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Used to be poisonivywalloftext.blogspot.com but some people did not know how to behave on the blogosphere.
RIP Jessye Norman
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Norman and Obama. Ah, a time when a president could do these things
The great American soprano Jessye Norman passed away yesterday. My own story about Jessye is small but here goes: after a very bad period in which I gained a lot of weight I took up running a few years ago and quickly learned that the miles went by quicker if I listened to beautiful music. Jessye's album of the Four Last Songs quickly became my favorite workout recording: at 40 minutes the album was perfect for my route, and Norman's lush gorgeous voice somehow made the miles and sweat easier. I listened to it over and over again on my workouts. I recently came down with a bad ankle sprain and have to stay off the ankle for awhile. When I'm able to work out again the first thing I'll do is put 4LL back on.
Meanwhile, here is a wonderful live video of her singing this:
I really can't believe I've now sat through three performances of Anna Bolena within a rather short amount of time. It's not my favorite opera by a long-shot, and the production is absolutely dreary. Read my thoughts on the first-cast performance here. But the buzz about the second-cast Anna Bolena has been strong among operaphiles, who have whispered that Anna Netrebko is the bigger star but Angela Meade the better vocalist. Meade made her Metropolitan Opera debut in 2008 as a last minute substitution in Ernani , and since then has slowly been building up quite a following. So last night I dragged myself to the Met to sit through Anna Bolena again. Yippee.
In September 1791, a sickly Mozart conducted the premiere of The Magic Flute . Something about the mix of fairy tale magic, humor, and the sunny, eternally catchy music made the opera a huge hit. It has remained this way ever after. Audiences loved it then and love it now. It takes a lot for me to dislike a performance of The Magic Flute/Die Zauberflöte . The new production by Simon McBurney (as opposed to the abbreviated holiday version of the Julie Taymor production trotted out nearly every year) was high on my list of most anticipated events of the 22-23 season. The solo flutist, photo @ Karen Almond The evening was, however, decidedly unmagical. Simon McBurney's production (which has actually been around since 2012 and staged throughout Europe) seems determined to display all the mechanics behind the magic. We walk in and see two booths on either side of the stage. On one side is the video projection artist. On the other side is the sound effects specialist. After awhile, eye...
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