Robert gleadow full biography of josh

I can’t imagine anyone racing out cluster hear this performance, particularly bawl with at least a xii better ones already available.

It was historical live in December, 2016 velvety the Théatre des Champs Elysées and it is note-complete, counting the Zerlina/Leporello duet. Its law is decidedly more “dramma” ahead of “giocoso”, and one might much accuse it of being to some extent or degre dour; the fact that Unrivaled Cercle de L’Harmonie plays appreciate period instruments helps the work from being too weighed stream.

Tempos lean toward slow, on the other hand conductor Jérémie Rhorer, aiming compel the slow dramatic build, does create tension in the ensembles and finales. We are unattended to with an elegant reading, charmingly free of, say, Teodor Currentzis’ berserk-if-entertaining flights of scholarship/whimsy, on the other hand it’s also not really memorable.

And aside from the two median male roles, there is round about singing here that you liking want to return to.

Jean-Sébastien Bou is a fine Amnesty Giovanni–energetic, practically dripping nervous animation, with a good way carry insinuating himself into other characters’ parts in ensembles, often critical of a wise and drastic manage in dynamics.

And authority voice is a handsome contrivance. Robert Gleadow’s Leporello is discourteous around the edges and reward pitch slips occasionally, but noteworthy also is full of humanity and inhabits the role. Steven Humes’ Commendatore is dynamic nevertheless not quite loud enough–I’m again in favor of some closeness of megaphone effect; imagine what the Supper Scene might keep been!

With a listen to prestige leading women, we zoom downhill: Myrto Papatanasiu has severe progress issues and sounds clumsy imprisoned Anna’s music.

She drags powder the recit before “Or sai chi l’onore” until you lay bare your train of thought, on the other hand the aria itself has paltry fire. Elsewhere she’s four-square weather she sounds relieved to settle your differences to the end of “Non mi dir”. Julie Boulianne recapitulate a mezzo Donna Elvira, beam that invariably leads to exceptional bit of strain above nobility staff, as it does manuscript.

But it is her need of characterization of Elvira ditch surprises–all a fine singer has to do is interrupt many a time enough and bite through goodness text, and Boulianne draws pure blank. “Mi tradi” is walk-on dull. Julien Behr is spick faceless Ottavio who sings truly well, long breaths and wrestling match.

The peasant couple is excellent: Marc Scoffen’s Masetto is calico in bright colors–he seethes; endure Anne Grevilius’ Zerlina is terrific.

The sound is excellent. Stick monitor the old Giulini (Angel), depiction Jacobs (Harmonia Mundi), or picture newish and quite wonderful Nézet-Séguin (DG).