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Subject: Re: Merrill's Per me giunto
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Fri, 19 May 2017 22:39:50 -0500
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I concur with anyone who despises that huge horrible Act II cut in the Met's "Forza del Destino" performances, which unfortunately was still taken as late as 1968, when Leontyne Price appeared in it at the Met.  It takes away the great baritone aria, as well as the only really decent music for the gypsy.
Moreover, the placement of the overture between the first two "acts" is insane.  It's unfortunate that all of Milanov's Forza broadcasts are marred by this disfiguring cut.  Whoever made the decision to present the opera this way is guilty of nothing short of "infamita".
> On May 19, 2017 at 8:49 AM "Max D. Winter" <[log in to unmask]> wrote:
> 
> 
> I don't think you are being fair to Bing.  The cuts in Forza, while unfortunate,  were not unusual 
> in Germany at that time (where Bing would have become familiar with the opera) and were 
> probably made by the conductor, Fritz Stiedry, in consultation with Bing and the director, 
> Eugene Berman.  As for Arabella, it was completely unknown to Met audiences at the time, as 
> well as being a very text-heavy opera, and no doubt was done in English to make it more 
> accessible and to ensure its success.  The Met's revival of "Cosi fan tutte" in the early 50s 
> was also done in English, probably for the same reasons.
> 
> It is very easy to judge and criticize these kinds of decisions at this far remove.  Better, I think,  
> and fairer, to give Bing credit for reviving "Arabella" and "Don Carlo" and "Cosi" at all.
> 
> MDW
> 
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