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Subject: Why did Carreras not essay Romeo, Faust, Mignon, etc?
From: MD <[log in to unmask]>
Reply-To:MD <[log in to unmask]>
Date:Tue, 24 Jan 2017 01:40:45 -0500
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Interesting to read the reactions to Grigolo and Damrau in the Met ROMEO.  I
only heard the broadcast - did not see it - and suspect Damrau made a more
overall favorable impression if one could see her.  To my ears, only going
on audio, it was a wirey, strident sound and extremely labored in the Waltz.
Perhaps she wasn't in health, but went on anyway?  I thought he fared well,
though in Act 1, the voice took a while to settle in, and had a bit of a dry
rattle - almost a comprimario sound. From Act 2 on, he was extremely good
and with quite good French at that that.

Revisiting some early Carreras recordings from the the 70's, it's a wonder
that he didn't seize on the French rep - especially Romeo - and steer his
career in such a way that he sang within his means.  Surely all the
comparisons and warnings about di Stefano's choices must have reached his
ears?? And yet he took on Forza, Aida, Chenier....  Imagine the sheer beauty
of his pre-shouting days, channeled into roles like Wilhelm Meister, Romeo,
Faust, Nadir?  What is the fascination with taking on roles too heavy for
your instrument, even in the recording studio, never mind having to somehow
make yourself heard over those thick orchestrations in places like the Met?

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