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Subject: What a difference a few performances make!
From: spp <[log in to unmask]>
Reply-To:spp <[log in to unmask]>
Date:Thu, 6 Apr 2017 00:25:27 -0400
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I attended the March 20th and April 4th performances of Fidelio at the Met Opera.  The March performance was ragged and  poorly conducted.  The overture sounded disjointed, as if the various musical themes did not fit together.  The singers were ok but did not seem very involved.  The audience reaction was tepid.  Tonight's performance was dramatically better because it worked better dramatically and musically.  The singers seemed perfectly comfortable in their roles.  The orchestra was magnificent as was the chorus.  Everything worked as a piece.  And what a treat to hear James Morris, who sounded quite good.  I did not hear much of his now customary wobble.  The sparse audience offered an enthusiastic ovation at the end.  
   Seems like the participants just needed more time to adjust to the production or maybe they needed more rehearsal time than was allotted????  
SPW

-----Original Message-----
From: Discussion of opera and related issues [mailto:[log in to unmask]] On Behalf Of OPERA-L automatic digest system
Sent: Thursday, April 6, 2017 00:00
To: [log in to unmask]
Subject: OPERA-L Digest - 5 Apr 2017 (#2017-349)

There are 6 messages totalling 268 lines in this issue.

Topics of the day:

  1. Bette and Joan (3)
  2. Renee Fleming and the end of opera, the NYT article.
  3. Anyone Need a Ticket to Eugene Onegin at the Met on Apr 12 ?
  4. The Diva Departs: Renée Fleming’s Farewell to Opera

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Date:    Wed, 5 Apr 2017 14:18:32 -0400
From:    David Kubiak <[log in to unmask]>
Subject: Re: Bette and Joan

Cossotto and anybody.  She was a great singer (and may still be concertiz= ing in Japan for all I know), but she is the only singer I have never read a kind word about from any colleague.

David Kubiak

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Date:    Wed, 5 Apr 2017 14:54:13 -0400
From:    R Stuart <[log in to unmask]>
Subject: Re: Bette and Joan

Everyone's missing the obvious casting - Bumbry as Davis and Verrett as=20=

Crawford. 

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Date:    Wed, 5 Apr 2017 14:39:23 -0700
From:    Donald Levine <[log in to unmask]>
Subject: Re: Renee Fleming and the end of opera, the NYT article.

I disagree.  In the United States, not Europe, the United States, very few people know who the hell Anna Netrebko is.  Quite a few know who Renee Fleming is.  Maybe not as many who knew Beverly Sills, Placido Domingo or Luciano Pavarotti, but I will bet you those who know who Renee Fleming is, outnumber Anna Nebrebko 10-1 and I think the article meant Americans, not Germans, not Italians, not Russians.

Donald

On Wed, Apr 5, 2017 at 10:41 AM, James Camner <[log in to unmask]> wrote:

> There is a fascinating and revealing article in the NYT today about 
> Fleming's approaching retirement:
>
> https://www.nytimes.com/2017/04/05/arts/music/the-diva-
> departs-renee-flemings-farewell-to-opera.html?_r=0
>
> The article must have pleased her, but maybe not, the writer explains 
> that she wasn't as big a star as Beverly Sills (completely true) but 
> does throw her a bone by saying she is a bigger star than Netrebko 
> (not true!). But I wonder if she liked being compared to June Clever?
>
> But those things aside it was flattering and realistic and it is one 
> of the only genuine assessments I've seen of the fading state of opera 
> today. The diva herself takes a swipe at the "Ivory tower" mentality 
> that has led to opera becoming culturally irrelevant (and irrelevant 
> it is today, completely and utterly, alas).
>
> In any case, an article in 2017 that mentions Adelina Patti (and not 
> in flattering terms) commands attention...
>
> On a personal note, Renee Fleming disappointed me every time I saw her 
> in roles like Marguerite, Manon, Desdemona, and the others except in 
> two roles, the Marschallin, and as Tatania (opposite Hvorostovsky, a 
> great evening!). The most memorable Fleming experience for me was 
> sitting in the Met cafeteria and hearing the rehearsal for her 
> Desdemona debut where she had a moment, singing the arching plaintive 
> music which caused everyone in the cafeteria to stop dead in their 
> tracks and look up, including Andrea Velis who was sitting near us (he 
> raised up his eyes in astonishment), it was so purely lovely. 
> Unfortunately, I never heard her do the same thing in a regular Otello 
> performance (or in anything else) and that for me sums up the 
> too-cautious Fleming, so much potential that was never, IMHO, quite 
> fulfilled. I always felt the diva was holding back a little, easing up 
> on the throttle when she should have opened it up, but she has had a 
> great career unquestionably and if she isn't the last opera star, she may well be the last AMERICAN opera star...
>
> James Camner
>
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Date:    Wed, 5 Apr 2017 18:23:13 -0400
From:    Dennis Ryan <[log in to unmask]>
Subject: Re: Bette and Joan

Hi, Y'all!  
    The very obvious has been  totally ovelooked.  Bette should be played by Beverly Sills, who DID  actually play her on the opera stage in a funny sort of way. 
    Joan?  I like the idea of Peter Gelb in drag. 
    Best, 
    Dennis Ryan 
 

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------------------------------

Date:    Wed, 5 Apr 2017 18:25:02 -0400
From:    Alain Letort <[log in to unmask]>
Subject: Anyone Need a Ticket to Eugene Onegin at the Met on Apr 12 ?

Dear Listers,

Months ago my partner Lynne Price and I purchased, as part of our
=93create-your-own=94 subscription, tickets to =93Eugene Onegin=94 at the=

Metropolitan Opera on Wednesday, April 12, at 7:30 p.m.  This performance=

originally had poor Dmitri Hvorostovsky cast as Onegin, but after Mr.
Hvorostovsky was forced to cancel for health reasons, he was replaced by Mariusz Kwiecien for the first half of the run and by Peter Mattei for th= e second half of the run.

This performance of Wednesday 12 April will be the first of the series su= ng by Peter Mattei.

Unfortunately, my partner, Lynne Price, was just taken ill with pneumonia=

and her doctor has grounded her.  Not only has she (the doctor) forbidden=

Lynne to travel for the next few weeks, she also ordered her to cancel he= r participation in a choral concert she was scheduled to sing in with the C= ity Choir of Washington in early May.

Lynne is absolutely devastated at missing both the opera and the choral concert, and has asked me to get on to Opera-L and inquire whether any of=

the Listers would be interested in her ticket?  (I am keeping mine and wi= ll make the trip up to New York as scheduled.)=20

It is a great orchestra seat, V-111, with a face value of $241.  I have t= he adjoining seat, V-110.  V-110 and V-111 are located right in the center o= f row V.

Please let me know if you are interested.

Thanks and cheers,

Alain

Alain Letort
Washington, D.C.
[log in to unmask]

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------------------------------

Date:    Wed, 5 Apr 2017 23:11:46 +0000
From:    Lloyd William Hanson <[log in to unmask]>
Subject: The Diva Departs: Ren=?utf-8?Q?=C3=A9e_Fleming=E2=80=99s_?= Farewell to Opera

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End of OPERA-L Digest - 5 Apr 2017 (#2017-349)
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