at this time Meyerbeer was in Italy learning with Rossini, he was trying to emulate the italian early bel canto style, which to me he does wonderfully(and yet with some german taste in orchestration), that would explain what you call "musical banalism" perhaps ; to me he only become genuinely Meyerbeer from "Robert le Diable" onward, yet i also really like Il Crociato, especially the extensive largo at the finale primo.
It may be that I am just a "hick from the sticks". I have been listening to "great voices" on vinyl, CD, and more recently for 40 years. I have been a student of classical voice and even at age 68 have a 4 octave range and haven't been told by any yet that I sound like a wild animal being run through a Cuisinart.....Folks may just be kind....Point is I think I know what "gives" as far as a quality voice and I'm astounded, have been for a few years, that much more has not been made of Bruce Ford. Any knowing "insiders" who can offer an opinion as to why this might be?
Regarding "some musical banalism", I agree. Meyerbeer is a step below the great operas (Verdi, Mozart, Rossini, Wagner). But he is not an irrelevant author, not deserving the ostracism he has been relegated. But But in relation to "frequent dramatic improbability", I think it is a characteristic of all romantic dramaturgy. Including the younger Verdi.
Maybe it sounds better live, in the theater. Rockwell Blake did a great job with this aria. I think his rendition of this aria had so much excitement and athleticism.
I think I have the same problem with Meyerbeer. I've come to the conclusion that he really is not, like most more familiar opera composers, the main engine of the works that nowadays bear his name--in other words, he contributed his bit, music, but the singers, the set, the ballet, all the disparate elements made up the work to an extent we're not used to. Recordings of the music along don't serve him well, I feel. Something made Meyerbeer a staple even in the early 20th C but .... Maybe I'm just looking for excuses, i don't know. But I feel even his famous set pieces don't quite hang together in the way even early Verdi does, much less the way Rossini or Bellini does. They kind of wander, or fall to pieces after the first few phrases, or something--anyway, fail to coalesce. Compare Halevy's La Juive, which is much more coherent, even if (until recently) much more obscure.
Yes he was going for something different from the Italians. He was writing French Grand Opera and being very creative about it. That's what I admire - the fecundity of ideas even in divertissement.
Que buen tenor es bruce ford me a impresionado su hermosa voz y tecnica
I absoltely love Bruce Ford!!
at this time Meyerbeer was in Italy learning with Rossini, he was trying to emulate the italian early bel canto style, which to me he does wonderfully(and yet with some german taste in orchestration), that would explain what you call "musical banalism" perhaps ;
to me he only become genuinely Meyerbeer from "Robert le Diable" onward, yet i also really like Il Crociato, especially the extensive largo at the finale primo.
Warmest thanks - most enjoyable, and Bruce Ford is splendid.
4:24 - 4:35 .....absolute beauty!!!!!
One of the best tenor.wooow:)
I like the music! Meyerbeer is great!!!!
splendide, fameux ténor
It may be that I am just a "hick from the sticks". I have been listening to "great voices" on vinyl, CD, and more recently for 40 years. I have been a student of classical voice and even at age 68 have a 4 octave range and haven't been told by any yet that I sound like a wild animal being run through a Cuisinart.....Folks may just be kind....Point is I think I know what "gives" as far as a quality voice and I'm astounded, have been for a few years, that much more has not been made of Bruce Ford. Any knowing "insiders" who can offer an opinion as to why this might be?
Sorprendente a primera vista. Volveré a escucharla una veintena de veces y leugo comentaré la ejecución de esta dificilísima Cavatina
All thanks really must go to Opera Rara, its forces and associates :)!
Perfekt
Regarding "some musical banalism", I agree. Meyerbeer is a step below the great operas (Verdi, Mozart, Rossini, Wagner). But he is not an irrelevant author, not deserving the ostracism he has been relegated. But But in relation to "frequent dramatic improbability", I think it is a characteristic of all romantic dramaturgy. Including the younger Verdi.
Why is there a picture of Venice in Egypt?
++++++++++
Maybe it sounds better live, in the theater.
Rockwell Blake did a great job with this aria. I think his rendition of this aria had so much excitement and athleticism.
I think I have the same problem with Meyerbeer. I've come to the conclusion that he really is not, like most more familiar opera composers, the main engine of the works that nowadays bear his name--in other words, he contributed his bit, music, but the singers, the set, the ballet, all the disparate elements made up the work to an extent we're not used to. Recordings of the music along don't serve him well, I feel. Something made Meyerbeer a staple even in the early 20th C but .... Maybe I'm just looking for excuses, i don't know. But I feel even his famous set pieces don't quite hang together in the way even early Verdi does, much less the way Rossini or Bellini does. They kind of wander, or fall to pieces after the first few phrases, or something--anyway, fail to coalesce. Compare Halevy's La Juive, which is much more coherent, even if (until recently) much more obscure.
Yes he was going for something different from the Italians. He was writing French Grand Opera and being very creative about it. That's what I admire - the fecundity of ideas even in divertissement.