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Subject: Re: Christa Ludwig and Vishnevskaya
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Sun, 2 Apr 2017 10:49:31 -0400
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Hi Estelle

That Aida was quite something. Despite Schonberg's dislike of
Vishnevskaya, she had an enormous success. I remember three
things about her performance - she was a stage creature of great
beauty; her pianissimi were incredible and her Triumphal Scene
was the equal of Nilsson and Leonie in sheer volume, but far more
expressive and idiomatic than either of the others. She was, in a
word, phenomenal.

Vickers sang beautifully, but it wasn't very Italian, either visually or
vocally, and Mignon Dunn was fine until the Judgment Scene, which
was a screamfest, the tessitura among the most uncomfortable
vocal fits in my experience. If you don't have an easy Ab, A and
especially Bb, you cannot sing Amneris. A few years later I heard her
sing a magnificent Dalila. Roles do matter!

Bob

On Sunday, April 2, 2017, Estelle Gilson <[log in to unmask]> wrote:

> 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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