#Nathalie Stutzmann

[theresa-of-liechtenstein]

HELP ME? 😭

caption: “(No conductors were harmed in the making of this post!)”

[thedaysofdisorder]

Beethoven: Symphony No. 6 Pastoral, conducted by Nathalie Stutzmann

[mrbacf]

Vivaldi - Prima Donna - Stutzmann - contralto

[arcimboldisworld]

Tannhäuser - Bayreuther Festspiele 27.8.2024

Tannhäuser - Bayreuther Festspiele 27.8.2024 #RichardWagner #TobiasKratzer #NathalieStutzmann #KlausFlorianVogt #festivalsummer #review #operalover

[mozart2006]

Impressioni da Bayreuth 2024 - Tannhäuser

Foto ©Enrico Nawrath Per gli amici che non sono in grado di leggere il tedesco, ho tradotto la mia recensione in italiano. Continue reading Impressioni da Bayreuth 2024 – Tannhäuser

[onenakedfarmer]

Currently Playing

George Frideric Handel OPERA ARIAS

Nathalie Stutzmann

Roy Goodman The Hanover Band

[irina-auf]

Was haben diese beiden Songs gemeinsam? Die Musikrichtung jedenfalls nicht. ;) Habe gerade durch Zufall entdeckt, dass David Broza für sein Album Parking Completo von 2004 einen Song mit Mercedes Sosa aufgenommen hat. Da sie eine so tiefe Stimme besaß, dass es im Duett mit einem Mann schwierig wird, die beiden auseinanderzuhalten, fiel mir das Duo Nathalie Stutzmann / Philippe Jaroussky ein. Da ist es noch extremer; ich würde sogar sagen, dass er als Countertenor höher singt als sie als extrem tiefe Altistin.

[joaquimblog]

BAYREUTH 2023: TANNHÄUSER (Vogt-Eiche-Groissböck-Teige-Gubanova; Stutzmann)

La en altre temps reconeguda contralt francesa Nathalie Stutzmann, que al Liceu en prou feines vàrem intuir en un Fiodor d’un luxós Boris Godunov i des de fa ja uns quants anys, reconeguda directora musical, ha trencat l’hegemonia masculina al capdavant de la nòmina de directors musicals del festival de Bayreuth, que des d’aquell llunyà 1876 només havien dirigit il·lustres homenots. Katharina…

[theresa-of-liechtenstein]

can i get a HELL YEAH for WOMEN

[barschter000]

Another addition!!

It's Cantata BWV 103, 1. Ihr werdet weinen und heulen. Here is a translation. Btw. 👍.

And here is more classical my brain has attached to Barok:

(Eilt, ihr angefochtnen Seelen and What power art thou are more personal picks that are connected to some headcanons and an AU of mine but this is a personal playlist and they both slap, so)

Ihr werdet weinen und heulen: Is Barok not suffering while the rest of the world is living in peace and safety? Does he not believe that his sorrow will be turned into joy (suffering for justice, Klint's ghost accompanying him as the Reaper)?

Der Tod und das Mädchen (translation): Fear of Death. A 33-year old Barok looking back on his younger self, leading him into his grim and inevitable future. (two versions because I think Barok would be a bass, and if Barok was a woman, she'd sound like Nathalie Stutzmann)

Furibondo spira il vento (literally could not find the text or a translation in a good format except in this tumblr post): Grief is like Barok's main state of being.

Sento in seno (translation): "[M]y heart, forget how to cry, as your crying does not lessen my pain"? Yeah?

Ah, mio cor, schernito sei (translation though I think the Italian doesn't 100% line up with what is sung): Barok's whole spiel is being betrayed and left in loneliness and sorrow by the people he loves. And I can imagine this very well on a stage.

O cessate di piagarmi (translation though I think the first verse has one "and you enjoy my fainting" too much): More Barok Suffering. This time with the canonical flavor of "Barok doesn't care if he dies."

Warum willst du so zornig sein? (translation): Especially the latter part. Barok Suffering once again but now he's desperate about it. Also religious guilt and feeling cursed.

Tradita, sprezzata (translation): Betrayal? Anger? Misery? Carrying a terrible burden? This checks all Barok boxes!

Ich freue mich auf meinen Tod (translation): The lyrics speak for themselves honestly.

Erbarme dich (translation): Ahhh, good ol' pleading for mercy as your heart and eyes weep.

[thequeensthroat]

don giovanni! ivo van hove! peter mattei! nathalie stutzmann! read my review to expand upon my previously stated position of matteistas stay winning

[lesser-known-composers]

Albéric Magnard (1865-1914) - Guercoeur, Op. 12, Act 1 Scene 7: "Jardins d’azur, séjour du rêve" (Vérité) - "Le temps n'est plus, l'espace n'est plus" (Chorus, Bonté, Souffrance) ·

Hildegard Behrens -

Orchestre Du Capitole De Toulouse -

Orfeon Donostiarra - Michel Plasson - Anne Salvan - Nathalie Stutzmann

[supercantaloupe]

Magic Flute Thoughts

i liked nathalie stutzmann's conducting a lot more in this than i did for don giovanni. granted i am much less familiar with zauberflote than i am with don g so i'm not like hyper picky about tempi or whatever yet but anyway i liked her

flute soloist! glockenspiel soloist! FLUTE SOLOIST!!!

i just like lawrence brownlee man idk what to tell you. i think he's neat. i think he's singing something here in the winter and i'll definitely try to get tickets to that if so

i really liked erin morley as pamina! actually i thought all the main cast did a good job no one stuck out to me as being particularly Amazing or Bad. kathryn lewek got a HUGE applause (and standing o) tho and i mean kudos it was her fiftieth performance like damn.

interesting choice to play the queen as physically frail as she did; i think it works and the performance is very good, although the heavy age makeup sticks out a bit on hd cameras lol

the queen's three bitches. i'm free on friday (twirling hair)

also i hope those three kids who played the old men get to borrow their outfits again come october because they have the funniest possible halloween costume opportunity in the world now

VERY funny to me that papageno's costume makes him look like he's drenched in bird shit

okay speaking of costumes. do i 100% Get It with the like suits and colors and everything....not really but i don't think i can say that i Get a lot about this opera tbh. what i did get was the very obvious dark/light symbolism going on with pamina and tamino wearing white and the queen and her cronies wearing all black. and i think zauberflote does benefit from some heavy handed symbolism bc what else is this show about actually without that....then again the fact that sarastro and his priests or whatever are all in dark colors too kind of undermines that a little so 🤷‍♀️

same thing with the whole reason vs superstition thing too like...sure you can claim Truth And Reason as good all you want sarastro but the constant invocation of isis/osiris and Mysterious Rituals kind of undermine what you're going for there lol. i think my point is that i don't feel like i really Get what zauberflote is like...going for, thematically. i mean i get the Themes but not a clear Point. maybe if i was an enlightenment era freemason i'd get it lol but alas i am not

that said......i didn't go into this one expecting a rock solid plot and honestly who does....it's zauberflote....it is very obviously not designed to work or be interpreted on a literal level and i appreciate that it never tries to ground itself in reality. that its plot and characters exist in a completely fantastic realm works and it works with the weird plot and its vague theming.

which itself is of course accomplished through good design and holy SHIT. this is truly the shining strength of this production. the design is INCREDIBLE.

the orchestra isn't totally onstage but they are raised up in the pit to the point where they are fully visible the whole show. i love an onstage orchestra so this made me very happy. and it allowed for actor/orchestra interaction which i also love!! like tamino coming down into the pit to hand the eponymous magic flute to the flute soloist and bring him onstage with him (i was wondering during the overture why the flutes and oboes were swapped places seating wise -- it's so the flutist can easily get onstage! delight!!), or when papageno brings his glockenspiel to the percussion soloist to play (the player being 'missing' at his last solo, making papageno play by himself, and he enters late with a cup of coffee...lmaoo). also stutzmann giving a big ol grin and thumbs up to papageno during his duet with papagena at the end. so sweet

also blocking around the orchestra seating of the audience and up the aisles! so much fun we love immersive theater

the set itself had this big flat platform in the center hoisted at each corner by a cord so it could raise/lower/tilt in any direction. made for some very neat staging with levels and slants and i enjoyed that, especially since the production forgoes any kind of traditional set pieces

papageno's birds were done in such a beautiful way omg...they have an ensemble in black wandering around stage and following him about when he's doing stuff and they each have a 'bird' made of a folded in half piece of paper that they flutter about stylistically (some of the orchestra members have some too that they flutter during his entrance aria). description does not do it justice, this was a beautiful way to stage it...so simple and evocative.

the designer was saying in the interview between acts that this production was meant to combine the high and low tech aspects of theater to connect present performance practice with the opera as it was originally done (hence the visible orchestra) and i looove that philosophy. and it worked here really well i think

THE FOLEY AND PROJECTION ARTISTS. STARS OF THE SHOW. i am not joking

they get to be onstage (albeit off to the sides) the whole show too and i love it. i love that the cameras on the broadcast kept cutting to them periodically to show off their work.

the use of live projection art was really well done -- he managed to make Writing On A Chalkboard captivating!!

and the foley. the FOLEY!!! i've done sound design and a bit of live foley before so i have a soft spot but wooow she did an amazing job and it was SO much fun to see all the props she played with to make the scenes come alive sonically. plus her little interactions with papageno were very funny. give her a tony award

i do think there were a couple of small moments here and there that didn't entirely work for me or a scene or two that dragged out longer than necessary but overall it was a joy to watch. the beautiful and whimsical design of the whole thing totally makes it worthwhile even if the plot itself is a bit lacking.

easily THE coolest production design i've seen the met do yet, and the best lighting and projections from them for sure. when it comes on demand i am forcing anyone i can to watch it with me bc that SET! the LIGHTING! the SOUND! the STAGING! it ticks all my boxes it hits all my buttons it was MADE for ME SPECIFICALLY

[mrbacf]

Veja "Pergolesi - Stabat Mater (complete/full) - Nathalie Stutzmann" no YouTube

[shredsandpatches]

@tuttocenere's Winterreise posting reminded me that I've been meaning to look up recordings (if any) by women and now Nathalie Stutzmann's version is downloading onto my phone as I type this