An Unamplified Voice
An Unamplified Voice is a English-speaking blog specialized in the field of classical music and opera. As such, An Unamplified Voice is a qualified source of soclassiq, like All the conducting master class or I care if you listen and many others. The oldest article indexed by soclassiq is dated 2012-01-02. Since then, a total of 212 articles have been written and published by An Unamplified Voice.
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An Unamplified Voice seems to be on pause right now, since no article has been published for 3 months. The last article in An Unamplified Voice, "Elsewhere", is dated 2019-11-23.
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2019-11-23 14:26:00
Although it is not yet fully in order, I'm moving my opera posting to a new corner of the internet: Second Meetings at the Opera. The first post, today, is from my current visit to Bavaria.My email remains the same. See you at the new site!
2019-11-23 14:26:00
Although it is not yet fully in order, I'm moving my opera posting to a new corner of the internet: Second Meetings at the Opera. The first post, today, is from my current visit to Bavaria.My email remains the same. See you at the new site!
2019-06-07 17:39:00
Well, I certainly wasn't expecting this email:We’re writing to inform you, as a ticket buyer to Berlioz’s La Damnation de Faust, of an important change. The performances of La Damnation de Faust on January 25 and 29, and February 1 and 8, 2020, will be converted into concert presentations, similar to the Met’s Verdi Requiem performances in the 2017–18 season. Performances on February 4, 12, and 15, 2020, have been cancelled.The decision to present La Damnation de Faust in its more usual concert version is driven by the unanticipated technical demands of reviving the Met’s staged production, impossible to accommodate within the company’s production schedule. The cast, including mezzo-soprano Elīna Garanča, bass Ildar Abdrazakov, and tenors Bryan Hymel (January 25, 29) and Michael Spyres (February 1, 8) sharing the title role, remains unchanged. Edward Gardner is the conductor.The new event listing seems to confirm.
2019-06-07 17:39:00
Well, I certainly wasn't expecting this email:We’re writing to inform you, as a ticket buyer to Berlioz’s La Damnation de Faust, of an important change. The performances of La Damnation de Faust on January 25 and 29, and February 1 and 8, 2020, will be converted into concert presentations, similar to the Met’s Verdi Requiem performances in the 2017–18 season. Performances on February 4, 12, and 15, 2020, have been cancelled.The decision to present La Damnation de Faust in its more usual concert version is driven by the unanticipated technical demands of reviving the Met’s staged production, impossible to accommodate within the company’s production schedule. The cast, including mezzo-soprano Elīna Garanča, bass Ildar Abdrazakov, and tenors Bryan Hymel (January 25, 29) and Michael Spyres (February 1, 8) sharing the title role, remains unchanged. Edward Gardner is the conductor.The new event listing seems to confirm.
2019-05-11 03:48:00
The death of...
Dialogues des Carmélites - Metropolitan Opera, 5/3 and 5/8/2019Leonard, Mattila, Pieczonka, Cargill, Morley, Portillo / Nézet-SéguinI expected this Dialogues revival - as those of previous seasons - to be effective and moving. What I did not expect, despite an outside hope therefor, was that it would contain within the first act's limited span one more great Mattila triumph, the first since 2012 and one of an all-too-few to be moviecast. If this turns out to be her send-off (which, at 58, need not necessarily be the case), it's a great one.Felicity Palmer (whose Waltraute I've missed in Met Rings since) was a heck of a singing actress, but in the last two revivals she portrayed a prioress who dies. With Mattila, Madame de Croissy's death itself - enormous and terrible, like the death of Christoph Detlev Brigge in Rilke's prose book - is the main character of […]
2019-02-21 02:09:00
Next season at the Met brings a handful of new shows and, more notably, a new schedule point: Sunday afternoon. So far Sunday perfomances look like rescheduled Mondays, and start-of-the-week gaps (both Monday and, at times, Tuesday) are interspersed through the year.As usual, I've left some one-show-only combinations out below.Porgy and Bess (new James Robinson production)Owens, Blue, Schultz, Moore, Ballentine, Walker, Green / Robertson (opening night to October)Owens, Blue, Brugger, Moore, Ballentine, Walker, Singletary / Robertson (October, January)Owens, Blue, Schultz, Moore, Ballentine, Walker, Singletary / Robertson (Jan 28, Feb 1)Like many Met premieres of the Gelb era, this show - directed by newcomer (and Opera Theatre of St. Louis Artistic Director) James Robinson with Bart Sher's usual set and costume designers - has already run at ENO and in Amsterdam. Still, it's the first Porgy and Bess at the Met in ages (even City Opera's latest performance was almost […]
2019-05-11 03:48:00
The death of...
Dialogues des Carmélites - Metropolitan Opera, 5/3 and 5/8/2019Leonard, Mattila, Pieczonka, Cargill, Morley, Portillo / Nézet-SéguinI expected this Dialogues revival - as those of previous seasons - to be effective and moving. What I did not expect, despite an outside hope therefor, was that it would contain within the first act's limited span one more great Mattila triumph, the first since 2012 and one of an all-too-few to be moviecast. If this turns out to be her send-off (which, at 58, need not necessarily be the case), it's a great one.Felicity Palmer (whose Waltraute I've missed in Met Rings since) was a heck of a singing actress, but in the last two revivals she portrayed a prioress who dies. With Mattila, Madame de Croissy's death itself - enormous and terrible, like the death of Christoph Detlev Brigge in Rilke's prose book - is the main character of […]
2019-05-02 18:30:00
Robbing the cradle
Siegfried - Metropolitan Opera, 4/13/2019Vinke, Goerke, Volle, Siegel, Morley, Cargill, Koniecszny, Belosselskiy / JordanAs astounding and enjoyable was Stefan Vinke's vocal endurance and forcefulness in the title role in this house debut last month, so disappointing was the one-note personal characterization that accompanied it. The result was a barn-burner of an aural show that undoubtedly thrilled the general audience but frustrated me as the vocal failures of past revivals had not.A decade ago, in praise of Christian Franz - whose physical assumption was everything that Vinke's was not - I noted that his Siegfried "didn't, as is sometimes the case, seem the villain of the piece". And with this revival we saw how easy it takes to make Siegfried unsympathetic (one opera ahead of when he does, under mind-affecting magic, in fact act the bad guy). Whether it was the revival stage directors (J. Knighten Smith for the […]
2019-05-09 19:37:00
Rigoletto - Metropolitan Opera, 4/26 and 5/1/2019Gagnidze, Feola, Polenzani, Ivashchenko / LuisottiThe house debut of 32-year-old Italian soprano Rosa Feola as Gilda was extraordinary enough that I went back between Ring installments to see if I hadn't imagined it. I found a second night even better than the first.Although Feola (who was runner-up to Sonya Yoncheva at the 2010 Operalia competition) certainly has the notes and technique for the lyric-coloratura parts that are her current career (her Caro nome was a marvel), neither her voice nor her person present what you'd expect therein. Instead of the classic bright, chirpy sound Feola offers a darker, more emotionally charged timbre. And though she can (unlike, say, Diana Damrau) do ingenuous charm, neither that nor coquettish sex-appeal define her focused, presence. The overall impression was of nothing so much as an Italian Dorothea Röschmann with an integrated top extension […]
2019-05-02 18:30:00
Robbing the cradle
Siegfried - Metropolitan Opera, 4/13/2019Vinke, Goerke, Volle, Siegel, Morley, Cargill, Koniecszny, Belosselskiy / JordanAs astounding and enjoyable was Stefan Vinke's vocal endurance and forcefulness in the title role in this house debut last month, so disappointing was the one-note personal characterization that accompanied it. The result was a barn-burner of an aural show that undoubtedly thrilled the general audience but frustrated me as the vocal failures of past revivals had not.A decade ago, in praise of Christian Franz - whose physical assumption was everything that Vinke's was not - I noted that his Siegfried "didn't, as is sometimes the case, seem the villain of the piece". And with this revival we saw how easy it takes to make Siegfried unsympathetic (one opera ahead of when he does, under mind-affecting magic, in fact act the bad guy). Whether it was the revival stage directors (J. Knighten Smith for the […]