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Subject: Re: Salome
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Sat, 17 Dec 2016 17:56:13 -0500
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I first saw Racette  many years ago in Boston as the soprano leads in Hoffmann. She

struggled with Olympia but was very good as the others.  I had enjoyed her lyric voice

since then before she ventured into the spinto Fach.  The Salome today and also the

prima last week I found hard to listen to primarily because of the ever-widening wobble

and consequently the constant flattening of the high notes.  At times I could swear she

was a halftone flat.  Listening to her is a trial.  Something to be avoided.


Angelo from Boston

> 
>     On December 17, 2016 at 5:11 PM Jon Goldberg <[log in to unmask]> wrote:
> 
>     I thought the star today was the orchestra. Wonderful playing, really bringing out the many
>     odd, inventive colors and nuances in the score.
> 
>     It does bother me when tenors "fake" too much of Herod - I'd say today's tenor did pretty
>     well with the role. I didn't like his yelling the last line, though.
> 
>     I wanted to like Racette, but yes, that wobble on top just defeats her, which makes for
>     tough going. She's not *singing* the role as much as she's *getting through it*. Her heart
>     is in it, but her vocal limitations get too much in the way of a fully realized, nuanced,
>     memorable take on the role.
> 
>     That said, I imagine that the "close up" on her voice in the audio transmission might tend
>     to amplify the problems we in "radio land" hear on top - maybe they're not quite as
>     evident all the time in the house. But I can't say for sure.
> 
>     On Sat, 17 Dec 2016 13:43:03 -0700, Don <[log in to unmask]> wrote:
> 
>         > > 
> >         Dynamics? LOL Not today. Mostly loud unless it was the very lowest notes
> >         which were mostly inaudible, understandably . By the end, she did sound
> >         like she had lost some control and was singly wildly with an ever widening
> >         vibrato. I was amazed at Herod. The part is just ridiculous and I do not
> >         see how anyone can stay with the orchestra in all those quick passages with
> >         dozens of notes much less singing the notes on target. He did manage to
> >         stay with the orchestra for the most part especially in those places where
> >         everyone lands at once. It becomes a sprechstimme role most of the time
> >         and I understand why. Maybe it's what Strauss wanted. I always think it's
> >         one of those roles where you hit the first note in the measure and just
> >         fake it until the first note of the next measure. What happens in between
> >         is anyone's guess. The most accurate singing I heard was from Jochannan(a
> >         better role for him than a lot of those Italian roles we have heard him
> >         sing) although it got a bit high for him at points. I wish I could hear
> >         Greer Grimsley sing the part when he does it on the 28th. He's only
> >         singing the one performance which is a shame and I wondered why he is
> >         bothering to do it. The Narraboth was very good I thought in a thankless
> >         role.
> >         dond
> > 
> >         On Sat, Dec 17, 2016 at 1:24 PM, Ron Magnuson <[log in to unmask]>
> >         wrote:
> > 
> >             > > > 
> > >                 > > > > 
> > > >                 On Dec 17, 2016, at 2:43 PM, Bob Rideout <[log in to unmask]> wrote:
> > > > 
> > > >                 Challenge accepted! She understands the role but the vocalism
> > > >                 is incompetent.
> > > > 
> > > >             > > > 
> > >             She started loud and got louder with a vibrato that increased in width
> > >             with the volume. Where are the pianissimi, dynamic gradations and the
> > >             seduction? She sounded unhinged from beginning to end.
> > > 
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