Die Meistersinger von Nurnberg
發表於 : 週三 6月 05, 2002 9:22 am標 題：Die Meistersinger von Nurnberg (1)
發 表 人：pennimax(pennimax)
發表時間：2001/12/09 12:00:17
Frontnote: I hope I can write my final papers as enthusiastically as writing this aricle....
I must make clear that my following words are definitely in no compliance with "tranquil recollection" tradition.
When James Morris sang Hans Sachs in San Francisco Opera early in this year, one newspaper in San Jose gave him an unforgiving review--"...he still has a long way to go," which was followed by a defense in the New York Times. Now I believe such defense is justifiable. Yes, maybe his pronunciation is not as accurate as those native German; maybe his acting is not as lively as Donald McIntyre or Bernd Weikl, but without a doubt, the breadth, the sonority, and the expressiveness of his voice would compensate for those drawbacks that are believed to be overcome through time. His voice is flawless, and in the meantime, his rendition, unlike some technicians' lackluster and inhumane interpretation, is full of warmth. Now Morris is a reliable Sachs, and hopefully we can see a more mature acting in the future.
I had quite a good impression with Ben Heppner's Calaf, and from that I once inferred he had a potential to become a good heldentenor, though I never heard of his Walther before. However, When I saw his Tristan on the Met Telecast last year, I wondered if my supposition was right because it appeared that his Tristan was still far from being qualified as such a dramatic tenor as Jon Vickers. And now, I realize that I had a wrongly-focused concern with respect to his Walther, since it takes no heldentenor to sing Walther. Not abusing his voice throughout the whole opera, he cherished each "aria" opportunity instead and managed to portray on stage a talented but sensitive, unsophisticated young knight.
發 表 人：pennimax(pennimax)
發表時間：2001/12/09 12:00:17
Frontnote: I hope I can write my final papers as enthusiastically as writing this aricle....
I must make clear that my following words are definitely in no compliance with "tranquil recollection" tradition.
When James Morris sang Hans Sachs in San Francisco Opera early in this year, one newspaper in San Jose gave him an unforgiving review--"...he still has a long way to go," which was followed by a defense in the New York Times. Now I believe such defense is justifiable. Yes, maybe his pronunciation is not as accurate as those native German; maybe his acting is not as lively as Donald McIntyre or Bernd Weikl, but without a doubt, the breadth, the sonority, and the expressiveness of his voice would compensate for those drawbacks that are believed to be overcome through time. His voice is flawless, and in the meantime, his rendition, unlike some technicians' lackluster and inhumane interpretation, is full of warmth. Now Morris is a reliable Sachs, and hopefully we can see a more mature acting in the future.
I had quite a good impression with Ben Heppner's Calaf, and from that I once inferred he had a potential to become a good heldentenor, though I never heard of his Walther before. However, When I saw his Tristan on the Met Telecast last year, I wondered if my supposition was right because it appeared that his Tristan was still far from being qualified as such a dramatic tenor as Jon Vickers. And now, I realize that I had a wrongly-focused concern with respect to his Walther, since it takes no heldentenor to sing Walther. Not abusing his voice throughout the whole opera, he cherished each "aria" opportunity instead and managed to portray on stage a talented but sensitive, unsophisticated young knight.