Pietro Cozzi Tinin
Headphoneus Supremus
Tnx for the update.
I'll think of another Christmas present for myself.
I'll think of another Christmas present for myself.
What a long, strange trip it's been -- (Robert Hunter)
- Thread starter Baldr
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jacal01
You've just been blocked by Mr. Conviviality!
Does this somehow involve the gorilla?
HumanFly
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Not into Gorillas?
US Blues
Headphoneus Supremus
I wish you guys would quit monkeying around so Baldr can focus on the MP.
Pietro Cozzi Tinin
Headphoneus Supremus
No monkey on your back for Schiit then huh?
bosiemoncrieff
Headphoneus Supremus
If Wagner had forerunners, they were Beethoven for intellectual fortitude and Bellini for lyricism and endless melodies.
I'm just now listening to the new (ish) Cecilia Bartoli/Sumi Jo Norma conducted by the very talented Giovanni Antonini which is based on a recent critical edition of the score (available on on the usual streaming services). I'm stunned at how refined the new score is. My bottom line is that the new edition is much lovelier than the tried-and-true score with which Callas crowned her studio recording career in 1954 and 1960 and others have attempted to equal since that latter year. Callas is the definitive Norma perhaps more than any other singer has ever owned any other vocal part — more than Fisher-Dieskau for Schubert lieder, more than Nilsson for Brünnhilde, more than Price for Aida, Vickers for Tristan, Vinay for Otello, Schwarzkopf for Countess Almaviva, or La Divina herself as Lucia, Tosca, or Violetta. Perhaps Martha Mödl for Kundry is the closest that exists — the irony there being that Kundry is Callas's single recorded Wagner role. (The recording quality is abysmal and I haven't made an effort to familiarize myself with it.)
The improvements, for instance, of the finale to act 1 – Vanne, si! — consist of orchestral and vocal embellishments and ornamentations, much better assignment of voice parts (more rotation and less tutti) and added repeats throughout. There are only perhaps a dozen bars of new music. It runs 3:30 with a swift conductor rather than the usual 2:30. The sum total of these is a more exciting, captivating end to the act which much more deftly builds tension. I've listened to this new finale thirty times and (while I may well get obsessed with new exciting recordings) and it still carries an unbelievable electricity. If you haven't heard the new recording I can't urge you enough to listen! (And start here!)
Die Gezeichneten was weird and amazing, set in what looked like a junk yard. Not sure how they persuaded the soprano to smoke at half a dozen times throughout the opera. No singer I know would risk vocal damage for art (hashtag Enrico Caruso, who insisted contractually on smoking in the old Met). It was German subtitles only, and I got maybe 30% of what was said. Shreker's take on physical deformity is so exquisitely modernist. For Wagner (and someone like Ayn Rand, lol), physical deformity is always associated with moral depravity.
On the Deutsche Bahn to Nürnberg as I write this, looking forward to a lovely Brahms concert tonight, Norma tomorrow and Attila on Sunday. I got a schiity €8.50 seat to Attila because it's a schiity Verdi opera
I'm just now listening to the new (ish) Cecilia Bartoli/Sumi Jo Norma conducted by the very talented Giovanni Antonini which is based on a recent critical edition of the score (available on on the usual streaming services). I'm stunned at how refined the new score is. My bottom line is that the new edition is much lovelier than the tried-and-true score with which Callas crowned her studio recording career in 1954 and 1960 and others have attempted to equal since that latter year. Callas is the definitive Norma perhaps more than any other singer has ever owned any other vocal part — more than Fisher-Dieskau for Schubert lieder, more than Nilsson for Brünnhilde, more than Price for Aida, Vickers for Tristan, Vinay for Otello, Schwarzkopf for Countess Almaviva, or La Divina herself as Lucia, Tosca, or Violetta. Perhaps Martha Mödl for Kundry is the closest that exists — the irony there being that Kundry is Callas's single recorded Wagner role. (The recording quality is abysmal and I haven't made an effort to familiarize myself with it.)
The improvements, for instance, of the finale to act 1 – Vanne, si! — consist of orchestral and vocal embellishments and ornamentations, much better assignment of voice parts (more rotation and less tutti) and added repeats throughout. There are only perhaps a dozen bars of new music. It runs 3:30 with a swift conductor rather than the usual 2:30. The sum total of these is a more exciting, captivating end to the act which much more deftly builds tension. I've listened to this new finale thirty times and (while I may well get obsessed with new exciting recordings) and it still carries an unbelievable electricity. If you haven't heard the new recording I can't urge you enough to listen! (And start here!)
Die Gezeichneten was weird and amazing, set in what looked like a junk yard. Not sure how they persuaded the soprano to smoke at half a dozen times throughout the opera. No singer I know would risk vocal damage for art (hashtag Enrico Caruso, who insisted contractually on smoking in the old Met). It was German subtitles only, and I got maybe 30% of what was said. Shreker's take on physical deformity is so exquisitely modernist. For Wagner (and someone like Ayn Rand, lol), physical deformity is always associated with moral depravity.
On the Deutsche Bahn to Nürnberg as I write this, looking forward to a lovely Brahms concert tonight, Norma tomorrow and Attila on Sunday. I got a schiity €8.50 seat to Attila because it's a schiity Verdi opera
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HumanFly
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But I`m going bananas over that new Schiit!
Gorillas have trouble writing and their fingers are too big for a keyboard.
HumanFly
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I really like the gorilla analogy btw...I shall refer to it as silverbacking from now on.
I will start explaining the concept to clients too and show up at meetings in chaps with my ass hanging out if they have trouble getting their gorilla of my back.
The thought alone fills me with joy.
I will start explaining the concept to clients too and show up at meetings in chaps with my ass hanging out if they have trouble getting their gorilla of my back.
The thought alone fills me with joy.
Pietro Cozzi Tinin
Headphoneus Supremus
Don't.
You'll make a monkey out of yourself.
HumanFly
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You are probably right.
My ass is too hairy anyway. They wouldn`t be able to tell wether its me or the gorilla for sure.
We are going ApeSchiit here Mike waiting for the MP. HELP!
RCBinTN
Headphoneus Supremus
Wow, that post perfectly compliments your avatar!
aamefford
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For the record, this cannot be unimagined. Mentally un-seen. I think my mind's eye has gone blind …
bigro
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Sometime ago there was some one complaining about how the Modi MB sounds so close to the Bifrost MB that the Bifrost MB was a waste of money. Obviously not taking into account the obvious differences in power supply, architecture and upgradability. during this exchange Mike mentioned a Protoype Bifrost MB that he was tinkering with that had an affect somewhere along the lines of being hair raising. Bring on MP and Eitr but the possibility of this prototype seeing the light of day sounds just as intriguing, Hopefully it will use some more of that wonderful Obsolete techology Schiit is known for.
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