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Subject: Re: Callas - Aida and
From: Ken Wolman <[log in to unmask]>
Reply-To:Ken Wolman <[log in to unmask]>
Date:Sun, 23 Oct 2011 23:30:22 -0400
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Same note, different impact. When I saw Netrebko as Gilda, she interpolated what I take to be a top C at the end of the trio that included Sparafucile and Maddalena. It sounded like "Listen to what I can do" moment. Some years before at the NYCO, Faith Esham interpolated the same note under she same circumstances. It sounded like a part of the action, a desperate prayer or cry for help instead of an unwarranted vocal flourish. Esham should have recorded the role. That's "in my humble opinion" of course....

Ken
--------------
Ken Wolman			http://awfulrowing.wordpress.com/	

"All writers are hunters, and parents are the most available prey."
--Francine du Plessix Gray

On Oct 23, 2011, at 10:54 PM, hermine wrote:

> At 03:10 PM 10/23/2011, Howard Fink wrote:
>> Someone sent me a highlight of one of Callas' Mexico Aidas which was not recorded complete. The O Patria Mia is about the most beautiful and deeply felt I have ever heard. Aida might not have been one of her greatest roles, but to say that she was not successful in it is plain silly!
> 
> My husband just asked me what was the diff between those showoff notes when they are righteous and when they are just frippery and i said, (off the top of my head), they are RIGHT if they push forward the ART, if they further the drama. and if they do not, they are self indulgent, and like cheap costume jewelry.  Even whilst perhaps not understanding the language a person got the idea that there was a hell of a lot of emotion leaking out all over the stage.
> 
> Hermine
> 
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