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Subject: Re: Christa Ludwig
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Sat, 1 Apr 2017 16:20:34 -0700
Content-Type:text/plain
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text/plain (560 lines)


It is a great opera.  I can't believe we waited 10 years for this revival.
I seem to remember it every few seasons back in the 60's, 70's and 80's.
As for Ludwig, I was at that one and only Leonore and I still remember it
as one of the greatest performances of any opera and role ever.  Period.
Ludwig can be an old biddy, curmudgeon, whatever, I love her.  She was one
of the greatest artists I ever heard and a glorious voice to boot.  I ran
to all of her recitals.  Two others whose recitals I never missed were
Galina Vishnevskaya (Slava was always the accompanist) and Regine Crespin.

Donald

On Sat, Apr 1, 2017 at 1:47 PM, Bob Rideout <[log in to unmask]> wrote:

> 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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