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Subject: Re: Metropolitan Opera Cast Change Advisory - Tosca (2017-18)
From: John Rahbeck <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sun, 5 Mar 2017 10:02:46 -0500
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It's an interesting set of phenomena. First there's the singer's  attitude. 
Those at the top of their game in their prime are as varied in their  
attitudes and work ethics as they are with the general population. The  thing is, 
fame has a way of turning heads, and many singers fall for the  fact that 
at that moment in time, they are free to pick and choose, but it  doesn't 
last, not for anyone.
 Then there is marketing and journalists. Was the comment  by Kaufmann 
taken out of context? Was it merely an offhand comment  said because at this 
time in his career he can pick and choose? Was it only a  publicity tactic to 
make sure everyone knows he is at the top of  the heap in an extremely 
competitive business?  
 Personally I don't know his work ethic either. One can only know that  
when one has worked with someone directly, so I really can't comment  on that 
or his motivations. It certainly creates controversy and keeps a  singer's 
name bandied about. I have definitely enjoyed his performances. He  definitely 
has a lot of artistry, and a wonderful voice and  musicality. Another thing 
that happens to singers at the top of their game,  is that they sometimes 
bite off more than they can chew, and have to cancel. I  would rather see a 
singer cancel than give a sub par performance. Singers are  not machines, 
their bodies break down in unexpected ways, and it can effect  singing. You 
never know what is happening behind the scenes, whether it's  a health issues 
or a family tragedy. They are human beings but we  expect them to act like 
gods or saints. 
 I have come to appreciate the differences in singers. I take each  artist 
as they are, Sometimes the flaws are part of what makes a singer  special, 
and great singers manage to make virtues out their flaws. If they  move me, 
if they impress me, the rest doesn't matter. Who are we to judge them?  This 
doesn't mean we should blindly worship and artist nor is it wrong to  
dissect and analyze a performance, it's just that in the dissection process  or 
worshipping a diva sometimes one loses the effect of the total  performance, 
which makes it especially difficult for conscientious and  knowledgeable 
critics. Few find a way to accurately report the objective  observations within 
the framework of the the total effect a singer is  having with an audience 
because they sacrifice the subjective experience in  an attempt to make an 
accurate report. 
 I  would pay to hear Kaufmann. I would also like to see him in a  revival 
before I would make a judgement as to whether the investment in  rehearsal 
would make a difference. There are often behind the scenes problems  with 
revivals. An interesting question to ask is how many revivals did  Callas do? I 
don't know the answer to that question, but I'm sure there  are some 
Callasphiles or statisticians or historians on the list  that might know the 
answer to that.
John Rahbeck
 
 
In a message dated 3/5/2017 2:27:11 A.M. Pacific Standard Time,  
[log in to unmask] writes:

I wonder  why so many operalovers seem to hate and despise singers. Well,
Jonas  Kaufmann is a great artist. What are you? Screaming ... nothings.
Nobodies.  Riffraff.
Maria Helleberg

2017-03-04 22:47 GMT+01:00 Larry Kellum  <[log in to unmask]>:

> HI. Have any of you guys read the  Callas bios like I'm sure you all
> have? She used to rip Di Stefano  a  new a.....hole for having that bad
> attitude about rehearsing  & would have castrated Pavarotti for same.
> Arroyo herself told me  at a master class that she only wished SHE had
> half Callas' work  ethic........ie..... going to rehearsals where she
> wasn't even needed  that day, but wanted to see the chorus, costumes,
> sets, meet the  comprimarios, etc...................TEAM PLAYING!
> Kaufmann is scamming  us all .....................or has mental issues
> like Stratas, Marilyn  Monroe, etc about rehearsal
> time....................poor baby! Wish I  made his damn
> money!............................Larry
>
>  On Sat, Mar 4, 2017 at 4:37 PM, ANGELO MAMMANO  <[log in to unmask]>
> wrote:
> > Kaufmann has stated  repeatedly that he prefers to just come in with
> minimum
>  >
> > rehearsal and sing in a revival.  A new production  requires lots of 
time
> at rehearsal
> >
> > that  Kaufmann feels is non-revenue producing.  The Met in particular
>  gives its
> >
> > artists tons of rehearsal and it shows in  the very high level of 
musical
> preparation
> >
> >  we see from them every day.  Mattila stated many years ago (pre-
>  Pappano) in
> >
> > OPERA that the Met has the best coaches,  that they are all conductors
> and superior
> >
> >  the those at CG.  Kaufmann has had to cancel dates that have lost him  
a
> lot of
> >
> > much-needed income.  Naturally  he would like to maximize his income
> during
> >
> >  these important years of his career.  He has admitted his mistakes  and
> wants to
> >
> > make the best decisions for his  future.
> >
> >
> > Angelo from   Boston
> >
> >
> >>
> >>   On March 4, 2017 at 1:30 PM Jon Goldberg  <[log in to unmask]>
> wrote:
> >>
>  >>     Were that true, and I really doubt it is, it would  have been
> entirely unprofessional. Imagine
> >>   being hired by an organization who wouldn't tell you when you  were
> needed for your job, but
> >>     who  would instead announce it to the public first? Ridiculous. Or,
> as I  said, if true, a horrible,
> >>     unprofessional  way to treat the singers.
> >>
> >>      On Sat, 4 Mar 2017 12:57:56 -0500, Bob Rideout  
<[log in to unmask]>
> wrote:
> >>
>  >>         > >
> >>  >         Even singers often didn't know
>  >> >         until those pieces of paper  appeared in the Met lobby.
> >> >
> >> >   >
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