Playing Catch Up
For all of the followers and readers of my blog posts who peruse my blog with any frequency, you may have noticed that I have not posted with any regularity of late. This is for the simple reason that I have not had adequate time to devote to a worthy post. With rehearsals for Fiddler on the Roof, every spare minute that I have possess has either been reserved for that or else some industrious occupation.
I received my July issue of Opera News, and I was blessed to receive it since it concerns the topic of education as it relates to every aspect of opera. Naturally this also includes the education of opera singers, and I am glad to say that I read some advice that I hope to remember if God ever provides the means for me to become an opera singer. In addition to this wealth of information, Brian Kellow also included a review of soprano Kate Royal's newest release, Midsummer Night. In her lower register she sounds like Renee Fleming, and here it bears mention that she includes two of Renee's signature arias on this recording, those being Dvorak's Song to the Moon and Erich Korngold's "Marietta's Lied," but in her higher notes she has more of an edge to her timbre, which gives her a flexibility in genres.
Poteet competes in Tacoma, Washington, tomorrow for the national AACT festival. You may recall that I mentioned that the production had won top honors in its previous competitions at the state and regional levels with our mounting of John and Jen. The staff and cast of the show has been there since the beginning of this week, and from what I have heard, they have been enjoying their sojourn in our country's northwest. It is certain that they are delighted to be rid of the 100 degree temperatures we have had in Oklahoma for the past two weeks, but I have not been quite so blessed since much of my work of late has been in the outdoors.
I have been enjoying the "endless pleasures," if I may borrow the title from one of Handel's arias, of Baroque music. It never ceases to amaze me how new it seems to me each time I sample some jewel, particularly vocal music, from this period or from the beauty of ancient music. Cecilia Bartoli's Opera Proibita and The Vivaldi Album and Renee Fleming's Handel are three of my favorite recordings showcasing this music.
I was fortunate to see a little part of Puccini's Madama Butterfly from the Met's Live in HD series from this season on PBS with Patricia Racette and Marcello Giordani. I must confess that the Bunraku puppet of Trouble became annoying with the two operators of it on the stage at all times. The production itself was rather a good one. I have not seen a better one, but then I have not seen another one, so I cannot say that there is a better one. Unfortunately, I was not able to see even a majority of it because my siblings desired to watch something more suited to their tastes. This reminds me how excellent of a season this past one was for the Met and Renee Fleming fans. I can only imagine how she shall shine in Der Rosenkavalier and Armida. I also cannot wait for her new CD of verismo arias conducted by Marco Armiliato to be released. I have yet to get her latest offering of Strauss's Four Last Songs, but I was more excited when I heard that she was recording this new project with Maestro Armiliato.
Thank you all for reading.
-Tyler.
I received my July issue of Opera News, and I was blessed to receive it since it concerns the topic of education as it relates to every aspect of opera. Naturally this also includes the education of opera singers, and I am glad to say that I read some advice that I hope to remember if God ever provides the means for me to become an opera singer. In addition to this wealth of information, Brian Kellow also included a review of soprano Kate Royal's newest release, Midsummer Night. In her lower register she sounds like Renee Fleming, and here it bears mention that she includes two of Renee's signature arias on this recording, those being Dvorak's Song to the Moon and Erich Korngold's "Marietta's Lied," but in her higher notes she has more of an edge to her timbre, which gives her a flexibility in genres.
Poteet competes in Tacoma, Washington, tomorrow for the national AACT festival. You may recall that I mentioned that the production had won top honors in its previous competitions at the state and regional levels with our mounting of John and Jen. The staff and cast of the show has been there since the beginning of this week, and from what I have heard, they have been enjoying their sojourn in our country's northwest. It is certain that they are delighted to be rid of the 100 degree temperatures we have had in Oklahoma for the past two weeks, but I have not been quite so blessed since much of my work of late has been in the outdoors.
I have been enjoying the "endless pleasures," if I may borrow the title from one of Handel's arias, of Baroque music. It never ceases to amaze me how new it seems to me each time I sample some jewel, particularly vocal music, from this period or from the beauty of ancient music. Cecilia Bartoli's Opera Proibita and The Vivaldi Album and Renee Fleming's Handel are three of my favorite recordings showcasing this music.
I was fortunate to see a little part of Puccini's Madama Butterfly from the Met's Live in HD series from this season on PBS with Patricia Racette and Marcello Giordani. I must confess that the Bunraku puppet of Trouble became annoying with the two operators of it on the stage at all times. The production itself was rather a good one. I have not seen a better one, but then I have not seen another one, so I cannot say that there is a better one. Unfortunately, I was not able to see even a majority of it because my siblings desired to watch something more suited to their tastes. This reminds me how excellent of a season this past one was for the Met and Renee Fleming fans. I can only imagine how she shall shine in Der Rosenkavalier and Armida. I also cannot wait for her new CD of verismo arias conducted by Marco Armiliato to be released. I have yet to get her latest offering of Strauss's Four Last Songs, but I was more excited when I heard that she was recording this new project with Maestro Armiliato.
Thank you all for reading.
-Tyler.
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