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Subject: Re: BELATED HAPPY BIRTHDAY TO TERESA STRATAS
From: James Jorden <[log in to unmask]>
Reply-To:James Jorden <[log in to unmask]>
Date:Tue, 29 May 2001 13:22:27 -0400
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Gerald Waldman wrote:

>Also, it should be noted that one unique
>trait that was unusual about the MET repertoire in the 1950's and I still
>think today, was that a singer would sing one role one night and another
role
>the next

Actually what you are describing is simply "repertory" scheduling which was
the general method worldwide -- except Italy where "stagione" (long runs of
single operas) was the rule.  (Festival opera also tends to schedule this
way; it can be argued that the Dallas and Chicago seasons were essentially
festivals.)

The big international houses in the early part of the 20th century
generally used repertory scheduling, particularly when a big star was
available for a relatively short season.  For example, we can look at Lotte
Lehmann's appearances in Vienna in the early 1930s:  she generally was in
town for 8-10 weeks each year, singing 15 or so performances of six or more
roles.  Her procedure would be similar in the other cities she visited:
London or New York or San Francisco.  The same was true for Gigli or Muzio
or any of the other big stars of the period: they came into town, sang
several of their famous roles (only a performance or two of each) in the
course of several weeks, then moved on to the next engagement.

Most of the opera houses in the world now have gone over to some form of
the stagione system, with the exception of Vienna and of course the smaller
German houses which operate outside the international star system.

jj

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