On the contrary - it's very baroque in style: extravagant, shocking, experimental, virtuosous and simple at the same time. I think that we've been flooded with fake "proper" baroque of bad vocalists and instrumentalists who fooled us that 400 years ago the stages were miniscule and opera was the thing of amateurs. That's not true. Monteverdi wrote for halls with 6000 seats, and had adequate singers and orchestra. And was the ultimate experomentator - he created a new genre: opera, and in one play mixed all from speaking to timeless singing, why not - anything to paint pictures and deliver emotions. And what would he say hearing Vickers and Jones? What he'd make them do? Wobble like Bartoli? Give me a break. On the other hand, if you look closer at how the baroquists reconstruct what the composers had in mind, you'll be disillusioned... It's interesting, but not more stylish than the Vickers-Jones one.
Just imagine. The ‘73/‘74 season saw Vickers perform Tristan, Otello and Les Troyens, a formidable task I don’t believe accomplished by any other dramatic tenor, and then this ethereal masterpiece. Really incredible.
I forgot to mention the story about Julius Rudel’s admonishment to Gwyneth Jones - he reportedly told her, “You have a Rolls Royce voice, there’s no need to press down all the way on the gas pedal.” Jones has always had a tendency to oversing, but she is exquisite here using the soft lyric part of her voice.
Why baroque opera must sound boring? Singers without voice should be sent somewhere. Poor, poor Monteverdi. Thanks God things like this happens once in a lifetime. Bravi, bravi! Beside the great voices, can't tell if it's cuz of the recording, but it's a bit confusing. "Unclear". But still love those wagnerian full of harmonic voices singing such a delicate repertoire. Absolutely works. In fact, this lower repertoire, I prefer with fuller voices, and they're perfectly capable of singing piano.
Vickers is here after his best, however, smashing what accuracy and gentleness he achieves!! In the performance noticeable is also profound and clear voice of Ghiaurov - here absent - and unimaginably crystal vibrato of young Jones. Why, oh why isn't it available on DVDs????
Nowadays the mezzos sing Nero but I don't think they sound or look as good as Vickers. Such singing from such a powerful voice. they are both remarkable
@gotterhaus I believe it was Julius Rudel ( Ihave a disc of this production and JR is the conductor) so I assume he conducted all the performances, although it may not necessarily be the case.
Great singing, yes, but should Nero be sounding gentle? Read the plot. In 9 months, Poppea's lust for the crown & Nero's lust for possessing & empowering her, all at any cost, will cost Poppea her life a pregnant 9 months later. He will kick her (& their baby) to death. We should both see & hear all this as foreseeable here in this "love" duet, as elsewhere. But gorgeous singing, agreed.
Fantastisch gesungen. Ich finde das Tempo wunderbar.
Unlike any version I've ever heard and certainly not Baroque in character. But divinely beautiful all the same.
On the contrary - it's very baroque in style: extravagant, shocking, experimental, virtuosous and simple at the same time.
I think that we've been flooded with fake "proper" baroque of bad vocalists and instrumentalists who fooled us that 400 years ago the stages were miniscule and opera was the thing of amateurs. That's not true. Monteverdi wrote for halls with 6000 seats, and had adequate singers and orchestra. And was the ultimate experomentator - he created a new genre: opera, and in one play mixed all from speaking to timeless singing, why not - anything to paint pictures and deliver emotions. And what would he say hearing Vickers and Jones? What he'd make them do? Wobble like Bartoli? Give me a break.
On the other hand, if you look closer at how the baroquists
reconstruct what the composers had in mind, you'll be disillusioned... It's interesting, but not more stylish than the Vickers-Jones one.
Just imagine. The ‘73/‘74 season saw Vickers perform Tristan, Otello and Les Troyens, a formidable task I don’t believe accomplished by any other dramatic tenor, and then this ethereal masterpiece. Really incredible.
Improbable, but exquisite. Who could imagine that these two Wagnerian voices could scale down and sing so ethereally? Time stands still.
I forgot to mention the story about Julius Rudel’s admonishment to Gwyneth Jones - he reportedly told her, “You have a Rolls Royce voice, there’s no need to press down all the way on the gas pedal.” Jones has always had a tendency to oversing, but she is exquisite here using the soft lyric part of her voice.
Here I am listening to this out of every canon for baroque as we believe to know it today and yet quite sure that Monteverdi would be THRILLED!
Why baroque opera must sound boring? Singers without voice should be sent somewhere.
Poor, poor Monteverdi. Thanks God things like this happens once in a lifetime.
Bravi, bravi!
Beside the great voices, can't tell if it's cuz of the recording, but it's a bit confusing. "Unclear". But still love those wagnerian full of harmonic voices singing such a delicate repertoire. Absolutely works.
In fact, this lower repertoire, I prefer with fuller voices, and they're perfectly capable of singing piano.
C'était en avril 1978, pas en 1974... (j'y étais).
Vickers is here after his best, however, smashing what accuracy and gentleness he achieves!! In the performance noticeable is also profound and clear voice of Ghiaurov - here absent - and unimaginably crystal vibrato of young Jones. Why, oh why isn't it available on DVDs????
I heard him in ‘Parsifal’ as late as 1986 and he was still in completely robust voice.
Nowadays the mezzos sing Nero but I don't think they sound or look as good as Vickers. Such singing from such a powerful voice. they are both remarkable
Beautiful
Grande, grande Vickers.
@gotterhaus
I believe it was Julius Rudel ( Ihave a disc of this production and JR is the conductor) so I assume he conducted all the performances, although it may not necessarily be the case.
Great performance. Funny, this acting performance reminds me of their Wagner work.
Everything from the singers to the incorrect rhythms is wrong - but it’s wonderful.
Great singing, yes, but should Nero be sounding gentle? Read the plot. In 9 months, Poppea's lust for the crown & Nero's lust for possessing & empowering her, all at any cost, will cost Poppea her life a pregnant 9 months later. He will kick her (& their baby) to death. We should both see & hear all this as foreseeable here in this "love" duet, as elsewhere. But gorgeous singing, agreed.
too slow