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Subject: Re: Muti as a coach to his singers? (Professor Innaurato?)
From: albert innaurato <[log in to unmask]>
Reply-To:albert innaurato <[log in to unmask]>
Date:Wed, 16 Aug 2017 18:33:57 -0500
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I haven't heard Nebs' Aida, so I don't have an opinion. I've seen a lot of
famous and not so famous but prominent conductors coach (but not Mo.
Serafin. But then the idiot who vomited on your question hasn't either and
is a musical illiterate but not a bad drag queen as vide The Dowager's
Quaterly.
He also showed some gifts as a thief.)

What I admired in Muti who worked from the score (Thielemann and Barenboim
did it from memory and never made a mistake) was the unified way he
approached the issues of a part. He was punctilious about rhythm and tuning
but he really insisted on the words, not only that they be clearly
articulated but that their meanings be communicated.

He felt that the words were illuminated by the music, that where they sat
on the phrase, how they were articulated in the rhythm carried clues not
only to that moment but to the psyche of the character. I always thought he
was right and very perceptive, and in Forza, Macbeth and Manon Lescaut he
had utterly fascinating things to say about the hidden emotions of the
characters. His goal was an organic richness between text and notes for the
soloist but also between soloist and orchestra (he always explained to the
orchestra without the singers what the character(s) they were accompanying
were feeling and how they had to express that.)

He worked better with some people than others (inevitably). He had a good
rapport with Guleghina but never with Cura (who didn't care). He argued
back and forth with Bruson but the baritone had a fine grasp of the roles
(Rigoletto and Macbeth) so what resulted was very interesting. But
Elizabeth Connell, a lovely woman who died too soon, was musically superb
but a little bland and he couldn't quite get her to where he wanted as Lady
Macbeth. I thought his handling of Attila at the Met was superb. He found
much more richness and "meaning" in the score than just about anyone else,
IMO, even if some the singing was just OK (and the physical production was
ludicrous).

He was also very good at helping the singers who needed it in terms of
where they should breathe, and how they should deal with shifts in rhythm,
gruppetti, and other "wrinkles" in the vocal line.

But what all that means about The Russian, I don't know.

AI












On Wed, Aug 16, 2017 at 4:52 PM, Conrad, Stephen A. <[log in to unmask]>
wrote:

> How-- especially, how much-- does Muti coach his singers when they are
> preparing Verdi roles?  Netrebko's rather un-Verdian AIDA occasions my
> query.  Dare I presume to hope that on this topic our AI might share here
> some more of what he has observed in watching Muti in rehearsal?
>
> Sent from my iPad
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