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Subject: Re: Esclarmonde (was Carreras and his rep)
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sat, 28 Jan 2017 19:04:00 -0500
Content-Type:text/plain
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text/plain (181 lines)


Hello Mike

When the Met did it with Sutherland and Aragall, my partner said
after the first act "let's go", and I responed "nope, I'll never see it
again,
so I'm gonna stay". He was more right than I; It only got worse, perhaps
the most mismanaged use of the word "coloratura" I've ever heard.
Lots of noise and so called fireworks, directed at nothing other than a
display
of how one might test the limits of the flexibility of
vocalismm. .Donizetti,
Rossini and Bellini made the case much more convincingly, and infinitely
more beautifully!

Bob

On Saturday, January 28, 2017, Mike Leone <[log in to unmask]> wrote:

> I love Esclarmonde, and have ever since the recording came out around 1976
> or 1977.  It's up there with Manon and Thaïs, neither of which I took to as
> quickly.  (I don't care for Werther.  Maybe seeing the Met production in a
> few weeks will change my mind; I'm not holding my breath.)
>
> The complete first act of Esclarmonde is the filler on the Huguette
> Tourangeau disc in the recent Decca brick of 55 recitals.  I found myself
> enjoying it as much as I ever did.  I haven't heard the complete recording
> in a while; I guess  it's time to dig it out again.
>
> Mike Leone
>
> [log in to unmask]
> Ecco il Leone!
>
> Sent from my iPhone
>
> > On Jan 27, 2017, at 1:12 AM, semiramide1945 . <[log in to unmask]> wrote:
> >
> > Let's let Esclarmonde sleep though- I don't think when Sybil Sanderson
> > finished her run of it than anyone till Sutherland (Bonynge really)
> thought
> > of it
> >
> >> On Fri, Jan 27, 2017 at 1:09 AM, Tom Frey <[log in to unmask]> wrote:
> >>
> >> I would hope for Lakme also
> >> ----- Original Message -----
> >> From: Les Mitnick <[log in to unmask]>
> >> To: [log in to unmask]
> >> Sent: Fri, 27 Jan 2017 00:27:05 -0500 (EST)
> >> Subject: Re: Carreras and his rep
> >>
> >> Speaking of which, I wonder if we'll ever see a real revival of Thomas'
> >> Mignon in our lifetime, which for some of us, aint' gonna be all that
> long.
> >> It's got some great tunes, three great singing roles for lyric mezzo,
> >> tenor, and coloratura soprano, and there are singers around who could
> >> surely do it. I've got the Sony issue of the 1945 Rise Stevens broadcast
> >> from the Met, and I've listened to it several times. Am surprised that
> the
> >> Met didn't think of it in the decade of the 1950s with a cast like
> Stevens,
> >> Valletti, and Peters. Mignon enjoyed great popularity in the earlier
> part
> >> of the Twentieth Century (I even have a 1938 Jennie Tourel broadcast -
> in
> >> decent sound for it's time), but I guess it's now a dead duck. Just out
> of
> >> vogue, perhaps?
> >>
> >> ----- Original Message -----
> >>
> >> From: "R PRADA" <[log in to unmask]>
> >> To: "OPERA-L" <[log in to unmask]>
> >> Sent: Thursday, January 26, 2017 11:17:01 PM
> >> Subject: Carreras and his rep
> >>
> >> Here is something I have learned. Some of the lowest quality information
> >> comes from asking why. Not only we can never know why he did what he
> did or
> >> did not do, the best guess is that he might not be able to tell you why,
> >> either.
> >>> Why did Carreras not essay Romeo, Faust, Mignon, etc?
> >>
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