Montserrat Caballe “Casta diva” Norma Orange 1974

Caballe gives definity to each note in the ornaments as at 0:18 and 0:30. Each note can be distinguished from the previous one; it is not merely a smere of sound-paint but a clearly articulated shape. Unfortunately, the space that this performance was given in does a disservice to that clarity and makes it appear more smudged than this crystalline sound actually is. At 1:19 there is a note which grows from this sort of ethereal sound into something which is very slightly more tangible and pure, though the line retains its dream-like quality. The attack (if you can even call it that when you are dealing with sounds this delicate) of the top note of the figure at 2:28 has a quality which I can only connect to a well-articulated note on the flute. 4:52 the sound drops to such a low volume, (while maintaing it’s immaculate quality) that it is almost literally unbelievable.

Glad to be listening with you.

Ettore Bastianini – Core n’grato

This arrangement starts with this violin line that spirals upwards. It’s a little disorienting, but it makes for a good setup for the oboe solo that leads into Ettore’s entrance. This arrangement is really nice – the arranger puts nice decoration on the melody without crowding it. The choice of instrumentation is excellent as well. For example; there is a moment at 1:17 which becomes momentarily more empassioned. This is appropriately accompanied by brass in order to give it the force it needs. It’s a nice contrast to the subtlety of the other accompanying music, which acts as hand-carving in a wood trim around a door that the singer moves through as he sings. It is simply extra detail which does not at all destract from an excellent vocal performance.

Cesare Siepi – Ella giammi m’amo-Don Carlo -1970

I like the line that starts at 1:10. And at 2:26, punctuated by those oboe grace notes. The music in 3:22 starts to build more momentum. It’s really nice because it culminates in an ascending line that starts around 3:39. The music drops out from under him at 3;46, then it begins again from nothing. Then there is this awesome little spiraling triplet cello figure that comes in at 3:55. A cello solo at 4:20 leads back into the music from 2:26. There’s a tiny little bit of violin tremelo at 5:33 that gives that line a momentary celestial quality. That effect creates a nice lightness. It’s a little transparent, like light coming through a tree-branch that is moving in the wind.  This creates a steep contrast to the lavishness of Siepi’s fully opaque sound.