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Subject: Re: Melot
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Tue, 27 Sep 2016 00:30:30 -0400
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His name is Neal Cooper, and it's his debut - poor guy doesn't even get to
deliver the mortal wound to Tristan, who simply stabs himself at the end of
Act Two!   That does it for Wagner's idea of opening Acts One And Three with
a couple of scene setting, atmospheric tenor bits - what happens in this
misbegotten production is the elimination of the second role altogether -
no shepherd in Act Three!  Be that as it may, I have always had a problem
with the Met's insistence on putting "off-stage" voices so far off stage
that they are just about inaudable;  Brangaene, tonight, suffered this
practice the most: one
of this opera's supreme inspirations went for nothing, unless you're
impressed
by projected swirling clouds; .even the chorus lost most of the exciting
impact it should have as Act One closes.  There is; as expected, no
curtain; will it survive this season?    If I had to choose between
ascending clusters of crystal, and the great gold curtain - but why should
I have to choose?  There's seldom much gained by substituting that big
black hole.  Pretty good singing for
the most part, and a thrilling orchestral performance, otherwise, a mess.

dtmk


On Mon, Sep 26, 2016 at 8:29 PM, David M. Wagner <[log in to unmask]> wrote:

> I'm liking the performance, but who's that ratchetty tenor Melot? Where
> are the great baritone Melots (Uhde, Weikl)? Or even first-class tenor
> Melots like William Lewis?
>
> And where are the commentators who understand this is an important
> character? No full cast was given after Act II - rather, everyone *but*
> Melot.
>
> Yes, in some of the medieval sources Melot is a dwarf, but Wagner did not
> go that route, and Melot should not sound like Mime, and a weak one at that.
>
> So who was he?
>
> -David Wagner
>
>
> Sent from my iPhone
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