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Subject: Re: Josef Schmidt (formerly, OPERA/Lanza/Schmanza)
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Tue, 29 Nov 2016 20:42:40 -0500
Content-Type:text/plain
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55 perfomances between 1934 and 1943 at the Met, may not be an
impressive amount, but it adds up to more than a number of "celebrity
appearances in opera to wow the crowds".  My uncle took me to a 1942
matinee of AIDA not for Thomas's Amonasro,  but for the Amneris of Bruna
Castagna.  I remember nothing about either of them, having been obsessed
at the time with Wagner whom he didn't particularly care for. It was his
unforgettable notion that Flagstad had fled to Norway in 1941 with the
expectation that if Germany won the war, her presence there would be
more compatible and rewarding than it would be in New York.

dtmk

dtmk


On Tue, Nov 29, 2016 at 2:47 AM, Isaac Alan <[log in to unmask]> wrote:

> The truth, I fancy, is here below by Jon Goldberg.
>
> In my own opinion, there are many ways to judge a tenor, and a few more
> ways to judge an operatic tenor, however, none of these should include the
> ability to sing at the two extremes of the possible vocal range. If you
> listen to Schmidt's recording of Nessun Dorma, it is clear that he was
> struggling with the repeat of those opening two words, I doubt that he had
> anything tonally viable below those four notes.  on the other hand....There
> is no other....Sorry I had a sudden vision of  Tevye.
>
>
> On the other hand, he quite obviously had no problem above the stave if
> you consider his recording of the postillion aria. His Italian diction left
> a lot to be desired, and he sometimes crooned or used excessive portamento
> to move up. However, these things can be forgiven as the uncorrected faults
> of a young singer, who was a microphone radio star
>
> before, and in place of, valuable stage experience.  That he was an opera
> singer is without question, that he possessed a beautiful and exciting
> voice is also without question; that he had musicianship, and could sing
> with great style and taste is self evident.
>
>
> Anyone who thinks that Mario Lanza couldn't sing opera is seriously
> impaired in one way or another.
>
> J C Thomas was great to listen to, had a very exciting and warm sound, but
> his intonation was varied and he was a lazy singer to my mind, a great
> showman, hardly up to anything more than a celebrity appearance in opera to
> wow the crowds.
>
> Nelson Ackerman Eddy I would be cautious of judging, he had real talent,
> and he could sell a song like only a handful. I wouldn't mind betting that
> in his prime he was up to just about anything vocally.
>
>
> Regards,
>
> Isaac Alan
>
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of Jon Goldberg <[log in to unmask]>
> Sent: Saturday, 26 November 2016 3:06 AM
> To: [log in to unmask]
> Subject: Re: Josef Schmidt (formerly, OPERA/Lanza/Schmanza)
>
> I'm afraid that the case is not quite closed, Ray - sorry 'bout that.
> Exhibit C: There are NO
> written high C's in "Di Quella Pira," therefore ANY tenor that sings them
> is interpolating them.
> Doesn't matter how many he sings - they're ALL interpolated.
>
> Case closed. ;-)
>
> (Also, may it please the court, he sings 3 high C's, one of them in a
> place not usually heard.
> But the cabaletta is not repeated. Any tenor singing the aria as
> traditionally done, but *with*
> the repeat, also sings 3 C's. And the Schmidt recording shortens the
> musical rideout, so the
> last high C is not held as long as many tenors might do in context of the
> opera itself. So I'm
> not sure what the big deal is, lol.)
>
>
> On Fri, 25 Nov 2016 19:48:45 -0500, RAYMOND GOUIN <[log in to unmask]>
> wrote:
>
> >The silliest message in this string is the one in which it was claimed
> that Josef Schmidt was
> not an opera singer.  Does anyone know of any other tenor who would
> INTERPOLATE a high C
> in "Di quella pira"?  Case closed [ except for any J-A who wants to
> challenge the foregoing.  :)
> ].
>
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