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[bk]

Well, you've read the notes, the notes had one breast at a time, and now it is time for you to post until the one breast at a time cows come home.

[bk]

And the word of the day is: BRAINIAC!

[George]

Topic of the Day:

The Visit
Zorba the Greek

These are the only movies of his that I've seen.

[George]

Have a good day, all!

[bk]

Really enjoying Tristan und Isolde (Tristan and Isolde for those needing a translation) - lush music, great performances, and Karl Bohm is a wonderful conductor.  And because I enjoyed the Strauss so much, I'm getting Rosenkavalier and Elektra to see what those are like, but would love other Strauss and Wagner suggestions.

[singdaw]

One might almost say that the recording of Salome is outré.

[singdaw]

I adore Rosenkavalier. I don't know the others so much.


I don't know a lot of Wagner. I once took a course on Parsifal, culminating in attending a performance at the Met, which was amazing. I remember watching the Ring when it was broadcast on 4 successive nights on PBS back in the - must have been late 1980's.

[elmore3003]

Good morning, all!

[elmore3003]

Bad night of sleep.  I awoke around 12:30 with a sore throat, dry mouth, and sinuses clogged.  I used a nasal spray, took a Tizanidine, and went back to bed.  I had a lot of dreams, but I only remember bits of the last one.

[elmore3003]

DR vixmom, I asked several friends to post on my Facebook timeline because too many FB friends seems to ignore the information and I wanted the information that I was offsite until Dec. 30 posted several times.  So far, there's been only one from, I think, four requests.

[elmore3003]

BK, give Braunfels' Die Vogel and Weinberger's Schwanda a chance.

I slept through most of one of Birgit Nillson's last performances of Tristan und Isolde at the Met.  The music is lush and it's a total bore to watch.  I find that true of most Wagner and Strauss operas.  Der Rosenkavalier could lose forty-five minutes to an hour and I would be happier.

[elmore3003]

DR singdaw, I knew Jack Gottlieb rather well.  He was a good man, but really neurotic, perhaps from being bullied by Maestro Bernstein too many times.  I did not know the Urquhart person you asked about, and I only met Craig a couple of times.

[elmore3003]

I will do the laundry this morning, and that will take about three hours out of my life.

[ChasSmith]

Good morning, all.

[vixmom]

DR vixmom, I asked several friends to post on my Facebook timeline because too many FB friends seems to ignore the information and I wanted the information that I was offsite until Dec. 30 posted several times.  So far, there's been only one from, I think, four requests.

Ah ok then I’ll post too

[vixmom]

Continued prayers and vibes for JRands uncle

[elmore3003]

DR vixmom, I asked several friends to post on my Facebook timeline because too many FB friends seems to ignore the information and I wanted the information that I was offsite until Dec. 30 posted several times.  So far, there's been only one from, I think, four requests.

Ah ok then I’ll post too

Thank you, my dear.  It's greatly appreciated.

[elmore3003]

I have begun the laundry and picked up yesterday's mail.

[ChasSmith]

Oh my. A Strauss and Wagner opera newbie. I think BK is in for a fun ride here, kids.

That Nillson SALOME recording is the one I first listened to in 1973 to get familiar with the opera. It was also my introduction to the sound of a Solti/London recording, my impression being that they were indeed kind of wild and wooly. (My second one was the Mahler Eighth.) My next recording of it back then was the Leontyne Price one with (I think) Leinsdorf.

Digression: The one time I heard Price in person was in 1986, a year after she'd retired from regular performing, when she sang the Final Scene from SALOME at the Ravinia Festival. I went backstage to say hello to Levine, and found myself standing there with William Warfield and Price and Seiji Ozawa who had also attended. That was a fun time.

[ChasSmith]

My very first Strauss opera had been ARIADNE AUF NAXOS, and even with that under my belt, SALOME was quite the departure. Now, the shorter SALOME and ELEKTRA are my first favorites, and ROSENKAVALIER and ARIADNE are my other two. I never learned any of his others.

Agree with DR Elmore about ROSENKAVALIER being overly long. Opera companies do take standard cuts in some things, but I don't know if this one has ever had the scissors taken to it.

I think ARIADNE, in part due to its structure, has a special magic. I grew up on the RCA Leinsdorf recording with Roberta Peters and Jan Peerce, but I'm sure there are many other great ones, of this and all the others.

[elmore3003]

Oh my. A Strauss and Wagner opera newbie. I think BK is in for a fun ride here, kids.

That Nillson SALOME recording is the one I first listened to in 1973 to get familiar with the opera. It was also my introduction to the sound of a Solti/London recording, my impression being that they were indeed kind of wild and wooly. (My second one was the Mahler Eighth.) My next recording of it back then was the Leontyne Price one with (I think) Leinsdorf.

Digression: The one time I heard Price in person was in 1986, a year after she'd retired from regular performing, when she sang the Final Scene from SALOME at the Ravinia Festival. I went backstage to say hello to Levine, and found myself standing there with William Warfield and Price and Seiji Ozawa who had also attended. That was a fun time.

I didn't know you knew Levine.  Did you know Tom as well?  I knew their cousin Barbara.

[elmore3003]

My very first Strauss opera had been ARIADNE AUF NAXOS, and even with that under my belt, SALOME was quite the departure. Now, the shorter SALOME and ELEKTRA are my first favorites, and ROSENKAVALIER and ARIADNE are my other two. I never learned any of his others.

Agree with DR Elmore about ROSENKAVALIER being overly long. Opera companies do take standard cuts in some things, but I don't know if this one has ever had the scissors taken to it.

I think ARIADNE, in part due to its structure, has a special magic. I grew up on the RCA Leinsdorf recording with Roberta Peters and Jan Peerce, but I'm sure there are many other great ones, of this and all the others.

I've always wanted to see the orignal Ariadne auf Naxos with Moliere's Le Bourgeois Gentilhomme and Strauss' incidental music as the first act.  I have the vocal score, which has an even more difficult aria for the coloratura.  I always hoped City Opera would stage it.

[ChasSmith]

Oh my. A Strauss and Wagner opera newbie. I think BK is in for a fun ride here, kids.

That Nillson SALOME recording is the one I first listened to in 1973 to get familiar with the opera. It was also my introduction to the sound of a Solti/London recording, my impression being that they were indeed kind of wild and wooly. (My second one was the Mahler Eighth.) My next recording of it back then was the Leontyne Price one with (I think) Leinsdorf.

Digression: The one time I heard Price in person was in 1986, a year after she'd retired from regular performing, when she sang the Final Scene from SALOME at the Ravinia Festival. I went backstage to say hello to Levine, and found myself standing there with William Warfield and Price and Seiji Ozawa who had also attended. That was a fun time.

I didn't know you knew Levine.  Did you know Tom as well?  I knew their cousin Barbara.

Oh my. I've referred to my years in Cleveland so many times that I'm assuming I've talked about playing and studying under him through those years, but perhaps not. Hell, I know where the bodies are buried. In spite of all the mishegoss, which I've stayed clear of for years, he's my musical mentor if I have to choose just one.

I met Tom on a few occasions, and he was a super nice guy, but I don't think I saw him once they'd moved to NYC. The name Barbara sounds familiar, but I can't put a face to the name. I'm vaguely remembering a sister, but his parents were the real familiar faces back then.

[ChasSmith]

My very first Strauss opera had been ARIADNE AUF NAXOS, and even with that under my belt, SALOME was quite the departure. Now, the shorter SALOME and ELEKTRA are my first favorites, and ROSENKAVALIER and ARIADNE are my other two. I never learned any of his others.

Agree with DR Elmore about ROSENKAVALIER being overly long. Opera companies do take standard cuts in some things, but I don't know if this one has ever had the scissors taken to it.

I think ARIADNE, in part due to its structure, has a special magic. I grew up on the RCA Leinsdorf recording with Roberta Peters and Jan Peerce, but I'm sure there are many other great ones, of this and all the others.

I've always wanted to see the orignal Ariadne auf Naxos with Moliere's Le Bourgeois Gentilhomme and Strauss' incidental music as the first act.  I have the vocal score, which has an even more difficult aria for the coloratura.  I always hoped City Opera would stage it.

I played piano in that incidental suite in those school years, and it's a real favorite.

[Ginny]

Thursday morning greetings!  I have a great deal of puttering to do today, including making party favors for a luncheon that I

1) am not attending, and
2) think should not even be taking place.

[Jrand73]

Wow - I listened and watched the Grand Ol' Opry all the time when I was little, and I have never heard of any of these songs or people.

[Jrand73]

There is a movie OnDemand right now.....Mr Anthony Quinn in something called FLAP from the 1970's that is embarrassing to behold......almost as much as that movie R.P.M. wherein he played a radical college professor/administrator who got mixed up with his feminist student Ann-Margret.  They spent most of there time riding around on his Triumph motorcycle......

[Jrand73]

It was from 1970 - she must have been a graduate student.....

[elmore3003]

The laundry is nearly put away.  Thatch is lying on the bath towel and I do not want to disturb him.

[elmore3003]

I wish I could use my phone video.  Thatch is reacting to the warm laundry as if it were a mega-dose of catnip.  Maybe it's the Bounce laundry sheets?  He is so damned adorable.