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Subject: Re: Nabucco (Met broadcast and Live in HD) from hell - review and comments
From: Jon Goldberg <[log in to unmask]>
Reply-To:Jon Goldberg <[log in to unmask]>
Date:Mon, 9 Jan 2017 19:19:52 -0500
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While of course it's optimal for a conductor to be able to have direct eye contact 
communication with singers and instrumentalists - and I can't vouch for the conditions at 
Disney Hall that altered that in the case mentioned below - I'm not sure why a 
*backstage* monitor would be the least bit objectionable. Especially if such a monitor 
makes it infinitely easier to coordinate between the conductor and the banda. And I think 
you will find that any large opera house nowadays would avail themselves of such things. 

What *is* it about so many opera buffs seeming so *afraid* of 20th century (not even 
21st century, for god's sake) technology when it can be used in a proper, discreet and 
beneficial way? I understand the basic arguments against miking singers, but an objection 
to a backstage monitor? Really? Shall we just get rid of lighting design while we're at it and 
go back to candles and gaslight? I just don't get it. 


On Sun, 8 Jan 2017 09:49:48 -0800, estelle gilson <[log in to unmask]> wrote:

>And Gregory Buchalter had a monitor of Levine next to him.
>Monitors are not a happy solution in operatic matters. -----
>Dudamel conducted a staged Don Giovanni  in Disney Hall, in which he
>faced the orchestra and the soloists had to follow him on monitors -----
>especially not in Mozart!!!
>
>Estelle
>
>
>
>>Indeed they did, even showing them onscreen (and showing Levine NOT
>>conducting that
>>music).  If it sounded otherwise, there's an engineer to blame.
>>
>>The stage band conductor was Gregory Buchalter.
>>
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