Most refreshing and interesting series. Did attempt at journalism in the past and tried some musical reviews not unaware of serious shortcomings -among them being not able to read music -though that was tolerated in the newspaper from my remote place. Never achieved more than announcing a new release or quoting real critics. But keeping in mind your requisites before writing in private to a friend about an old classic interpretation of Tristan I never heard before in comparison to a version where the orchestra rivals the singers will hopefully help me to be more direct and less jealous of more apt writers.
Over time [I am 77 years old] I have given up entirely on reading reviews of new opera recordings for exactly the reasons you address here. Thank you for doing this.
Yes, by a certain age, you know what you'll like and respond to. I do read reviews of rarely or first time recorded works both for a description of the piece and the performance. There are also factual matters to consider--the edition used and cuts taken.
I think the title of the review, if that is indeed the title, gives the game away. The review focuses on Callas, and comes across as an essay on the writer's preference for Callas over other singers in the role of Gilda. There was also a kind of self-consciousness in the writing that I felt was distracting. Why not be more straight forward and to the point, especially in such a short review? One of the books I used to give first year grad students to help them with their writing - it was a writing and research seminar - and to help them write abstracts was Jaques Barzun's "Simple and Direct". Unfortunately, a lot of academic writing pedagogy trains us to be prolix, abstract, and recondite. (Look how long this comment is! I had a friend in grad school whose doctoral dissertation comprised 7 volumes!!!???). This is a very helpful series, by the way, thanks!
In its own day, Verd's Rigoletto was condemned for its 'revolting immorality', an indication of just how brave Verdi could be, not forgetting he followed it up with La Traviata, a near contemporary work to the times he lived in, with Verdi exploring aspects of sexual behaviour also found in Rigoletto. Verdi considered the third act quartet Bella figlia dell'amore one of the finest things he ever wrote and it remains one of the most memorable moments in all opera, if that is not too pompous a judgment. I would hope any review of a recording would at least estimate the quality of this moment.
When discussing recordings of anything online, there’s always *that* person who is more interested in proving their personal knowledge is greater than that of anyone else. They do it by insulting others rather than actually addressing the issue at hand. This review sounded, to me, like it was written by *that* person. ‘In danger of becoming autobiography’? I have to disagree Dave. This review told us an awful lot about the author! It was *total* autobiography!
The solipsism is astonishing. This review is more about the author’s impression management, than about the recording in question. The purple prose is borderline embarrassing..
Three pithy paragraphs aren't enough for a serious comparative review of Rigoletto sets, but an entire first one on the merits of Callas singing Medea in Italian vs. French does seem to be a bit of a lost opportunity to focus on Rigoletto.
Actually, that's plenty of space to get the job done. Yes, you could write a book on the subject, or a very long essay, but for most purposes all the reader needs is to be pointed in the right direction. You don't have to give away the entire game.
@@DavesClassicalGuideMaybe I'll take a crack at it. It's a challenge, certainly. But it wouldn't be the same recording but another that tends to get overlooked.
@@DavesClassicalGuideAnd pithiness isn't among my strengths, so I appreciate your tips very much! You're providing a wonderful service for those of us who are serious about our craft but need some help to get good work done more efficiently. Thank you for doing this during a far less than ideal time in your life, Dave. You put on a very friendly face for us every day, but I truly hope you're doing as well as possible.
@djquinn4212 Irrelevant, since that's not what the reviewer was referring to. He claims to have lost his copy of the Netrebko recording. If he's talking about some pirated live recording, he should say so.
Hope you keep making these, really insightful comments!
Dave & Callas Groupie part ways on sour note! New York Times.
Very funny comment 😂 Actually, though, I found Dave's critique really helpful. I'm so glad he's doing this very entertaining and instructive series 😊
Most refreshing and interesting series. Did attempt at journalism in the past and tried some musical reviews not unaware of serious shortcomings -among them being not able to read music -though that was tolerated in the newspaper from my remote place. Never achieved more than announcing a new release or quoting real critics. But keeping in mind your requisites before writing in private to a friend about an old classic interpretation of Tristan I never heard before in comparison to a version where the orchestra rivals the singers will hopefully help me to be more direct and less jealous of more apt writers.
Over time [I am 77 years old] I have given up entirely on reading reviews of new opera recordings for exactly the reasons you address here. Thank you for doing this.
Yes, by a certain age, you know what you'll like and respond to. I do read reviews of rarely or first time recorded works both for a description of the piece and the performance. There are also factual matters to consider--the edition used and cuts taken.
So this is the same cast as the famous Tosca, which might be worth mentioning. I kept waiting to hear who the tenor was
I think the title of the review, if that is indeed the title, gives the game away. The review focuses on Callas, and comes across as an essay on the writer's preference for Callas over other singers in the role of Gilda. There was also a kind of self-consciousness in the writing that I felt was distracting. Why not be more straight forward and to the point, especially in such a short review? One of the books I used to give first year grad students to help them with their writing - it was a writing and research seminar - and to help them write abstracts was Jaques Barzun's "Simple and Direct". Unfortunately, a lot of academic writing pedagogy trains us to be prolix, abstract, and recondite. (Look how long this comment is! I had a friend in grad school whose doctoral dissertation comprised 7 volumes!!!???). This is a very helpful series, by the way, thanks!
In its own day, Verd's Rigoletto was condemned for its 'revolting immorality', an indication of just how brave Verdi could be, not forgetting he followed it up with La Traviata, a near contemporary work to the times he lived in, with Verdi exploring aspects of sexual behaviour also found in Rigoletto. Verdi considered the third act quartet Bella figlia dell'amore one of the finest things he ever wrote and it remains one of the most memorable moments in all opera, if that is not too pompous a judgment. I would hope any review of a recording would at least estimate the quality of this moment.
When discussing recordings of anything online, there’s always *that* person who is more interested in proving their personal knowledge is greater than that of anyone else. They do it by insulting others rather than actually addressing the issue at hand. This review sounded, to me, like it was written by *that* person. ‘In danger of becoming autobiography’? I have to disagree Dave. This review told us an awful lot about the author! It was *total* autobiography!
Leave it to an opera fan to write a review like that, calling the kettle black.
Dave ate them up!
The solipsism is astonishing. This review is more about the author’s impression management, than about the recording in question. The purple prose is borderline embarrassing..
Three pithy paragraphs aren't enough for a serious comparative review of Rigoletto sets, but an entire first one on the merits of Callas singing Medea in Italian vs. French does seem to be a bit of a lost opportunity to focus on Rigoletto.
Actually, that's plenty of space to get the job done. Yes, you could write a book on the subject, or a very long essay, but for most purposes all the reader needs is to be pointed in the right direction. You don't have to give away the entire game.
@@DavesClassicalGuideMaybe I'll take a crack at it. It's a challenge, certainly. But it wouldn't be the same recording but another that tends to get overlooked.
@@DavesClassicalGuideAnd pithiness isn't among my strengths, so I appreciate your tips very much! You're providing a wonderful service for those of us who are serious about our craft but need some help to get good work done more efficiently. Thank you for doing this during a far less than ideal time in your life, Dave. You put on a very friendly face for us every day, but I truly hope you're doing as well as possible.
There is no commercial recording of Rigoletto with Netrebko.
@djquinn4212 Irrelevant, since that's not what the reviewer was referring to. He claims to have lost his copy of the Netrebko recording. If he's talking about some pirated live recording, he should say so.