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Subject: Re: Merrill's Per me giunto
From: kurt youngmann <[log in to unmask]>
Reply-To:kurt youngmann <[log in to unmask]>
Date:Fri, 19 May 2017 06:50:36 -0500
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Bing wasn’t averse to cutting out chunks of operas. He demonstrated this in the Met’s “Forza” early in his Met tenure when he butchered the opera by dropping the Hornachuelos scene (Act II, scene 1) entirely and replaced it with the overture following Act I. I’ve never found an adequate rationale for this. Cutting the scene deprived us of hearing the great Leonard Warren sing the “Son Pereda” aria.

I have many complaints about Bing’s decisions. One glaring example: wasting George London and Eleanor Steber in the English language “Arabella” in what coulda/shoulda/woulda been a performance for the ages if he’d have left it in the original German.

> On May 18, 2017, at 10:52 PM, Vesna Danilovic <[log in to unmask]> wrote:
> 
> I heard that it was the Met's decision and that Merrill didn't know the
> exact reasons for this cut at the time. A jarring omission because he was
> indeed in glorious voice, as heard in the ’50 broadcast.

Bjoerling didn’t sing the Act III aria anywhere to the best of my knowledge. According to his long-time recital accompanist (whose name I can’t remember at the moment) he was basically lazy. There has always been speculation about whether he’d have included it in the Solti recording.We’ll never know, of course, since he died before he had the chance to record it. If I were a gambling man, my money says Solti would have insisted on it.
> 
> Another mystery for me is the omission of Riccardo's 3rd act aria when
> Bjoerling magnificently sang the role in that legendary ’40 BALLO broadcast.

Kurt Youngmann


“Mi casa es mi casa!” - Unattributed


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