tag:blogger.com,1999:blog-1248503935075362425.post3385099679536977545..comments2024-03-26T07:58:59.761+00:00Comments on I'll think of something later: Fidelio - liberated at lastDavidhttp://www.blogger.com/profile/14506881804082382739noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-1248503935075362425.post-79098962125381448372011-04-14T13:11:35.703+01:002011-04-14T13:11:35.703+01:00True - but as was pointed out by, I think, Mr Elde...True - but as was pointed out by, I think, Mr Elder, it's not so much the trumpet call itself, which is a musical cliche, as the silence and the bars that follow that make it special.Davidhttps://www.blogger.com/profile/14506881804082382739noreply@blogger.comtag:blogger.com,1999:blog-1248503935075362425.post-20959503038368946192011-04-14T13:08:59.709+01:002011-04-14T13:08:59.709+01:00I do NOT believe that anyone can NOT remember Flor...I do NOT believe that anyone can NOT remember Florestan's ( and Leonore's) namenlose Freude when well sung .......I only wish it went on rather longer<br /><br />In garden design, it is sometimes said that the great designers were a little naive when they said that a particular feature would impact powerfully - how could it if after the first visit one knew that it was coming? But the trumpet in Fidelio has always its impact ( see the original Kobbe)David Damantnoreply@blogger.comtag:blogger.com,1999:blog-1248503935075362425.post-2658503891552246002011-04-13T23:57:02.019+01:002011-04-13T23:57:02.019+01:00That's one way of looking at it. The other is ...That's one way of looking at it. The other is that the vocal writing is just plain bad. 'Ein Engel Leonore' can only be done with a sense of strain-to-bursting that ends in collapse, but it will never sound good. <br /><br />Florestan is surely one of those parts, like Bacchus in Ariadne, which hardly anyone remembers if it's sung well, and everyone remembers if - as is more often the case - it's sung badly.Davidhttps://www.blogger.com/profile/14506881804082382739noreply@blogger.comtag:blogger.com,1999:blog-1248503935075362425.post-61169574799879624422011-04-13T16:19:49.674+01:002011-04-13T16:19:49.674+01:00"Impossibly written for the voice"??? Bu..."Impossibly written for the voice"??? But did not Beethoven in Fidelio and the 9th compose for the human voice as though it was an non-human instrument? Forced into the vocal gap or whatever it is called? Thrilling but in one sense strained..............David Damantnoreply@blogger.comtag:blogger.com,1999:blog-1248503935075362425.post-58046828992099829842011-04-13T07:23:21.904+01:002011-04-13T07:23:21.904+01:00Gosh, yes, stuck in the 18th century there. Gone b...Gosh, yes, stuck in the 18th century there. Gone back and changed it.Davidhttps://www.blogger.com/profile/14506881804082382739noreply@blogger.comtag:blogger.com,1999:blog-1248503935075362425.post-89153210162741197282011-04-13T02:28:39.577+01:002011-04-13T02:28:39.577+01:00A favorite line for me: "though of course th...A favorite line for me: "though of course they both ended up on the guillotine." Sign of the times, eh? (And, speaking of the times, you mean Leonore of 1805, his Fidelio of 1814, no?)Susan Scheid (Raining Acorns)https://www.blogger.com/profile/02827286681242730183noreply@blogger.com