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Subject: opera performance assessments (was Re: "Herodiade" at Carnegie Hall 1963 )
From: Estelle Gilson <[log in to unmask]>
Reply-To:Estelle Gilson <[log in to unmask]>
Date:Tue, 30 May 2017 10:15:17 -0700
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And what a perceptive voice oriented assessment of the performance.

Do opera/music critics write more more intellectually perceptive 
assessments of performances than opera/music reviewers?

Estelle




>Yes, apparently it was a loud and exciting night.  From H.C. 
>Schonberg's NYT review:
>
>" 'Herodiade' may be a tintype, but at least it does not lack 
>effective vocal moments.  and
>the singers last night took full advantage of those 
>moments.  Carnegie Hall was filled with
>some of the loudest, lustiest singing heard hereabouts in 
>ages.  Whether or not Massenet
>intended to have his tunes belted out so violently is another 
>matter.  Certainly the old
>singers who recorded the popular parts of the score did not blast 
>their way through it as did
>the principals on this occasion.
>
>"We all know Rita Gorr has a big voice.  Last night she was 
>positively earsplitting when she
>let loose.  The leading tenor part, that of John the Baptist, was 
>sung by Guy Chauvet.  He is
>a Frenchman who was making his New York debut, and he too seemed to 
>operate only on a
>fortissimo level.  His voice is hard and lacks any kind of sensuous 
>coloration, but the young
>man does have good lungs and is not in the least bashful about 
>showing them off.
>
>"In size of voice, Regine Crespin matched anybody in the cast.  But 
>in her case there was a
>significant difference.  She can mix timbres and dynamics and here 
>she did, throwing in
>some perfectly beautiful pianissimo singing on occasion.  Miss 
>Crespin is a dramatic soprano
>with something of Milanov in her sound and production.  The one weak 
>part of her vocalism
>is the somewhat jagged sound she produces at full voice above the 
>staff.  Otherwise she is a
>great singer, one of the really important ones of this decade."
>
>MDW
>
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