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Subject: Re: Cetra CD reissues. Some more.
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Sat, 8 Jul 2017 00:25:18 -0500
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Unfortunately, I was never really well acquainted with the Cetra catalogue because I was too young.  My first great soprano was Renata Tebaldi.  When I was twelve, I heard her sing the two Butterfly arias on The Voice of Firestone (I believe), and from that time on she was one of my top, if not THE top soprano.  I knew Callas from reading about her escapades in the newspapers and seeing her on the evening news for something or another.  I really hadn't heard her sing.  

     I bought Tebaldi's stereo Boheme, Butterfly, Tosca, Fanciulla, Manon Lescaut, and a few years later the Trittico.  I gradually (working after school) acquired her Desdemona, Adriana, Margarite (in Mefistofele), Madelena (in Chenier) and even her Traviata (which I also liked but was too dumb to realize that the tenor Gianni Poggi could have been greatly improved upon).  I now have all of those recordings on CD and I listen to them all the time.  To me, it was Tebaldi whose voice, phrasing, and sheer beauty of sound, was ideal for the repertoire she sang.   I liked del Monaco and Bergonzi on those recordings (though I thought that Del Monaco sounded like an Otello when he sang on the Manon Lescaut recording.  I even love the very late 1968 Tebaldi La Wally, on which she's in beautiful autumnal condition.   I mean ------- the woman REALLY could sing those kind of operas like no one else.  Alas, I found the very late 1970 Ballo too late for comfort.  The role of Verdi's Amelia was by that time really beyond her abilities.

     But I cherish these Tebaldi recordings for many reasons.  Despite her histrionic shortcomings, she sang with great refinement, and with total commitment.  I still find her recordings of her complete operas from the middle 1950s to that 1968 La Wally to be models of their kind.  We'd all be poorer without them.  I've yet to hear a Puccini and the the veristas sung as idiomatically as Tebaldi did.  She was a gem during that period and how grateful I feel that London/Decca recorded her so extensively.  I think she deserves to be even better remembered and revered than she already is.

> 
>     On July 7, 2017 at 5:12 PM Donald Levine <[log in to unmask]> wrote:
> 
>     I would just like to add a few things to what Albert has already said. I
>     have always loved that Fritz recording. Tassinari and Tagliavini are
>     superb as are Pini and Meletti. Tassinari has always been one of my
>     favorites. I could never understand why she is not better known except
>     that perhaps she came along at the wrong time. When she began her career,
>     Muzio was still around in Italy then Favero and Caniglia (Favero born like
>     Tassinari in 1903 and Caniglia in 1905) came and finally Tebaldi. What was
>     the poor soprano to do? It was a voice that fit nicely between a big full
>     lyric and a spinto. Then there was the move from soprano to mezzo in the
>     mid fifties. Nonetheless, a marvelous soprano and artist. I always
>     considered her a better, more important singer than her husband.
> 
>     As for the great Renata (Tebaldi, not the other one), I have always loved
>     the Fanciulla recording and thought it her greatest achievement on disc.
>     Of course nearly prime Del Monaco and prime MacNeil are icing on the cake.
>     If I had to pick my desert island Tebaldi it would be the Fanciulla and her
>     1955 aria recital where she sings the two big scena's from Cecilia and the
>     Porgi amor and Dove sono. There is something about a great Italian voice
>     in Mozart that really turns me on. I'd give up some of the style to have
>     something as consistently gorgeously vocalized and sunny (as in the sound
>     of a real Italian spinto) as these performances. Around the same time,
>     maybe a year before, she recorded two song recitals that are to die for.
>     Add Lungi dal caro bene and O leggiadri occhi belli to my desert island
>     list.
> 
>     One more thing about the Fanciulla, a couple of years ago I was sitting in
>     the back yard of a friends house in the foothills of the Sierra, my
>     earphones on, a gorgeous sunny day, listening to this recording. When it
>     ended, I was bawling like a baby. Fanciulla does that to me - Butterfly
>     does the same thing. Another favorite recording - the Serafin conducted
>     Butterfly with Tebaldi, Bergonzi, Cossotto & Bordello.
> 
>     Donald
> 
>     On Fri, Jul 7, 2017 at 1:18 PM, albert innaurato <
>     [log in to unmask]> wrote:
> 
>         > > 
> >         Geary and Mammano are the smartest about these recordings it seems to me.
> >         It's amazing we get a Callas fetish making a preposterous claim, but Geary
> >         was the first to acknowledge that a composer was conducting his own work
> >         with a very apt cast (The Callas Traviata is THE GREATEST? With its
> >         mediocre tenor and more than gruff baritone and a dead conductor on the
> >         podium, what could that poor fat lady DO?). Tassinari and Tagliavini are
> >         ideal in L'Amico Fritz, and Pini and Meletti are excellent as Beppe and
> >         Fritz (no longer a rabbi in 1942!).
> > 
> >         Mammano is right that really these recordings are most wonderful in the
> >         verismo operas. All of the singers had grown up with verismo and worked
> >         with the many still living composers of the operas. The Trittico is easily
> >         the most colorful and compelling overall recording of the three operas.
> >         It's not only a matter of queen fetish singling out a particular lady for
> >         praise but someone with a brain understanding how much these works depend
> >         on give and take delivered with utter certainly by singers with exactly the
> >         same comfort with and understanding of the rhetoric of the pieces. And the
> >         casts are very strong and sometimes wonderful from Petrella's sexy, sad
> >         Georgetta to Taddei's marvelous Gianni Schicchi to Carteri's touching and
> >         beautifully sung Suor Angelica. But the other characters in all these
> >         recordings are wonderfully presented and the level of singing is high. And
> >         this style is hard to conduct. it is notable for small moments that
> >         accumulate into bigger statements. The dialogs and apparently casual
> >         interchanges must have a naturalness, a rightness of emphasis and
> >         transitions (often brief) must be well judged for the big outbursts to seem
> >         in balance and convincing. The three conductors might not have been world
> >         beaters but they have absolute authority in this style.
> > 
> >         (For a world beater one can turn to the remarkable Clemons Krauss broadcast
> >         from Stuttgart which not only has the same sureness of touch even in German
> >         but a master's attention to small details).
> > 
> >         The Fanciulla seems to me a central performance, despite small cuts.
> >         Basile, also not a world beater, also understands how the opera needs to
> >         move, he has tremendous thrust and energy and the kind of control that
> >         creates a sense of inevitable movement. Gavazzi is fantastic for the color
> >         and intensity of her Minnie; her singing is also very strong throughout the
> >         range. The gruff Savarese, a loss as Germond Pere, is perfect as Rance and
> >         his scenes with Gavazzi are sizzling. The tenor has an iffy middle but a
> >         ringing top and tremendous ardor.
> > 
> >         Little by the little the certainty of touch, the sureness in the style of
> >         this recording, is lost in the '50's although no one would dismiss the
> >         Mitropoulos account, and only the Callas freak would dismiss the thrilling
> >         Tebaldi performance. Still, the raw energy and life or death stakes of the
> >         Cetra performance is I think closest to the real thing. With the awful EMI
> >         despite the great Nilsson (killing herself to get it right but fish out of
> >         water), secondary support, and the Nazi Von Matecic conducting, it's
> >         missing instruments ("I have two great loves Adolf and Music", Walter
> >         Legge) we start to get far afield, something that continues. (Although it's
> >         interesting to hear the Sinopoli and Thielemann (!) broadcasts).
> > 
> >         Oh, well, a waste of time, I assume and just my minor opinions.
> > 
> >         On Fri, Jul 7, 2017 at 2:02 PM, albert innaurato <
> >         [log in to unmask]> wrote:
> > 
> >             > > > 
> > >             Geary and Mammano are the smartest about these recordings it seems to me.
> > >             It's amazing we get a Callas fetish making a preposterous claim, but
> > >             Geary
> > >             was the first to acknowledge that a composer was conducting his own work
> > >             with a very apt cast (The Callas Traviata is THE GREATEST? With its
> > >             mediocre tenor and more than gruff baritone and a dead conductor on the
> > >             podium, what could that poor fat lady DO?). Tassinari and Tagliavini are
> > >             ideal in L'Amico Fritz, and Pini and Meletti are excellent as Beppe and
> > >             Fritz (no longer a rabbi in 1942!).
> > > 
> > >             Mammano is right that really these recordings are most wonderful in the
> > >             verismo operas. All of the singers had grown up with verismo and worked
> > >             with the many still living composers of the operas. The Trittico is
> > >             easily
> > >             the most colorful and compelling overall recording of the three operas.
> > >             It's not only a matter of queen fetish singling out a particular lady for
> > >             praise but someone with a brain understanding how much these works depend
> > >             on give and take delivered with utter certainly by singers with exactly
> > >             the
> > >             same comfort with and understanding of the rhetoric of the pieces. And
> > >             the
> > >             casts are very strong and sometimes wonderful from Petrella's sexy, sad
> > >             Georgetta to Taddei's marvelous Gianni Schicchi to Carteri's touching and
> > >             beautifully sung Suor Angelica. But the other characters in all these
> > >             recordings are wonderfully presented and the level of singing is high.
> > >             And
> > >             this style is hard to conduct. it is notable for small moments that
> > >             accumulate into bigger statements. The dialogs and apparently casual
> > >             interchanges must have a naturalness, a rightness of emphasis and
> > >             transitions (often brief) must be well judged for the big outbursts to
> > >             seem
> > >             in balance and convincing. The three conductors might not have been world
> > >             beaters but they have absolute authority in this style.
> > > 
> > >             (For a world beater one can turn to the remarkable Clemons Krauss
> > >             broadcast from Stuttgart which not only has the same sureness of touch
> > >             even
> > >             in German but a master's attention to small details).
> > > 
> > >             The Fanciulla seems to me a central performance, despite small cuts.
> > >             Basile, also not a world beater, also understands how the opera needs to
> > >             move, he has tremendous thrust and energy and the kind of control that
> > >             creates a sense of inevitable movement. Gavazzi is fantastic for the
> > >             color
> > >             and intensity of her Minnie; her singing is also very strong throughout
> > >             the
> > >             range. The gruff Savarese, a loss as Germond Pere, is perfect as Rance
> > >             and
> > >             his scenes with Gavazzi are sizzling. The tenor has an iffy middle but a
> > >             ringing top and tremendous ardor.
> > > 
> > >             Little by the little the certainty of touch, the sureness in the style of
> > >             this recording, is lost in the '50's although no one would dismiss the
> > >             Mitropoulos account, and only the Callas freak would dismiss the
> > >             thrilling
> > >             Tebaldi performance. Still, the raw energy and life or death stakes of
> > >             the
> > >             Cetra performance is I think closest to the real thing. With the awful
> > >             EMI
> > >             despite the great Nilsson (killing herself to get it right but fish out
> > >             of
> > >             water), secondary support, and the Nazi Von Matecic conducting, it's
> > >             missing instruments ("I have two great loves Adolf and Music", Walter
> > >             Legge) we start to get far afield, something that continues. (Although
> > >             it's
> > >             interesting to hear the Sinopoli and Thielemann (!) broadcasts).
> > > 
> > >             Oh, well, a waste of time, I assume and just my minor opinions.
> > > 
> > >             AI
> > > 
> > >             On Fri, Jul 7, 2017 at 9:38 AM, ANGELO MAMMANO <[log in to unmask]>
> > >             wrote:
> > > 
> > >                 > > > > 
> > > >                 I picked up the Trittico at a cheapo store years ago and found the
> > > >                 recordings to have excellent sound and
> > > > 
> > > >                 excellent performances by outstanding casts. Schicchi has Corena as
> > > >                 Simone and Taddei as Schicchi.
> > > > 
> > > >                 Angelica is with Carteri and Tabarro is with Petrella. These are on the
> > > >                 Nuova Fonit Cetra label and are among
> > > > 
> > > >                 my prize possessions.
> > > > 
> > > >                 Angelo from Boston
> > > > 
> > > >                 >
> > > > 
> > > >                     > > > > > 
> > > > >                     On July 6, 2017 at 4:05 PM LANE WHITESELL <[log in to unmask]>
> > > > >                     wrote:
> > > > > 
> > > > >                     House of Opera has the same cast in a live recording:
> > > > > 
> > > > >                     http://www.operapassion.com/cd1545000.html
> > > > > 
> > > > >                     Lane A. Whitesell
> > > > > 
> > > > >                         > > > > > > 
> > > > > >                         >
> > > > > >                         On July 6, 2017 at 3:57 PM Dennis Ryan <[log in to unmask]>
> > > > > >                         wrote:
> > > > > > 
> > > > > >                         The contributions to this thread lead me to recall one
> > > > > >                         performance that appeared later on Everest Records, which re-issued many
> > > > > >                         beloved Cetra recordings, but I do not believe that it had ever been
> > > > > >                         previously issued on Cetra. This is a simply FABULOUS performance of
> > > > > >                         Rossini's "Petite Messe Solennelle" with Renata Scotto, Fiorenza
> > > > > >                         Cossotto,
> > > > > >                         Alfredo Kraus, and Ivo Vinco. I have never heard a greater performance
> > > > > >                         of
> > > > > >                         this great work. I believe that this showed up on CD on an obscure
> > > > > >                         Italian
> > > > > >                         label briefly, but I know of no place where it is available on CD now.
> > > > > >                         Everest Records, of course, was well known for re-issuing many of the
> > > > > >                         old
> > > > > >                         Cetra performances in wretched sound on worse-than-wretched vinyl. Does
> > > > > >                         anyone know where this performance might currently be found on CD? Does
> > > > > >                         anyone know of other great Italian performances of the late '40's and
> > > > > >                         50's
> > > > > >                         that have likewise been lost?
> > > > > >                         Cheers,
> > > > > >                         Dennis Ryan
> > > > > > 
> > > > > >                         -----Original Message-----
> > > > > >                         From: Bob Rideout <[log in to unmask]>
> > > > > >                         To: OPERA-L <[log in to unmask]>
> > > > > >                         Sent: Thu, Jul 6, 2017 1:50 pm
> > > > > >                         Subject: Re: Cetra CD reissues. Some more.
> > > > > > 
> > > > > >                         Must haves
> > > > > > 
> > > > > >                         L'Amico Fritz - Tassinari F. Tagliavini
> > > > > >                         Tassinari's "Son Pocchi Fiori" is as beautiful as anything
> > > > > >                         I've
> > > > > >                         ever heard.
> > > > > >                         Suor Angelica - Carteri
> > > > > >                         Nabucco and Ernani - C. Mancini
> > > > > > 
> > > > > >                         I don't disagree with any of the others previously
> > > > > >                         mentioned,
> > > > > >                         though my
> > > > > >                         enthusiasm is not as great as for those I've listed. I
> > > > > >                         absolutely love
> > > > > >                         these four recordings.
> > > > > > 
> > > > > >                         Of course, I cannot ignore the first Callas Gioconda, her
> > > > > >                         1949 recital,
> > > > > >                         and to a lesser extent, her Violetta, which are among the
> > > > > >                         greatest things
> > > > > >                         ever committed to record.
> > > > > > 
> > > > > >                         Bob
> > > > > > 
> > > > > >                         On Thursday, July 6, 2017, Juan Dzazopulos <
> > > > > >                         [log in to unmask]> wrote:
> > > > > > 
> > > > > >                             > > > > > > > 
> > > > > > >                                 > > > > > > > > 
> > > > > > > >                                 >
> > > > > > > >                                 George, I share your selection. But I would add some
> > > > > > > >                                 more that I have in
> > > > > > > >                                 my collection, and have been a continious source of
> > > > > > > >                                 pleasure:
> > > > > > > > 
> > > > > > > >                             > > > > > > > 
> > > > > > >                             L'Amico Fritz: Pîea Tassinari, Saturno Meletti (1941,
> > > > > > >                             Tagliavini first
> > > > > > >                             complete recording). A lesson of singing....
> > > > > > >                             La Sonnambula: Lina Pagliughi, Cesare Siepi (1952)
> > > > > > >                             Werther: Pia Tassinari, Marcello Cortis (1954)
> > > > > > >                             Un ballo in maschera: Mary Curtis Verna, Pia
> > > > > > >                             Tassinari,
> > > > > > >                             Giuseppe Valdengo
> > > > > > >                             (1954)
> > > > > > >                             Marta: Elena Rizzieri, Pia Tassinari, Carlo Tagliabue
> > > > > > >                             (1955)
> > > > > > >                             Mefistofele: Marcella Pobbe, Disma De Cecco, Giulio
> > > > > > >                             Neri (1956)
> > > > > > >                             Tosca: Gigliola Frazzoni, Gian Giacomo Guelfi (1956)
> > > > > > > 
> > > > > > >                             Ernani: Gino Penno, Caterina Mancini, Giuseppe Taddei,
> > > > > > >                             Giacomo Vaghi (1951)
> > > > > > >                             Il Barbiere di Siviglia: Giuseppe Taddei, Giulietta
> > > > > > >                             Simionatao, Luigi
> > > > > > >                             Infantino,Carlo Badioli (1950)
> > > > > > >                             Aida: Mary Curtis Verna, Franco Corelli, Miriam
> > > > > > >                             Pirazzini, Gina Giacomo
> > > > > > >                             Guelfi, Giulio Neri (1956)L
> > > > > > >                             La Fanciulla del West: Carla Gavazzi, Vasco
> > > > > > >                             Campagnano,
> > > > > > >                             Ugo Savarese (1950)
> > > > > > > 
> > > > > > >                             Enjoy them!
> > > > > > > 
> > > > > > >                             Juan
> > > > > > > 
> > > > > > >                             --------------------
> > > > > > > 
> > > > > > >                             El Thu, 6 Jul 2017 11:02:05 -0400
> > > > > > >                             George Rios <[log in to unmask]> escribió:
> > > > > > > 
> > > > > > >                             I've found Cetra CD remasterings on Warner/Fonit seem
> > > > > > >                             to have gone back to
> > > > > > > 
> > > > > > >                                 > > > > > > > > 
> > > > > > > >                                     > > > > > > > > > 
> > > > > > > > >                                         > > > > > > > > > > 
> > > > > > > > > >                                         >
> > > > > > > > > >                                         the original tapes or at least very good LP
> > > > > > > > > >                                         pressings and I've found most
> > > > > > > > > >                                         of them to be very good to excellent. But the
> > > > > > > > > >                                         original Cetra label was
> > > > > > > > > >                                         never noted for its sonics, so the sound quality
> > > > > > > > > >                                         can vary. Some that I can
> > > > > > > > > >                                         vouch for are:
> > > > > > > > > > 
> > > > > > > > > >                                     > > > > > > > > > 
> > > > > > > > >                                 > > > > > > > > 
> > > > > > > >                                 BOHEME Carteri, Tagliavini, Taddei, Santini
> > > > > > > >                                 cond.
> > > > > > > >                                 RIGOLETTO Taddei, Pagliughi, Tagliavini, Questa
> > > > > > > >                                 cond.
> > > > > > > >                                 OTELLO Guichandut, Broggini, Taddei, Capuana
> > > > > > > >                                 cond.
> > > > > > > >                                 IL SEGRETO DI SUSANNA Rizzieri, Valdengo, Questa
> > > > > > > >                                 cond.
> > > > > > > >                                 The FALSTAFF with Taddei, Carteri, Pagliughi,
> > > > > > > >                                 Rossi cond. is something of
> > > > > > > >                                 a heartbreaker.
> > > > > > > >                                 It seems the original recording was never very
> > > > > > > >                                 good. Depending on your
> > > > > > > >                                 tolerance it's listenable but sonically a
> > > > > > > >                                 letdown, especially regrettable
> > > > > > > >                                 since the performance itself is
> > > > > > > >                                 really marvelous.
> > > > > > > > 
> > > > > > > >                                 Likewise the GUGLIELMO TELL with Taddei,
> > > > > > > >                                 Carteri,
> > > > > > > >                                 Filippeschi, Rossi
> > > > > > > >                                 cond. is a mostly fine performance, although
> > > > > > > >                                 Filippeschi is appalling. But
> > > > > > > >                                 the sound is poor and sometimes afflicted with a
> > > > > > > >                                 ghastly wow. Avoid this
> > > > > > > >                                 one.
> > > > > > > > 
> > > > > > > >                                 Of course, all of these sound leagues better
> > > > > > > >                                 than
> > > > > > > >                                 those horrifying
> > > > > > > >                                 "rechanneled for stereo" LP issues on
> > > > > > > >                                 Everest/Cetra from the 60s. I have
> > > > > > > >                                 always wondered who was the idiot responsible
> > > > > > > >                                 for
> > > > > > > >                                 those monstrosities.
> > > > > > > > 
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> > > > > > >                             ives/opera-l.html
> > > > > > > 
> > > > > > >                             -----------------------------
> > > > > > > 
> > > > > > >                             ---------------------------------------------
> > > > > > > 
> > > > > > >                                 > > > > > > > > 
> > > > > > > >                                 >
> > > > > > > > 
> > > > > > > >                                 **********************************************
> > > > > > > >                                 OPERA-L on Facebook:
> > > > > > > > 
> > > > > > > >                             > > > > > > > 
> > > > > > >                         > > > > > > 
> > > > > >                         http://www.facebook.com/groups/25703098721/
> > > > > > 
> > > > > >                         -----------------------------------------------------------
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> > > > > >                         -----------------------------------------------------------
> > > > > > 
> > > > > >                         ---------------
> > > > > > 
> > > > > >                         Modify your settings: http://listserv.bccls.org/arch
> > > > > >                         ives/opera-l.html
> > > > > > 
> > > > > >                         -----------------------------------------------------------
> > > > > > 
> > > > > >                         ---------------
> > > > > > 
> > > > > >                         **********************************************
> > > > > >                         OPERA-L on Facebook:
> > > > > > 
> > > > > >                         http://www.facebook.com/groups/25703098721/
> > > > > > 
> > > > > >                         -----------------------------------------------------------
> > > > > > 
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> > > > > >                         [log in to unmask]
> > > > > > 
> > > > > >                         containing only the words: SIGNOFF OPERA-L
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> > > > > >                         ---------------
> > > > > >                         To stay subscribed but TURN OFF mail, send a message to
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> > > > > >                         [log in to unmask] containing only the words: SET
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> > > > > > 
> > > > > >                         ---------------
> > > > > > 
> > > > > >                         Modify your settings: http://listserv.bccls.org/arch
> > > > > >                         ives/opera-l.html
> > > > > > 
> > > > > >                         -----------------------------------------------------------
> > > > > > 
> > > > > >                         ---------------
> > > > > > 
> > > > > >                         >
> > > > > > 
> > > > > >                         **********************************************
> > > > > >                         OPERA-L on Facebook:
> > > > > > 
> > > > > >                     > > > > > 
> > > > >                     http://www.facebook.com/groups/25703098721/
> > > > > 
> > > > >                     -----------------------------------------------------------
> > > > > 
> > > > >                     ---------------
> > > > >                     To UNSUBSCRIBE, send a message to [log in to unmask]
> > > > > 
> > > > >                     containing only the words: SIGNOFF OPERA-L
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> > > > > 
> > > > >                     [log in to unmask] containing only the words: SET
> > > > >                     OPERA-L
> > > > >                     NOMAIL
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> > > > >                     -----------------------------------------------------------
> > > > > 
> > > > >                     ---------------
> > > > > 
> > > > >                     Modify your settings: http://listserv.bccls.org/arch
> > > > >                     ives/opera-l.html
> > > > > 
> > > > >                     -----------------------------------------------------------
> > > > > 
> > > > >                     ---------------
> > > > > 
> > > > >                 > > > > 
> > > >                 **********************************************
> > > >                 OPERA-L on Facebook:
> > > > 
> > > >                 http://www.facebook.com/groups/25703098721/
> > > > 
> > > >                 ------------------------------------------------------------
> > > > 
> > > >                 --------------
> > > >                 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: http://listserv.bccls.org/archives/opera-l.html
> > > > 
> > > >                 ------------------------------------------------------------
> > > > 
> > > >                 --------------
> > > > 
> > > >             > > > 
> > >         > > 
> >         **********************************************
> >         OPERA-L on Facebook:
> > 
> >         http://www.facebook.com/groups/25703098721/
> > 
> >         --------------------------------------------------------------------------
> >         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: http://listserv.bccls.org/archives/opera-l.html
> > 
> >         --------------------------------------------------------------------------
> > 
> >     > 
>     **********************************************
>     OPERA-L on Facebook:
> 
>     http://www.facebook.com/groups/25703098721/
> 
>     --------------------------------------------------------------------------
>     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: http://listserv.bccls.org/archives/opera-l.html
> 
>     --------------------------------------------------------------------------
> 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
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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: http://listserv.bccls.org/archives/opera-l.html
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