoasterManiac 10 months ago
This bit is a rather like Gerald Barry's music but normalised.
Thanks for posting it-good to get a chance to hear it again.
japanesesweet 2 years ago
I can't tell, is she supposed to be a half step off each note and unintelligible?
Loismustdie26 2 years ago
She's on pitch, if you play through the vocal score. As for the words, Ades sets Ariel as a sort of quasi-instrumental part to show that Ariel is not human, like everyone around her. As the opera goes on, she becomes more intelligible in general, as she becomes closer to being free (except for outbursts of leaps, which always define her character). Keep in mind the word will be projected above the opera :D
Foxtrotfan 2 years ago 2
that's actually pretty interesting, thanks
Loismustdie26 2 years ago
Cyndia Sieden *____________*
laerciohernane 3 years ago
Haha, this is great.
I'm doing a paper on this opera, and it's funny you posted the clip on it!
Unfortunately I find out last night that this paper is today today!
Take care,
-Lee
slushie000 3 years ago
omg post more ariel pleeeeeease cyndia sieden is incred
mymokshashocksya 3 years ago