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Subject: Domingo
From: Peter Bloch <[log in to unmask]>
Reply-To:Peter Bloch <[log in to unmask]>
Date:Tue, 25 Jul 2017 14:00:29 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (545 lines)


So he's conducting Walkure at Bayreuth next year?!  I suppose it's only a matter of time before he's singing Wotan there, too

Sent from my iPhone

> On Jul 25, 2017, at 1:54 PM, OPERA-L automatic digest system <[log in to unmask]> wrote:
> 
> There are 7 messages totalling 518 lines in this issue.
> 
> Topics in this special issue:
> 
>  1. Review: The (R)evolution of Steve Jobs
>  2. Jonathan Tetelman WOW!!! (2)
>  3. News from BayreuthL Placiddo Domingo returns and Roberto Alagna debuts (2)
>  4. Caballé's 1973 'Norma'
>  5. Caballé's 1973 'Norma'
> 
> **********************************************
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> ----------------------------------------------------------------------
> 
> Date:    Mon, 24 Jul 2017 21:55:27 -0700
> From:    Jason Victor Serinus <[log in to unmask]>
> Subject: Review: The (R)evolution of Steve Jobs
> 
> Coming next to University of Indiana, Seattle and San Francisco
> 
> https://www.sfcv.org/reviews/opera-santa-fe/the-revolution-of-steve-jobs-is=
> -revelatory-in-santa-fe-premiere
> 
> Exhilarating, moving, shocking, and enlightening in turn, Mason Bates and
> Mark Campbell=E2=80=99s new opera, *The (R)evolution of Steve Jobs*, premie=
> red at Santa
> Fe Opera <https://www.santafeopera.org/> on Saturday night, July 22. Thanks
> to a dress rehearsal about which 100 instagramers had messaged away
> ecstatically until their fingers cramped, Santa Fe Opera had already added
> an extra performance even before the curtain rose.
> 
> ---
> Jason Victor Serinus http://www.jasonserinus.com     Whistler
> Extraordinaire: **The Voice of Woodstock =E2=80=A2 The Pavarotti of Pucker*=
> *
> Music and audiophile critic: Seattle Times, Port Townsend Leader,
> Stereophile, Listen, San Francisco Classical Voice, Bay Area Reporter, Gay
> City News, American Record Guide, Classical Voice North America, Stanford
> Live, Opera Now, Copper, and more
> 
> "Neutrality helps the oppressor, never the victim. Silence encourages the
> tormentor, never the tormented.=E2=80=9D =E2=80=94 Elie Wiesel
> 
> =E2=80=9CThis is a time to remember all of us who are LGBTQ. It=E2=80=99s a=
> time to stand
> out and be proud, to parade who we are, to celebrate and to let them know
> we will not be silenced, we will not be stopped, we will not go back into
> the closet. Together, we will love.=E2=80=9D =E2=80=94 JVS at our Orlando M=
> assacre Support
> Rally in Port Townsend, WA
> 
> **********************************************
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> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 02:54:38 -0500
> From:    Russ Geschke <[log in to unmask]>
> Subject: Re: Jonathan Tetelman WOW!!!
> 
> As usual, I failed to complete making my point, in my 23 July email below, 
> which is that Piccaver unlike young Tetelman keeps his arms under control: 
> his hands clasped in front of him as, completely self-possessed, he 
> concentrates on maintaining the breath column that supports his voice so 
> that the "Preislied" just so easily pours forth.  It's always a pleasure to 
> hear from other Listers who are aware of and interested in the singers of 
> the increasingly remote past.
> 
> ----- Original Message ----- 
> From: "Maxwell Paley" <[log in to unmask]>
> To: "Russ Geschke" <[log in to unmask]>
> Cc: <[log in to unmask]>
> Sent: Sunday, July 23, 2017 5:11 PM
> Subject: Re: Jonathan Tetelman WOW!!!
> 
> 
> Interesting that you bring up Piccaver. Many other tenors have been compared 
> to Caruso, including Gigli (who, to me, sounds totally different). From that 
> era, I can only judge from records but Piccaver, to my ear, sometimes sounds 
> remarkably similar to Caruso in terms of timbre and overall sound. The 
> comparison might not always be obvious because of frequent differences in 
> repertoire and language.
> 
> Max Paley
> 
> Sent from my iPhone
> 
>> On Jul 23, 2017, at 13:36, Russ Geschke <[log in to unmask]> wrote:
>> 
>> Supporting your proper reminder that "less is more" as concerns arms 
>> gestures and overall body movement, there is on YouTube a posting ("Alfred 
>> Piccaver sings Wagner's Preislied") of a film from c. the early 1930s of 
>> the Vienna Staatsoper star Alfred Piccaver singing, gloriously (power + 
>> tonal beauty), the Die Meistersinger "Preislied."  (This is being sent 
>> because quite a few Listers seem interested in singers of the past.)
>> 
>> ----- Original Message ----- From: "G. Paul Padillo" 
>> <sharkmeister99@GMAILCOM>
>> To: <[log in to unmask]>
>> Sent: Sunday, July 23, 2017 12:22 PM
>> Subject: Re: Jonathan Tetelman WOW!!!
>> 
>> 
>> What a beautiful, often exciting voice - with a lot of power and "meat" to 
>> the sound.  I've
>> watched him in most of his videos now and really love the voice.
>> 
>> My only genuine criticism has nothing to do with his singing.  I hope 
>> someone teaches him to
>> reign in the arm gestures and perpetual motion - the guy never stops 
>> moving his body from
>> here to there, from there to here and frequently his arms look like he's 
>> directing traffic or
>> doing semaphore.  Less is more in this regard as all of that movement 
>> detracts from the most
>> important elements of his performance.  He's young . . . hopefully he'll 
>> learn
>> 
>> p.
>> 
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> 
> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 10:49:20 -0400
> From:    donald kane <[log in to unmask]>
> Subject: Re: Jonathan Tetelman WOW!!!
> 
> The videos of Tetelman are of a gifted young singer
> still in the process of learning.  I wasn't at all bothered
> by his movements; they may only be the formative
> gestures studiously.copied from traditional concert
> practices.  He has plenty of time and, hopefully, the
> instinct to make them his own.  Piccaver, conversely,
> In the Preislied, is mature, technically flawless, but
> entirely expressionless, as he tosses off Wagner's
> masterpiece.  Compare it with the equally mature, but
> thrillingly understood performance by Lauritz Melchior,
> in the film TWO SISTERS FROM BOSTON:  though cut
> to ribbons, it still sounds, (and looks) as it should, like the
> greatest song ever written.
> 
> dtmk
> 
> On Tue, Jul 25, 2017 at 3:54 AM, Russ Geschke <[log in to unmask]>
> wrote:
> 
>> As usual, I failed to complete making my point, in my 23 July email below,
>> which is that Piccaver unlike young Tetelman keeps his arms under control:
>> his hands clasped in front of him as, completely self-possessed, he
>> concentrates on maintaining the breath column that supports his voice so
>> that the "Preislied" just so easily pours forth.  It's always a pleasure to
>> hear from other Listers who are aware of and interested in the singers of
>> the increasingly remote past.
>> 
>> ----- Original Message ----- From: "Maxwell Paley" <[log in to unmask]>
>> To: "Russ Geschke" <[log in to unmask]>
>> Cc: <[log in to unmask]>
>> Sent: Sunday, July 23, 2017 5:11 PM
>> Subject: Re: Jonathan Tetelman WOW!!!
>> 
>> 
>> Interesting that you bring up Piccaver. Many other tenors have been
>> compared to Caruso, including Gigli (who, to me, sounds totally different).
>> From that era, I can only judge from records but Piccaver, to my ear,
>> sometimes sounds remarkably similar to Caruso in terms of timbre and
>> overall sound. The comparison might not always be obvious because of
>> frequent differences in repertoire and language.
>> 
>> Max Paley
>> 
>> Sent from my iPhone
>> 
>>> On Jul 23, 2017, at 13:36, Russ Geschke <[log in to unmask]> wrote:
>>> 
>>> Supporting your proper reminder that "less is more" as concerns arms
>>> gestures and overall body movement, there is on YouTube a posting ("Alfred
>>> Piccaver sings Wagner's Preislied") of a film from c. the early 1930s of
>>> the Vienna Staatsoper star Alfred Piccaver singing, gloriously (power +
>>> tonal beauty), the Die Meistersinger "Preislied."  (This is being sent
>>> because quite a few Listers seem interested in singers of the past.)
>>> 
>>> ----- Original Message ----- From: "G. Paul Padillo"
>>> <sharkmeister99@GMAILCOM>
>>> 
>>> To: <[log in to unmask]>
>>> Sent: Sunday, July 23, 2017 12:22 PM
>>> Subject: Re: Jonathan Tetelman WOW!!!
>>> 
>>> 
>>> What a beautiful, often exciting voice - with a lot of power and "meat"
>>> to the sound.  I've
>>> watched him in most of his videos now and really love the voice.
>>> 
>>> My only genuine criticism has nothing to do with his singing.  I hope
>>> someone teaches him to
>>> reign in the arm gestures and perpetual motion - the guy never stops
>>> moving his body from
>>> here to there, from there to here and frequently his arms look like he's
>>> directing traffic or
>>> doing semaphore.  Less is more in this regard as all of that movement
>>> detracts from the most
>>> important elements of his performance.  He's young . . . hopefully he'll
>>> learn
>>> 
>>> p.
>>> 
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>>> 
>> 
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> 
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> 
> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 13:12:38 -0400
> From:    Sergio da Silva <[log in to unmask]>
> Subject: News from BayreuthL Placiddo Domingo returns and Roberto Alagna debuts
> 
> h=
> ttp://operawire.com/placido-domingo-to-conduct-wagner-opera-at-bayreuth-in=
> -2018/ =
> <http://operawire.com/placido-domingo-to-conduct-wagner-opera-at-bayreuth-=
> in-2018/>
> =
> https://slippedisc.com/2017/07/bayreuth-assembles-dream-team-lohengrin-wha=
> t-could-possibly-go-wrong/ =
> <https://slippedisc.com/2017/07/bayreuth-assembles-dream-team-lohengrin-wh=
> at-could-possibly-go-wrong/>
> 
> 
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> 
> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 13:44:45 -0400
> From:    David Kubiak <[log in to unmask]>
> Subject: Caball=?WINDOWS-1252?Q?=E9's_?= 1973 'Norma'
> 
> I begin by saying what I have said here before, that I never managed to
> achieve an emotional connection with Caball=E9's voice and so did not lis=
> ten
> to her much in her prime.  (I heard her only once in the theater in the l=
> ate
> 60's and have no very vivid memories.)  As the saying goes, "It's my prob=
> lem
> and not hers."  But the Met Sirius channel has been playing her famous 19=
> 73
> 'Norma' with Cossotto, and I do have a question to put.  The floating hig=
> h
> notes above the staff and paranormal breath control are no doubt there, b=
> ut
> to my ears (I have heard the performance twice now) in the middle she sin=
> gs
> flat virtually the whole night, making for some awkward moments with
> Cossotto, who at that point was solid as a rock.  Was this noticed at the=
> 
> time by anyone?  Was it for some reason a fleeting aberration of the even=
> ing
> or could it happen throughout her career?
> 
> Thanks.
> 
> David Kubiak 
> 
> **********************************************
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> 
> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 13:51:34 -0400
> From:    donald kane <[log in to unmask]>
> Subject: Re: News from BayreuthL Placiddo Domingo returns and Roberto Alagna debuts
> 
> If I were in the neighborhood, I think I would enjoy having a look at
> Bayreuth,
> but nothing would induce me to plan and save for the dubious privilege of
> hearing anything that goes on there now.
> 
> dtmk
> 
> On Tue, Jul 25, 2017 at 1:12 PM, Sergio da Silva <[log in to unmask]>
> wrote:
> 
>> http://operawire.com/placido-domingo-to-conduct-wagner-
>> opera-at-bayreuth-in-2018/ <http://operawire.com/placido-
>> domingo-to-conduct-wagner-opera-at-bayreuth-in-2018/>
>> https://slippedisc.com/2017/07/bayreuth-assembles-dream-
>> team-lohengrin-what-could-possibly-go-wrong/ <https://slippedisc.com/2017/
>> 07/bayreuth-assembles-dream-team-lohengrin-what-could-possibly-go-wrong/>
>> 
>> 
>> **********************************************
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> 
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> 
> ------------------------------
> 
> Date:    Tue, 25 Jul 2017 12:54:39 -0500
> From:    Ombrarecds <[log in to unmask]>
> Subject: Re: Caball=?utf-8?Q?=C3=A9's_?=  1973 'Norma'
> 
> Watch the Norma from Orange. Gold Standard.
> 
> Patrick Byrne
> 
> Sent from my iPhone
> 
>> On Jul 25, 2017, at 12:44 PM, David Kubiak <[log in to unmask]> wrote:
>> =20
>> I begin by saying what I have said here before, that I never managed to
>> achieve an emotional connection with Caball=C3=A9's voice and so did not l=
> isten
>> to her much in her prime.  (I heard her only once in the theater in the la=
> te
>> 60's and have no very vivid memories.)  As the saying goes, "It's my probl=
> em
>> and not hers."  But the Met Sirius channel has been playing her famous 197=
> 3
>> 'Norma' with Cossotto, and I do have a question to put.  The floating high=
> 
>> notes above the staff and paranormal breath control are no doubt there, bu=
> t
>> to my ears (I have heard the performance twice now) in the middle she sing=
> s
>> flat virtually the whole night, making for some awkward moments with
>> Cossotto, who at that point was solid as a rock.  Was this noticed at the
>> time by anyone?  Was it for some reason a fleeting aberration of the eveni=
> ng
>> or could it happen throughout her career?
>> =20
>> Thanks.
>> =20
>> David Kubiak=20
>> =20
>> **********************************************
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>> http://www.facebook.com/groups/25703098721/
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> 
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> ------------------------------
> 
> End of OPERA-L Digest - 24 Jul 2017 to 25 Jul 2017 - Special issue (#2017-716)
> ******************************************************************************

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