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Subject: Re: Metropolitan Opera Cast Change Advisory - Tosca (2017-18)
From: robert levine <[log in to unmask]>
Reply-To:robert levine <[log in to unmask]>
Date:Sat, 4 Mar 2017 13:50:55 -0500
Content-Type:text/plain
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I hust read thsi, from Bachtack:
 For sure, all the vocal qualities were there, especially the clarity of
diction and the attention to meaning: “Hunding will ich hier erwarten” (aka
“I’m not budging from here”) and “Nun weißt du, fragende frau” (“now you
know, questioning woman, why I can’t be called Peaceful”) were delivered
with uncompromising precision. But I’ve heard Kaufmann sing Wagner at full
strength from five balconies up in an opera house and this was a long way
from that experience: it sounded far more like fireside tales than like a
man faced with his operatic enemy.

On Sat, Mar 4, 2017 at 1:36 PM, Rich Lowenthal <[log in to unmask]>
wrote:

> Well, the reviews from his Barbican residency--including the Walkure
> performance--were terrific.
>
> Kaufmann has had a string of health issues the last few years, some of
> which forced him to remain silent for extended periods; a sense of decency
> suggests that we should grant him some slack. It is of course regrettable
> that these singers are imperfect humans and lack the reliability of
> automata--or recordings.
>
> -----Original Message-----
> From: Discussion of opera and related issues [mailto:[log in to unmask]
> BCCLS.ORG] On Behalf Of robert levine
> Sent: Saturday, March 4, 2017 1:14 PM
> To: [log in to unmask]
> Subject: Re: Metropolitan Opera Cast Change Advisory - Tosca (2017-18)
>
> Just spoke to a pal in London who was involved with a Walkure act one a
> month ago at the Barbican - apprently Kaufmann seemed distracted throughout
> and had previously been late to reheasals and barely sang or interacted
> with the other two (Halverson and Mattila).
> Wassup?
>
> On Sat, Mar 4, 2017 at 12:57 PM, Bob Rideout <[log in to unmask]> wrote:
>
> > Some comments.
> >
> > Back in the fifties and until the eighties, most singers did not know,
> > and audiences absolutely did not know (with rare exceptions) who would
> > be singing what, when. We bought subscriptions based only on rep or a
> > desire to keep our seats. There was a time when a subscription was a
> > thing of some value for its sake.
> >
> > We knew casts for new productions, and that was it! The Callas return
> > in 65 was the exception that proves the rule. It has been, during the
> > last quarter century, the rule that casting is known at the time
> > subscriptions are sold. Singers are locked into contracts as long as
> > five years into the future. Some are voiceless by the time they get
> > around to singing this stuff.
> >
> > But, that is the norm. I loved the old days, when, you would go to the
> > Met on Monday morning and find out for the first time who would be
> > singing during the following week. Even singers often didn't know
> > until those pieces of paper appeared in the Met lobby.
> >
> > It's different now, but I think it is not fair to be so hard on
> > singers who must commit so far in advance and then find, for any
> > number of valid reasons, that circumstances have forced them to
> > withdraw. Give them a break. Five years is a long time. Even one is a
> > lot longer than was the case 50 years ago. We lived it; we loved it,
> > and there were a lot more bodies in seats then, than there are today.
> >
> > Bob
> ------------------
>
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