tag:blogger.com,1999:blog-1672155175393980448.post6231374714557431893..comments2024-01-22T05:10:11.938+11:00Comments on I am a liminal being: RUMOURS, GOSSIP ANDwandererhttp://www.blogger.com/profile/08196036534397389760noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-1672155175393980448.post-3815935971767226542009-08-19T16:11:28.152+10:002009-08-19T16:11:28.152+10:00Anon thanks for dropping by and staying to comment...Anon thanks for dropping by and staying to comment. I'm afraid it is all my fault - Minton is really a true mezzo though often noted as a contralto because of a deep chest voice but she extended up to B-flat/B with ease and no loss of beauty. One of her finest stage roles was Octavian, the only other time I heard her live, on home turf.<br /><br />I have just relistened to the Ludwig Der Abschied and for all her elegance it just doesn't move me. My attachment to the Solti DLVDE is unashamedly emotive, revolving around Minton whose voice I find incredibly warm and infused with an understanding and kindness from some other space and she breaks me up every time.<br /><br />It's hard to leave Ferrier out of ideal casting. I haven't heard the Urmana/Schade/Boulez but it tops the list for some.<br /><br />Some notes on YM are <a href="http://www.classicalarchives.com/artist/9206.html#tv=about" rel="nofollow">here</a>wandererhttps://www.blogger.com/profile/08196036534397389760noreply@blogger.comtag:blogger.com,1999:blog-1672155175393980448.post-24338494313197162322009-08-19T03:59:41.331+10:002009-08-19T03:59:41.331+10:00Having not had the opportunity to hear Yvonne Mint...Having not had the opportunity to hear Yvonne Minton live, I was excited to see this post. <br /><br />Not to be instantly negative, but there is quite a lot of slightly "out of tune" singing, and lots of straight tone at the beginnings of phrases.<br /><br />Of course, as a contralto, the top of the voice (where the tuning goes a little wacky) was always going to be the hardest part.<br /><br />To my mind, Contraltos are miscast in this work. Although there are a few low lying sections for the Mezzo/Bartione, e.g: "ich suche ruhe, ruhe fuer mein einsames Herz" and "ich hab erquickungs Not", the majority of the work really lies in the middle and upper middle of the range, and is best served by casting a large voiced mezzo who, if serendipity allows, is able to float some of the passaggio work.<br /><br />My ideal casting would have to be James King and Christa Ludwig, although I don't think that ever actually happened. King was paired with Dame Janet and Ludwig with Wunderlich.Anonymousnoreply@blogger.com