tag:blogger.com,1999:blog-17999907.post113163131666418012..comments2024-01-24T08:24:14.555-05:00Comments on My Favorite Intermissions: Why, we could fix up this old barn and put on Rienzi!Maury D'annatohttp://www.blogger.com/profile/14136129943169313348noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-17999907.post-1131651205651028162005-11-10T14:33:00.000-05:002005-11-10T14:33:00.000-05:00Thanks, don't let this stop you from reviewing it ...Thanks, don't let this stop you from reviewing it on your own blog! <BR/><BR/>I'm not so much worried about Heppner as bored by him, I'm afraid.<BR/><BR/>Ok and you know I'm gonna ask: how did Voigt look?Maury D'annatohttps://www.blogger.com/profile/14136129943169313348noreply@blogger.comtag:blogger.com,1999:blog-17999907.post-1131647947857126042005-11-10T13:39:00.000-05:002005-11-10T13:39:00.000-05:00Perhaps relative silence because the new Voigt sti...Perhaps relative silence because the new Voigt still isn't what she (vocally) was? The top's as loud as ever if not louder but spreading a bit, with a beat I don't remember from the old days. The middle went from interestingly ripply-and-watery (Fidelio) to so-so (Siegfried) but is definitely leaner than old Voigt's.<BR/><BR/>Heppner sounded granitic. Maybe we can stop worrying about him.<BR/><BR/>Still, the Tristan duet was memorably done -- not least for Wray, who has this wonderful dark chocolate/velvet sound. But the principals played off each other marvellously as well. This didn't happen in Siegfried, probably because of its relative unfamiliarity (I believe it was the only part for which Heppner used the score).JSUhttps://www.blogger.com/profile/02477558636942883735noreply@blogger.com