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Subject: Re: Christa Ludwig and Vishnevskaya
From: Estelle Gilson <[log in to unmask]>
Reply-To:Estelle Gilson <[log in to unmask]>
Date:Sun, 2 Apr 2017 07:32:54 -0700
Content-Type:text/plain
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text/plain (590 lines)


Yes, Ludwig and Winterreise at the MET with Levine

And a comment on Vishnevskaya  -  She sang Aida at the MET in 
1961.   Jon Vickers  was Rhadames.   Mignon Dunn was Amneris.   I had 
a memorable experience.   .  Harold Schonberg  didn't like 
Vishnevskaya' - , particularly her vocal production .  He devoted 
three paragraphs to describing them and then turned to his 
disappointment in Vickers' Radames - his first at the MET.  .
,
Ah, for  the good old days !

Estelle




At 04:20 PM 4/1/2017, you wrote:
>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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