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In Reply to: RE: Opera baggage posted by TGR on January 21, 2016 at 17:22:53
(yet), but one gorgeous melody after another. I spent quite a bit of money putting together a dead-quiet UK EMI set, the first pressing of Karajan's, which just seems to have more "there" there than later pressings.
Back on topic, I've got to spend more time with Mozart's big three: Giovanni, Flute and Figaro.
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I have seen Magic Flute more than any other opera. Love the music, and by the way, I highly recommend the mid-70s Bergman film as a wonderful way to understand what the Magic Flute is all about. It is in Swedish, but wonderfully done. On record, I love Solti's first recording, with singers like Lohengar, Barrows, Talvela, Fischer-Dieskau, starry casting, a judicious use of dialog (it needs it), boys instead of women (way better) and really well-conducted by Solti. His Figaro is also really good, but marred by the digital sound. For Figaro I would plump for the Guilini recording, as I probably would for Don Giovanni, although you really have to hear the Busch recording from the 30s.
Oh boy.
It's about two supposedly good girls who cuckold their husbands as soon as the guys (pretend to ) go on deployment in the army.
One gives in right away to the exotic "foreigner", the other is much more loyal. She holds out for an entire day.
The title means "They Are All Like That".
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