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Subject: Re: Question for Mozart Scholars
From: James Bodge <[log in to unmask]>
Reply-To:James Bodge <[log in to unmask]>
Date:Thu, 29 Apr 2010 07:28:05 -0700

text/plain (53 lines)

On Thu, April 29, 2010 4:28 am, Jon Alan Conrad wrote:
> === The
> difficulty of Marcellina's aria is certainly one reason for its frequent
> omission (has it ever been done at the Met, even now? I believe that
> Basilio's has, on rare occasions). Another is that at this late stage of
> the action in an already long opera, audiences don't appreciate having the
> rush of the action interrupted for the thoughts of two more peripheral
> characters.

In general, I think these pieces should be included in the complete
recordings, but unless one indulges the original intention: to raise the
calibre of performer willing to sing secondary parts like these, then the
arias should be cut.  Jon correctly points out that this late in the
evening they tend to stall the action's progress, and the feelings of
these "tertiary" characters is not of concern.

But Mozart wrote this music, so I want to hear it.  Cast the parts well
and include them - at least once.  I too, wonder if the MET has included
them ever.

> An outstanding rendition of the aria on a complete recording is that by
> Della Jones for Ostman.

Two other fine performances of Marcellina's number on records are by
Tatiana Troyanos on the MET set under Levine (DG) and Sandra Warfield on
the old Leinsdorf set (RCA/London) recorded in Vienna.

Hilde Guden does the aria well for Erich Kleiber, but why?  She is Susanna
on that superb Decca/London  set, and the estimable Hilde Rossl-Majdan is
Marcellina.  Why wasn't the latter allowed the piece, if it was to be

You really only need two things: WD-40 and Duct Tape. If something is
stuck and it shouldn't be, use WD-40. If it's moving and it shouldn't, use
Duct Tape.

James Bodge  [log in to unmask]

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