Ghena Dimitrova - soprano Janet Baker - mezzo-soprano Arthur Davies - tenor Robert Lloyd - bass Bach Choir London Philharmonic Choir Philharmonia Chorus Philharmonia Orchestra conducted by Sir Charles Mackerras Thursday 16 January 1986 I was there. It certainly was Arthur Davies, a distinguished Verdi tenor at ENO and elsewhere and not Ryland, who would never have sung this piece, being a great Mozartian tenor!
This work can be cast in all sorts of ways because it is crazy and passionate as well as angelic and dark. One can go many ways of course it works best with the cast of Aida in the main roles. But it has been done with all lyric soloists except the dram soprano as here to strong effect . It also has been done with lyric voices across the board .
I thought Dimitrova and Baker made for a fabulous pairing. The idea, opined by Silfredo Serrano from below, that they weren't a 'felicitous pair' is off the mark. First, Dimitrova wasn't a one trick pony, and Baker, while she had never dabbled in Wagner and essayed such heavy Verdian mezzo roles as Azucena, Amneris, Eboli, not to mention she had never gone near the deeply superstitious and fiercely independent smoldering Gypsy femme fatale, was hardly a shrinking violet when it came to producing cascade of sound.
In their duet, Dimitrova overpowers Baker. Had they switched and Baker sung soprano instead it would have been more balanced. Dimitrova was known for dabbling in mezzo parts and Baker had sung some soprano parts as well.
It probably sounded better balanced in the concert hall. Both Dimitrova and Baker knew how to blend and use their voices for the best overall effect in the music. I don't know how this recording was captured but it does sound as if Ghena Dimitrova was closer to the microphones than the other three soloists. She is as fabulous as usual , but there is some sound distortion. Janet Baker had focussed on roles that were high mezzo / occasionally soprano for some years by this time. This can be heard in her Liber Scriptus where the top of her voice rings out, but she sounds lighter in the lower sections, even allowing for the dynamic markings. This was about a year and a half before she retired from singing. The recording may not be perfect , but it is good to have these two very special singers singing together. Ryland Davies and Robert Lloyd make a great contribution too.
Imagine Ghena Dimitrova - sopran, Ewa podles - contralto our Elena Obratzova - mezzo-sopran, Giuseppe Giacomini - tenor and Jerome Hines - bass in Verdi Requiem?, my dream... 🙏🏻
Dimitrova and Ewa Podlès would be perfect duet. Imagine a Requiem with Dimitrova, Ewa Podlès, Giuseppe Giacomini and Jerome Hines ?, it would be the most dramatic and huge voices together and would be a dream of perfection of this beautiful work for me :-)
Ghena Dimitrova - soprano
Janet Baker - mezzo-soprano
Arthur Davies - tenor
Robert Lloyd - bass
Bach Choir
London Philharmonic Choir
Philharmonia Chorus
Philharmonia Orchestra
conducted by Sir Charles Mackerras
Thursday 16 January 1986
I was there. It certainly was Arthur Davies, a distinguished Verdi tenor at ENO and elsewhere and not Ryland, who would never have sung this piece, being a great Mozartian tenor!
This work can be cast in all sorts of ways because it is crazy and passionate as well as angelic and dark. One can go many ways of course it works best with the cast of Aida in the main roles. But it has been done with all lyric soloists except the dram soprano as here to strong effect . It also has been done with lyric voices across the board .
Excelente!!! Muchísimas gracias por compartirlo.
¿Podrías subir Turandot con Ghena Dimitrova en la Arena de Verona en 1983?
Sublime
I thought Dimitrova and Baker made for a fabulous pairing. The idea, opined by Silfredo Serrano from below, that they weren't a 'felicitous pair' is off the mark. First, Dimitrova wasn't a one trick pony, and Baker, while she had never dabbled in Wagner and essayed such heavy Verdian mezzo roles as Azucena, Amneris, Eboli, not to mention she had never gone near the deeply superstitious and fiercely independent smoldering Gypsy femme fatale, was hardly a shrinking violet when it came to producing cascade of sound.
In their duet, Dimitrova overpowers Baker. Had they switched and Baker sung soprano instead it would have been more balanced. Dimitrova was known for dabbling in mezzo parts and Baker had sung some soprano parts as well.
Ideal association
It probably sounded better balanced in the concert hall. Both Dimitrova and Baker knew how to blend and use their voices for the best overall effect in the music. I don't know how this recording was captured but it does sound as if Ghena Dimitrova was closer to the microphones than the other three soloists. She is as fabulous as usual , but there is some sound distortion. Janet Baker had focussed on roles that were high mezzo / occasionally soprano for some years by this time. This can be heard in her Liber Scriptus where the top of her voice rings out, but she sounds lighter in the lower sections, even allowing for the dynamic markings. This was about a year and a half before she retired from singing. The recording may not be perfect , but it is good to have these two very special singers singing together. Ryland Davies and Robert Lloyd make a great contribution too.
Estrellas !!!
Imagine Ghena Dimitrova - sopran, Ewa podles - contralto our Elena Obratzova - mezzo-sopran, Giuseppe Giacomini - tenor and Jerome Hines - bass in Verdi Requiem?, my dream... 🙏🏻
!
Hmmm, I don't see the logic of Dimitrova and Janet Baker today. Not a felicitous pair...
Dimitrova and Ewa Podlès would be perfect duet. Imagine a Requiem with Dimitrova, Ewa Podlès, Giuseppe Giacomini and Jerome Hines ?, it would be the most dramatic and huge voices together and would be a dream of perfection of this beautiful work for me :-)
@@Alexmeister25They’re all gone now. 😢🙏❤️