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Subject: 1. Renee Fleming Master Class with Wash Natl Opera Young artists and a full house of stars (10-26-16)
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Thu, 27 Oct 2016 14:20:21 +0000
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"Of the Pavarotti, Domingo, or Callas Master Classes at Julliard,
Did any of the singer/students make it big?"

Whatever one makes of her suitability for large house opera  (though she DID sing Susannas and well-received ROSENKAVALIER Sophies at the Met), I think one would be hard-pressed to dispute that Callas Master Class participant Barbara Hendricks "made it big" indeed as a recording, concert and recital artist.
Sheila Nadler and Cynthia Clarey have also had successful if not "made it big" careers,  encompassing international venues.
Cheers- David Shengold


      From: OPERA-L automatic digest system <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Thursday, October 27, 2016 12:00 AM
 Subject: OPERA-L Digest - 26 Oct 2016 (#2016-1074)
   
There are 3 messages totalling 146 lines in this issue.

Topics of the day:

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Date:    Wed, 26 Oct 2016 15:24:04 -0400
From:    Jay & Ralph <[log in to unmask]>
Subject: Re: Renee Fleming Master Class with Wash Natl Opera Young artists and a full house of stars (10-26-16)

The thing about Master Classes is that it does nothing for the students*.
Sure now that it has been monetized, the producer and the =E2=80=98master=
=E2=80=99 profit.
But the singer?
Cases in point:=20
Of the Pavarotti, Domingo, or Callas Master Classes at Julliard,
Did any of the singer/students make it big?

(*Indeed weeding out the incapable might be=20
the only redeeming function of a Master Class for the participants=E2=80=93
though I have not the facility to prove it.)

However:

Master Classes have now been structured for=20
maximum pleasure principle at minimal cost.

The singer/student is scared to death when he/she sings the selection
for the first time.  The =E2=80=98master=E2=80=99 then speaks with them for=
 a wile, makes suggestions
and asked them to repeat a passage or two.  By this time the  singer/studen=
t
is relaxed and sings the selection again=E2=80=93and guess what, it is ALWA=
YS better!
DUH!

That=E2=80=99s $how Biz!

J

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Date:    Wed, 26 Oct 2016 17:44:21 -0400
From:    Bob Hadfield <[log in to unmask]>
Subject: Re: Mystery Applause

Not sure if any one got back to you on this or not.  i was at the
performance in the opera house in the center of the dress circle.  What
appeared to happen was kind of a "crowd psychology thing."  The start was=

late because of the HD stuff going on back stage, the lights had gone dow=
n
and the orchestra quieted.  Everyone was poised for the arrival of the
conductor and there was some indistinguishable movement real or imagined
near where the conductor usually emerges and applause began throughout th=
e
house but no conductor showed up.  the audience quieted and then in a few=

seconds Luisi appeared and strode to the podium amid the usual applause a=
nd
cheers.  Perhaps just a little mishap created by the delay and audience
anticipation.  it turned out to be a pretty good performance overall I
thought.  Hope all is well.

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Date:    Wed, 26 Oct 2016 19:24:14 -0400
From:    John Mize <[log in to unmask]>
Subject: Giulio Neri

Did this stellar performer ever perform the role of King Philip ? And if =
not,=20
why ? He certainly had the voice, the experience , the vocal and=20
acting "chops," as it were.=20
This isn't meant at all to disparage of denigrate his efforts as The Gran=
d=20
Inquisitor. This malevolent and bloody minded cleric isn't a small part a=
t=20
all, but merely a short big part. And, as such, it requires exactly the k=
ind of=20
voice and experience  that Neri provided ever so well. It isn't a part fo=
r a=20
beginner.
The Met has usually cast the role from strength. Rothier in the 20s, Hine=
s,=20
Hotter, Schoeffler and Uhde in the 50s and early 60s, and Diaz in the 65=20=

broadcast. David Ward made his Met debut in the part, as did Martti=20
Talvela.  All superlative performers.
I had the good fortune to hear each of the broadcast in the 70s.That=20
stalwart basso Raymond Michalski was the old villain on 2/14/70, and sang=
=20
with consummate  artistry, although he lacked the sepulchral horror that=20=

really makes the part shine, so to speak. This was supplied by John=20
Macurdy on 4/22/72. And James Morris, in 1979, just didn't have the low=20=

notes for the part.(Although, I believe Verdi DID provide some=20
alternatives.)It remained to Hines to once again assume the old cardinal'=
s=20
robes in 1980 and 84,and provide a truly definitive portrayal.  

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End of OPERA-L Digest - 26 Oct 2016 (#2016-1074)
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