Bill Fregosi wrote:
>I guess I managed to miss exactly when "early music" became a dirty word or
>a disqualification for singing anything else well.?
Yes, you did miss it. I'll tell you: It was in the mid- to late 20th
century, when singers decided that the voice was invented to imitate the
violin, not the other way around, and consequently their phrases turned into
vibratoless hairpins, imitative of the curved bow. You consider that to be
>Let's put before us the example of Jon Vickers.?
Why? Was he an Early Music tenor?
>Nobody has the monopoly on developing good voices
>...or bad ones for that matter.
Untrue. America is doing a good job of it, and Boston is doing especially
>Leonardo you HAVE to take the friendly advice given you in a supportive
>manner by many of us and GET OUT OF THE HOUSE AND SEE/HEAR LIVE
(a) STOP ASSUMING. You have no idea how many live performances I have heard
or currently hear, or have taken part in myself
(b) You would not pay the money to eat at a restaurant where only one out of
ten meals was good.? Don't, then, tell me how often I should go out to hear
an opera in Boston -- unless you're planning on buying the tickets for me.
>you will undermine your own credibility time and time again.
Then there is YOUR credibility when you persist in painting Boston as some
sort of operatic or vocal mecca.
>I have SAT IN AN ACTUAL OPERA HOUSE where a large audience was moved to
>heartbreak over Cleopatra's "Piangero la sorte mia" from GIULIO CESARE as
>sung by Susan Larson, one of the most emotionally? devastating performances
>of anything I have ever heard live.
Yes, devastating is the perfect adjective to describe Susan Larson's
singing. There's another blow to your credibility.
>And here again, Leonardo, you have to get out more.?
And here again, Bill, you haven't the foggiest notion what I do with my
evenings, so STOP GUESSING.
>If you did you would know that contemporary singers, conductors and
>directors--YES, stage directors--have found a way into Handel's emotional
>world that brings out the true depth and pathos of the great laments and
I am an adorer of the music of Handel -- always have been.
Thierry Morice wrote:
>The Belcanto fanatic should listen to [etc. etc.]
We both already knew that our respective definitions of "Belcanto" are
>Speak about technique, yes, and I'll speak about car mechanics!!!
I do not have to ask your permission before speaking about a topic.
>Please think two times before speaking of "stupidity"
Your e-mail caused me to think about it a third time.
>there is something
called "Belcanto", which is rather well defined
>Please read again Celletti, "the History
of Belcanto" to know the meaning of the term
Celletti is entitled to his definition, as Ida Franca is entitled to hers
and Berton Coffin is entitled to his, etc. ad nauseam.? They can't ALL be
right; they contradict each other on virtually every page.? Meanwhile,
~SBel canto is a term in search of a meaning, a label that is widely used but
only vaguely understood." -- James Stark
~SFew musical terms are so loosely used or open to as many interpretations as
~Qbel canto.~R~T -- Owen Jander
Messrs. Stark and Jander were humble enough to admit that there is NOT one
definition of Belcanto.? YOUR claim to know THE definition is, in my
personal opinion, the extreme in absurdity.? In my entire book I never made
such a ludicrously arrogant claim as to have THE definition.
>[T]h[ierry], who thought he wouldn't waste anymore time to answer somebody
thinks of Pertile as a belcantist, but then too much is just too much .....
I'm sorry that you do not know about Pertile. There were a couple of people
and many others.
We can't ALL be wrong about him.
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