LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

Subject: Re: Question to those with the longest experience
From: Geoffrey Riggs <[log in to unmask]>
Reply-To:Geoffrey Riggs <[log in to unmask]>
Date:Wed, 24 May 2017 03:11:20 -0400

text/plain (101 lines)

It's regrettable, but somehow Mr. Winter's post that was evidently meant for
the Forza thread got posted inside this "longest experience" thread instead.
 Not sure how that happened, but it's started a derail in which Mr. Ferraro
inadvertently picked up the Forza subject from Mr. Winter and also posted
his own thoughts on Forza inside this thread too.  To get this thread back
on track, I'm going to repeat here the last on-topic post in this thread --

On Tue, 23 May 2017 10:46:06 -0500, kurt youngmann <[log in to unmask]> wrote:

>This is true. 
>I saw all of Bjoerling’s Lyric roles. In those days I always sat in the
top balcony and never 
had the slightest difficulty hearing him.
>Wasn’t it Bidu Sayao who said that her ability to project made it
possible for her small 
voice to be heard over the orchestra?


(G.R.) I actually know one writer and record collector who saw all the
luminaries of the '50s, 
including Bjoerling, but who then raised a family and missed the '60s and
'70s almost entirely. 
So this question for Mr. Youngmann is based on real experience: Please,
since you were 
lucky enough to actually see Bjoerling, can you tell us if you were also
lucky enough to 
actually see Bergonzi later on? If so, could you compare for us the relative
impact of the two 
in the house? Also, could you compare their relative impacts in the top
register as well?

Thanks very much!




On Tue, 23 May 2017 12:22:46 -0400, Max D. Winter <[log in to unmask]> wrote:

>"I might seriously consider... cutting the inn scene to the bare bone
>(retaining Don Carlo's "Son Pereda" and Leonora's few lines of prayer,
>thus making sense of Leonora's "La mia orrenda storia" etc. lines in
>the next scene, but dispensing with most of the rest), snipping out
>the camp scene altogether (yes, and I might even find some way of
>cutting out Preziosilla from the entire opera altogether or just
>leaving her a comprimario), and perhaps having Guardiano and Melitone
>alone at the start of the last act with nothing of the soup kitchen
>left in."
>Pity you weren't around back then to give Verdi the benefit of your
>"...less shocking, I feel, than leaving out the "Sleale", which is the
peripeteia of the whole 
>drama, but which was an (outrageous) conventional discard in too many
productions for too 
>much of the past century!"
>Well, at the Met at least, the "Sleale!" duet has been included regularly
since the 1952 
>revival.  (Apart from the 1957 performance which, as I noted, might have
left "Sleale" out 
>because of Gino Penno, the tenor; Tucker, Corelli and Bergonzi all sang
it.)  That's 65 years 
>now, so I think we are a bit past complaining about its omission. 
>Cheers -
>OPERA-L on Facebook:
>To UNSUBSCRIBE, send a message to [log in to unmask]
>containing only the words:  SIGNOFF OPERA-L
>To stay subscribed but TURN OFF mail, send a message to
>[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
>Modify your settings:

OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager