Tiit Tralla News
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2017-12-22 16:56:00
Christmas? not! Braunfels Verkündigung medieval mystery for modern times
Christmas music ? Not ! Walter Braunfels Verkündigung op 50 a medieval mystery play for modern times. Angels, stars, snow, happy peasants and quaintly volkisch sounds. But no tinsel here, and no false sentiment. Braunfels was writing during the Third Reich. Hitler loved kitsch medievalism, so Braunfels quietly turned it against them. Braunfels's Verkündigung is subversion, the composer a resistance fighter in Gothic guise. A miracle happens at Christmas but this is not religious music. In this Nativity, the baby is stillborn, brought back from the dead by a mortal woman. God doesn't figure directly and the message isn't redemption.The text is a loose adaptation of a play by Paul Claudel, an ultra conservative Catholic and nationalist whose sympathies weren't far off from the Nazis. Claudel was writing about a period before the emergence of Joan of Arc. As an icon, Joan is as political as she is saintly. […]
2017-04-12 14:47:16
A “Juive’ for the 21st century
[…] follows (the singers, however, were not offstage) and Eléazar’s response, the cabaletta of rage in which Eléazar resolves to let his daughter die rather than yield her to his enemies by revealing her identity. This cabaletta, which Neil Shicoff omitted at the Met but Roberto Alagna has been restoring in his performances, was sung with the proper passion, but again Lehotsky let his desperation push him out of more elegant way of singing it. Juhan Tralla sang an athletic but not terribly sensuous Léopold, and omitted the lovely serenade addressed to Rachel. Peter Mikuláš sang Cardinal de Brogni with the proper resonance and spiritual authority, though unable to reach the low E (is it an E?) called for by “Si la rigueur.” His prison confrontations with father and daughter (in which the actual relationships are painfully clear, to us and in the score, though he remains in ignorance) were very […]
2010-02-05 20:36:00
A Rocket to Mannheim
[…] past who have scored in this role are admittedly silly. But Slepnova has formidable competition in this Fach from contemporaries such as Alexandrina Pendatchanska. There’s an Elisabetta! Marie-Belle Sandis fared better as Sara, Elisabetta’s rival for the affections of Roberto Devereux. Hers is a dark mezzo that retains its warmth from top to bottom. She is not exactly suited for Sara, but she came closest to surmounting the lethargy around her. Juhan Tralla in the eponymous role sounded the most energetic of the three principals, but it became apparent that he has yet to master his part. He has a pleasing and flexible lyric instrument that holds up under pressure, but he too seemed preoccupied with getting out the notes, rather than enlivening them. The rest of the principal roles were capably rounded out by Thomas Berau (Nottingham), Mihail Mihylov (Raleigh) and Christoph Wittmann (Cecil). Thinking […]
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