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Subject: Re: News about ROH "Don Carlo" May 29 matinee
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Wed, 31 May 2017 14:43:36 -0700
Content-Type:text/plain
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The bigger problem was that by 1955, Aida really was no longer Milanov's
role.  I know she sang a few more before she retired, but to go on
unscheduled was not the best decision.  Tosca on the other hand, not only
was in her rep for at least 20 years, maybe more, it was more suited to her
late career voice then Aida.  Sometimes its easier to change the opera.
When Nilsson cancelled an Elektra in 1971 I believe, Bing changed the opera
and Christa Ludwig sang her one and only Leonore in Fidelio at the Met.  I
know, I was there!

Donald

On Wed, May 31, 2017 at 12:25 PM, tom ponti <[log in to unmask]> wrote:

> From what I read it seems that in one season Tebaldi had to cancel an
> Aida. Bing, it seems, called Milanov  and asked her to perform that night.
> Milanov asked who was supposed to be the Aida. When Bing told Zinka it was
> Tebaldi, Milanov told Bing she was not a cover soprano. Bing, I suppose
> suspecting Zinka's reaction, offered to change the opera that night so she
> could perform her first Tosca at the Met, which pleased Zinka and most of
> the audience. Zinka was a Diva-LOL! I think, and hope, I remembered that
> story correctly.
>
>
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]>
> on behalf of Les Mitnick <[log in to unmask]>
> Sent: Wednesday, May 31, 2017 3:11 PM
> To: [log in to unmask]
> Subject: Re: [OPERA-L] News about ROH "Don Carlo" May 29 matinee
>
> You make a good point which more than illustrates how times have changed.
> Think about it:  the year that Maria Callas returned to the Met for those
> two last Toscas in March, 1965.  He she chickened out and cancelled, there
> was Price, Milanov (though near the end), Tebaldi, Crespin, Nilsson,
> Rysanek, Kirsten, and probably still others I can't even think of offhand.
> It worked the same way with the tenors, what with Tucker, Corelli,
> Bergonzi, Fernandi, and again others I can't put into focus.
>      Very simply, those kinds of powerhouse voices are simply no longer in
> such abundance.  They've become a downright rarity, if not an anachronism
> altogether.
>                                                  Les/Chicago
>
> > On May 31, 2017 at 10:51 AM Donald Levine <[log in to unmask]> wrote:
> >
> >
> > You should have been on Facebook - it was all over, especially among
> > friends of some of the principals.  Evidently, Covent Garden doesn't hire
> > covers.  Their feeling is that unlike the big American houses which are
> > isolated and far apart, they can have replacements close fairly quickly.
> > In this case, it didn't work.  If I were the casting director of the
> > theatre, and I got called out for this, I would damn well make sure my
> > Celestial Voice could sing Elisabetta if necessary, my Lerma,  DC in a
> > pinch and my Frate either Filippo or the Inquisitor.  In 1959 at the Met,
> > Martina Arroyo, later a great Elisabetta, was the Celestial Voice &
> Leonie
> > Rysanek was the Elisabetta.  This is a sad thing, both for the people who
> > came, the singers, and especially for Kristin Lewis, no singer wants this
> > to happen to him/her.  Posa's are (sorry) fairly easy to replace, but
> > Elisabetta, Eboli, DC and Filippo are not.  They should have been
> prepared.
> >
> >
> > One thing surprised me, I know that in NYC, there are probably at least
> 20
> > sopranos around who could step in (no, not stars, but younger singers on
> > the circuit who haven't been discovered yet and some older ones too - all
> > the managers know who they are) and I would assume London is similar.
> Its
> > been said they didn't want to take a chance on a nobody but really,
> > occasionally nobodies turn out to be somebodies.
> >
> > Look, I wasn't there and its unfair to second guess the professionals who
> > run ROH but there is the element of comic opera in all of this.  It was
> an
> > unfortunate day for all.  The old days when the Met had at least two
> covers
> > on hand for major roles don't exist anymore.  The days when a Milanov
> could
> > step in for a Tebaldi, a Kirsten for a Price, a Tucker for a Corelli,
> well,
> > that's history.  With scheduling the way it is today and the mobility of
> > the current generation of singers, I guess people are just not lying
> around
> > waiting to go on.
> >
> > Donald
> >
> > On Wed, May 31, 2017 at 12:57 AM, Pattie Kealy <[log in to unmask]> wrote:
> >
> > > We just got back to Vancouver from a long trip, which ended with five
> days
> > > in London. Saw
> > > "Don Carlo" on May 26 and "Elisir" on May 27 -- very pleased with
> both. We
> > > spent our last
> > > morning on May 30th strolling around Covent Garden and, as the doors to
> > > the ROH were
> > > open, we stepped into the foyer and started chatting with a staff
> member
> > > there. I was
> > > telling her what we'd seen and she told us that they hadn't been able
> to
> > > give a complete
> > > performance of "Don Carlo" at the May 29 matinee because Kirstin Lewis
> > > (replacing
> > > Stoyanova for the entire run) became seriously ill an hour before
> curtain
> > > and was taken to
> > > hospital. They could not get a replacement for her so they performed
> only
> > > the scenes in
> > > which Elisabetta does not appear (which took 80 minutes) and then gave
> > > everyone a
> > > refund! How strange! I couldn't find any mention of this on line just
> now.
> > > I believe that was
> > > the last performance of "Don Carlo."
> > >
> > > I was very glad to be able to see Bryan Hymel live, and although I was
> > > sorry that Ludovic
> > > T├ęzier had to cancel, I was delighted with his replacement, German
> > > baritone Christoph Pohl
> > > -- very fine singing and acting. Operabase.com shows that he mostly
> > > performs in Dresden.
> > >
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