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Subject: Re: Jonathan Tetelman WOW!!!
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Wed, 26 Jul 2017 12:59:52 -0400
Content-Type:text/plain
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You wrote:  " . . . to unconsciously express the feeling of the MUSIC,
rather
than to respond and react to the words and thoughts being sung."

But how can the music and words of a song or aria not express the same
"feelings"?   I would assume that the composer must have been aiming for
precisely that.. If not, it places a burden on the performers for which
there
can be no perfect body language.  You and I have disagreed before on the
relative importance of music and word: I tend to place the one first, and
you
the other, but so be it.  CAPRICCIO!

Whatever the case, I read your comments carefully to the end , and was
thankfully rewarded with another look at that stunning Beverly Sills clip.
Don't you love the way she has a little trouble keeping her hands in those
pockets when she approaches the climactic high notes?

And that brought me back to Jonathan Tetelman:  each time I watch him, I'm
less bothered by his gesturing.  It now seems more natural and personal
than it did at first encounter, especially in the excerpts from CARMEN and
ONEGIN. He has the bearing and good looks that make any movement he
chooses, work -
reminding me at times of Franco Corelli. in that respect; no faint praise,
IMO.  : )

dtmk



On Wed, Jul 26, 2017 at 12:13 AM, Jon Goldberg <[log in to unmask]> wrote:

> Essentially agreeing with Donald on all counts - though I do wish young
> singers were
> taught more rigorous acting/body training. The basic habit of all kinds of
> young singers
> (not just opera) is to unconsciously express the feeling of the MUSIC,
> rather than to
> respond and react to the words and thoughts being sung. I agree that
> Tetelman's empty
> gesturing isn't as awful as many, though hopefully he will get better at
> it. The only truly
> ridiculous gesture IMO is that thing he keeps doing with his spread
> fingers down by his
> stomach, where he puts his fingers of both hands together to make a big
> hole. Not sure
> what the hell that's all about lol.
>
> I totally disagree with Mr. Geschke. Inasmuch as all singers need to make
> sure their
> techniques are solid and in proper working order, I have no desire to
> watch a stage
> performer "concentrate on maintaining the breath column." That's the
> "homework" that
> goes into becoming a technically reliable singer. That's not what a singer
> should be
> primarily thinking about when performing a stage role. As Donald implied,
> a singer that is
> doing nothing but replicating technique onstage is not worth watching. Not
> on the opera
> stage, not in recital, and not even in the concert hall.
>
> Singers should absolutely be able to gesture, move, and express onstage.
> The question is
> in finding the specificity of movement that is right for any given moment,
> not just that
> typical meaningless symmetrical stock gesture stuff. And there's also
> nothing wrong with
> not gesturing at all, as long as the body still seems free.
>
> Not long ago, someone posted this video of Beverly Sills. What's
> particularly remarkable
> about this performance is that she never feels that gratuitous need to
> start gesticulating.
> Not even on the high notes at the end. But, aware that she's in close-up
> most of the
> time, she knows how to express, tastefully and simply, with her face,
> eyes,and head. But
> it's never "overcooked" - it's beautifully simple and it seems intimate
> and authentic
> instead of overblown and melodramatic. Young singers should take notice of
> performances like this - to see that you really don't need to do more than
> express the
> truth of the lyric, no flailing arms necessary. ;-)
>
> And yet, Mr. Geschke, I don't feel I'm watching her "maintaining her
> breath column." I'm
> sure she is doing that - but that's second nature from years of practice.
> She's letting that
> happen, but her primary task here is expressing the music and the words.
> THAT'S what I
> want to see. Not a breath column lol.
>
> https://www.youtube.com/watch?v=2yTeixRxPBg
>
>
>
>
> On Tue, 25 Jul 2017 10:49:20 -0400, donald kane <[log in to unmask]> wrote:
>
> >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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