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Subject: Re: Tenors doubling Cav and Pag
From: Norm Schoenfeld <[log in to unmask]>
Reply-To:Norm Schoenfeld <[log in to unmask]>
Date:Wed, 1 Apr 2009 17:34:36 -0400

text/plain (40 lines)

I also was there and I agree, Cura was just ok - I liked his Turiddu much
better than his Canio and Komlossi was indeed fabulous. I thought Rizzo had
the orchestra playing very loud throughout Pagliacci and Cura's "La commedia
---" was just one thing drowned out. 
I thought he would tone it down for Focile but he just kept on going.  It is
time for a new production though -- I always feel sorry for those older
chorus members who have to go up and down those steps .....

<I was also at the Cura performance, and found him ok, but rather strange in
some ways. His voice is so dark now, that it sounded like he lightened it to
sing his top notes, and the sound was a much more "open" sound on top than I
have ever heard from him. He was marginally successful, I thought. Many
times, in both operas, he made his own tempi, and rushed through top notes
almost as if they weren't there. He did tend to tire at the end of both
operas, and he never said the complete final line, for some strange reason.
He said "La commedia---- waited for a few seconds, and then the conductor
came in with the crashing closing chords. Revenge?

The Santuzza, Komlossi (spelling?) was the star of the show. She (though not
as good as) reminded me of my first Santuzza, the great Simionato. She sings
with great Italian fervor, and has tremendous chest tones, a beautiful
voice, and a top voice that won't quite, including a very long held high C
to conclude the opera. She acted up a storm, and I highly recommend her
performance to any who may be able to see one of the final two.>

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