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Subject: Re: To This We've Come
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Tue, 4 Apr 2017 12:36:12 -0400
Content-Type:text/plain
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I still have the cast list from that performance.  Imagine!  Uhde had such a distinctive sound. 

I remember the Met Wozzeck broadcast with him and Steber which I taped and played back

again and again.  About Dunn:  a high school friend and I would spend our summer vacations

in NY and visit the Amato Opera while they were on Bleecker Street.  I have the programs for

Boheme and Aida and Dunn is  on the Amneris list.  I may have seen her there before

the Met.   Those were the days!  BTW Uhde was a great artist who was not above singing

Melot at the Met.


Angelo.



> On April 3, 2017 at 9:17 PM Vesna Danilovic <[log in to unmask]> wrote:
> 
>     Wow, what a cast! The Met archives show that this was on March 25, 1961. I also noticed that Mignon Dunn appeared as one of Serving Women that night, around the same time when she sang Amneris, Azucena, Brangaene ... talk about luxury casting!
> 
>     So glad to see Uhde's name. His '50s Bayreuth Dutchman is a favorite of mine.
> 
>     Vesna
> 
>     On Mon, Apr 3, 2017 at 7:23 PM, ANGELO MAMMANO <[log in to unmask] mailto:[log in to unmask] > wrote:
> 
>         > > 
> >         The first time I attended a  performance at the Old Met apart from as a
> > 
> >         standee was  Elektra with Borkh and with cast members Rysanek  Madeira,
> > 
> >         Vinay and Uhde.  I was transfixed throughout and it remains today as one of
> > 
> >         the most thrilling Elektras I have ever heard.  Some writer has said that the
> > 
> >         role should not sound easy for the singer.  It should sound like she is giving
> > 
> >         everything she has and might not make it
> > 
> >             > > > 
> > >             On April 3, 2017 at 3:20 PM Vesna Danilovic <[log in to unmask] mailto:[log in to unmask] > wrote:
> > > 
> > >             She was before my time, but Borkh is my all-time favorite Elektra on the
> > >             recordings. There are a few of her live performances & her studio with
> > >             Boehm, all worth hearing but, if I would have to choose the most thrilling
> > >             Elektra recording ever, it would be both her Carnegie and Salzburg
> > >             performances with Mitropoulos in the late 1950s. The supporting cast and
> > >             Mitropoulos are terrific on both occasions. She is still alive, I believe
> > >             living in a retirement home somewhere in Germany, and hope she knows she
> > >             has not been forgotten by many.
> > > 
> > >             Best, Vesna
> > > 
> > >             On Mon, Apr 3, 2017 at 12:37 PM, Estelle Gilson <[log in to unmask] mailto:[log in to unmask] >
> > >             wrote:
> > > 
> > >                 > > > > 
> > > >                 Yes, Bob.
> > > > 
> > > >                 Borkh's Elektra was indelible !
> > > > 
> > > >                 At 06:33 AM 4/3/2017, you wrote:
> > > > 
> > > >                     > > > > > 
> > > > >                     David
> > > > > 
> > > > >                     I assume that "Mein Kind ist tod" is the Inge Borkh version, and it is
> > > > >                     sensational. For how many years did I consider Eileen Farrell's the
> > > > >                     standard by which the aria should be judged? And for good reason.
> > > > > 
> > > > >                     But hearing Inge Borkh brought it to a new level of intensity. She was
> > > > >                     a great, great singer whose presence matched her vocalism, and this
> > > > >                     may be her most impressive vocal/dramatic moment. I did see her
> > > > >                     Elektra in 1961, however, and I'm still not over it.
> > > > > 
> > > > >                     Brava!
> > > > > 
> > > > >                     Bob
> > > > > 
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