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Subject: Christa Ludwig
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sat, 1 Apr 2017 16:47:52 -0400
Content-Type:text/plain
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text/plain (490 lines)


Nina

I have several great, great memores, including her one Met
Fidelio, and the Dyer's Wife, but my fondest is also from the
Musikverein.

A Sunday morning Brahms concert with her and Karl Bohm featured
the Haydn Variations, the Alto Rhapsody, which reduced me to sobs,
and the Third Symphony. It was around 1975, a magnificent
concert, and the Alto Rhapsody remains my favorite among all the
music I heard her perform. Oh, and by the way, it was the Vienna
Philharmonic, of course. I was not the only one who "lost it". I saw
a lot of handkerchiefs that morning

Many years later at her Carnegie Farewell, I again made a fool of
myself when she sang "Ich grolle Nicht". She was somethin'.

Speaking of Fidelio, I enjoyed today's Met performance, It is a great
opera, and it was well served.

Bob

On Saturday, April 1, 2017, Nina Gettler <[log in to unmask]> wrote:

> I have no doubt that Christa Ludwig loved much of the music she sang. But
> I heard her say many times that she resented having to subordinate her life
> to singing and that, if she had it to do over again, she would never choose
> a career as a singer.  Because she was extremely disciplined, she went home
> and had a cup of tea when she would have liked to go out with her friends.
> She invented an entire "whistling" language to communicate with her son on
> days that she was singing because she did not speak on those days. Her
> singing always came first.
>
> Perhaps she was pushed into a singing career because both of her parents
> were singers and this is not something that she chose for herself.
>
> I'm certainly glad that she did have a singing career. If I had to give up
> every single memory of a musical event that I have attended but one, it
> would be the evening in 1978 or 1979 when she sang "Die Winterreise" for
> the first time at the Musikverein in Vienna.
>
>
> Nina Gettler
> Graz, Austria
>
>
> On 4/1/2017 10:41 AM, OPERA-L automatic digest system wrote:
>
>> There are 5 messages totalling 518 lines in this issue.
>>
>> Topics in this special issue:
>>
>>    1. Respighi
>>    2. Comforting Quotes (2)
>>    3. I was not kidding you.
>>    4. Grigolo last nigh In "Hofmann" L.A. Opera
>>
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>>
>> Date:    Sat, 1 Apr 2017 11:59:40 -0400
>> From:    Ariane Csonka <[log in to unmask]>
>> Subject: Respighi
>>
>> Has anyone seen the NYC Opera La Campana Sommersa?  I loved it,
>> especially M=
>> ichael Chioldi, the Pan satyr and the projections.
>>
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>> ------------------------------
>>
>> Date:    Sat, 1 Apr 2017 12:12:01 -0400
>> From:    Jon Goldberg <[log in to unmask]>
>> Subject: Re: Comforting Quotes
>>
>> Hogwash.
>>
>> Performing is a JOB, and a damned hard one. Yes, of course, most performe=
>> rs are doing=20
>> what they love, and loving what they do (me included), but even so, it's =
>> not always 100%=20
>> bliss, by far. I do love my work, and do feel very lucky to be a performe=
>> r and music=20
>> director and coach, etc. But I can't tell you how many moments in my life=
>>   are also spent=20
>> reminding myself of that because I'm NOT loving the music I'm working on =
>> or the people=20
>> I'm working with, or I'm tired of the long rehearsal/teaching days, or I =
>> really don't feel like=20
>> having to go do the show that day after doing it for months and months, e=
>> tc.=20
>>
>> Ludwig's job is to make you believe that she loves what she is singing, a=
>> nd that she is=20
>> always connected emotionally 100% to the music, etc. Ludwig did her job e=
>> xtremely well.=20
>> And yes, of course, most performers will not go out on a limb to say that=
>>   they dislike a=20
>> particular role, or composer, or colleague, etc, because they do want to =
>> make things seem=20
>> like it's all for the "art" - but I can guarantee you that no performer l=
>> oves everything they=20
>> do. It''s just that we learn to keep the grumbling out of the public eye =
>> when possible. A=20
>> renowned singer certainly doesn't want to telegraph that the music she's =
>> singing says=20
>> nothing to her - logic dictates that an audience wouldn't put up with tha=
>> t attitude for very=20
>> long. You want the job, you want the fame, you sing the roles. And hopefu=
>> lly you like them,=20
>> but too bad if you don't.=20
>>
>> The result one sees and hears is the "art." And yes, when a performer is =
>> truly connected to=20
>> what they're doing, and truly expressing from their soul, it's an amazing=
>>   feeling. But the=20
>> skill - the training - the job - of a consummate performer is to create t=
>> hat experience for=20
>> the audience even when it's simply not true.=20
>>
>> Sometimes we need to stop kvelling over the grand illusions we have for "=
>> Great Operatic=20
>> Artists" (or performers in any of the arts) and remember that sometimes i=
>> t's really just=20
>> about the paycheck, and that part of the hard work performers do is to ma=
>> ke it seem all=20
>> sunshine and roses. I'd surely like to think that Ludwig *did* enjoy much=
>>   of what she sang=20
>> -but the idea that she made you think she did even if she didn't - THAT's=
>>   the ultimate=20
>> artistry she had. ;-)
>>
>>
>> On Sat, 1 Apr 2017 12:41:31 +0000, tom ponti <[log in to unmask]>
>> wrote:=
>>
>>
>> I find it hard to believe that a great Operatic Artist like Christa Ludw=
>>>
>> ig would have spent=20
>> many years preparing for, and many more performing in an art form she had=
>>   little regard=20
>> for. Her supposed quote is total nonsense and I do not believe she ever m=
>> ade such a=20
>> stupid statement.
>>
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>> ------------------------------
>>
>> Date:    Sat, 1 Apr 2017 13:06:12 -0400
>> From:    donald kane <[log in to unmask]>
>> Subject: Re: Comforting Quotes
>>
>> I never ignore GCR, because I like what he does.  An automatic delete only
>> means that you don't know or care what you're missing.
>>
>> We can all "say what we like" at any age.
>>
>> Christa Ludwig was a thorough musician and singer, not primarily an
>> "Operatic
>> Artist", as Mr.Ponti, labels her. It is wrong to malign a singer in her
>> nineties if she prefers to be remembered as a distinguished interpreter of
>> Brahms, Mahler, Schubert and Strauss lieder, rather than the superb
>> Ortrud,
>> Octavian, and Fricka that she also happened to have been. One of my few
>> complete CARMENs on lp is with Ludwig, sung in German; and her Lady
>> Macbeth
>> with Sherrill Milnes is a "keeper" too.
>>
>> Why can't she, and I, or anyone, love "opera" as an art form, a little
>> less
>> than we do the art of music itself?  It's not a disqualification for
>> Opera-L membership is it?
>>
>> dtmk
>>
>
>
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>> ------------------------------
>>
>> Date:    Sat, 1 Apr 2017 10:21:43 -0700
>> From:    estelle gilson <[log in to unmask]>
>> Subject: Re: I was not kidding you.
>>
>> I think it says more about the local public being sold a bill
>> of  goods about an original, unique ,modern and so called "feminist"
>> reinterpretation.      They were likely also applauding
>> themselves  for having been there.
>>
>> Estelle
>>
>> And the fact the audience applauded?  I think that says more about
>>> how our basic decency and morality has erode over the last few
>>> decades (duck everyone, because here it comes) and as most recently
>>> evidenced in the recent US elections.
>>>
>>>
>>>
>>> -----Original Message----- From: Charles Handelman
>>> Sent: Friday, March 31, 2017 1:00 AM
>>> To: [log in to unmask]
>>> Subject: [Norton AntiSpam]I was not kidding you.
>>>
>>> http://www.cltampa.com/arts-entertainment/performance/articl
>>> e/20856157/turandot-gets-the-ending-it-deserves-and-its-bril
>>> liantly-feminist
>>>
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>> ------------------------------
>>
>> Date:    Sat, 1 Apr 2017 17:41:33 +0000
>> From:    Miguel A De Virgilio <[log in to unmask]>
>> Subject: Grigolo last nigh In "Hofmann" L.A. Opera
>>
>> This was the 4th time I hear Grigolo in person: twice in recital (Broad
>> Sta=
>> ge, Santa Monica) and twice in opera (L..A. Opera: R&J  and Hofmann)
>> He has made significant improvements since the first time I hear him
>> live. =
>> His upper register is more secure and  "meaty" and his pianissimos are
>> mor=
>> e audible.
>> However his middle, when singing full voice had acquired a characteristic
>> t=
>> hat I can describe as full  " bubbles" as a carbonated drink.
>> In the acting department he has received kudos for his  "acrobatics"
>> displa=
>> y such as walking while squatting and singing at the same time.
>> It should be noted , that his "acrobatic" predecessor Luis Lima while
>> singi=
>> ng Nemorino in San Francisco (a few decades ago) did the vertical and
>> walke=
>> d with his hands
>> while singing (of course not Una Furtiva).
>>
>> Miguel de Virgilio
>>
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>> ------------------------------
>>
>> End of OPERA-L Digest - 1 Apr 2017 - Special issue (#2017-329)
>> **************************************************************
>>
>>
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