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Subject: Conrad L Osborne
From: Peter Bloch <[log in to unmask]>
Reply-To:Peter Bloch <[log in to unmask]>
Date:Wed, 30 Aug 2017 04:59:34 -0400
Content-Type:text/plain
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For opera fans ( of a certain age) there have been hardly any better critics than the great Conrad L Osborne and I'm happy to report that he now has a blog (conradlosborne.com).  Here's just a small example of his outstanding insights into today's cancer of giving over great works of art to "directors" who are determined to get the audience involved in anything except what the composer intended.  Of course if you feel that this trend is just fine, go elsewhere:
"They yank our attention from ear to eye, from characters to concepts, whether we’re aware of it or not, whether we want them to or not. They place the music and singing in an accompanimental position vis à vis the physical action. As in a movie. Having accomplished that, they look for little moments in the music that can be linked to physical actions to “justify” them (the reverse of the natural operatic procedure). That requires only a certain inventive cleverness—easy pickin’s, really. Then, the director gets credit for great Personenregie. I rage, I melt, I burn."

Sent from my iPhone

> On Aug 30, 2017, at 12:00 AM, OPERA-L automatic digest system <[log in to unmask]> wrote:
> 
> There are 6 messages totalling 295 lines in this issue.
> 
> Topics of the day:
> 
>  1. Operas About Floods? (5)
>  2. Steber's Desdemona
> 
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> 
> Date:    Tue, 29 Aug 2017 20:55:50 -0400
> From:    George Rios <[log in to unmask]>
> Subject: Re: Operas About Floods?
> 
> Donizetti's IL DILUVIO UNIVERSALE, about Noah (or No=E8) and the mother o=
> f all floods.
> 
> As for Broadway musicals, there's TWO BY TWO, also about Noah and his flu=
> dde, with a book=20
> by Peter Stone, lyrics by Martin Charnin, and music by Richard Rodgers, b=
> ased on a play by=20
> Clifford Odets.
> 
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> ------------------------------
> 
> Date:    Tue, 29 Aug 2017 22:07:11 -0400
> From:    Wendell Eatherly <[log in to unmask]>
> Subject: Re: Operas About Floods?
> 
> On Tue, 29 Aug 2017 19:47:03 -0400, Max D. Winter <[log in to unmask]> w=
> rote:
> 
>> Our recent inundations...  have made me wonder: what operas feature floo=
> ds?=20=20
> 
> The stage directions at the end of Act II of "Die Frau ohne Schatten" rea=
> d "the earth opens, a=20
> wall collapses and the river pours in". I imagine most stage directors ig=
> nore the part about the=20
> river.
> 
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> ------------------------------
> 
> Date:    Wed, 30 Aug 2017 02:08:57 +0000
> From:    Charlie Richards <[log in to unmask]>
> Subject: Re: Operas About Floods?
> 
> Copland's "The Second Hurricane"
> 
> Sent from my iPhone
> 
>> On Aug 29, 2017, at 10:07 PM, Wendell Eatherly <[log in to unmask]
>> wrote:
>> =20
>>> On Tue, 29 Aug 2017 19:47:03 -0400, Max D. Winter <[log in to unmask]> =
> wrote:
>>> =20
>>> Our recent inundations...  have made me wonder: what operas feature floo=
> ds? =20
>> =20
>> The stage directions at the end of Act II of "Die Frau ohne Schatten" rea=
> d "the earth opens, a=20
>> wall collapses and the river pours in". I imagine most stage directors ig=
> nore the part about the=20
>> river.
>> =20
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> ------------------------------
> 
> Date:    Tue, 29 Aug 2017 22:22:11 -0400
> From:    Michael Kaye <[log in to unmask]>
> Subject: Re: Operas About Floods?
> 
> Stravinsky: The Flood
> Donizetti: Il diluvio universale
> 
>> On Tue, Aug 29, 2017 at 7:47 PM, Max D. Winter <[log in to unmask]> wrote:
>> 
>> The sun has just come out in Houston, for which happy event I am going to
>> go sacrifice a
>> goat.
>> 
>> Our recent inundations (I and mine have mercifully been spared any
>> inconvenience other than
>> a minor roof leak) have made me wonder: what operas feature floods?  The
>> only one I can
>> think of off the top of my head is Britten's "Noye's Fludde."  I can think
>> of operas with
>> avalanches, earthquakes, volcanoes, and other natural disasters (also
>> unnatural ones, like
>> plagues of darkness and death of firstborn).  But not floods.
>> 
>> Any suggestions?
>> 
>> MDW
>> 
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> ------------------------------
> 
> Date:    Tue, 29 Aug 2017 22:37:02 -0400
> From:    David H Spence <[log in to unmask]>
> Subject: Re: Operas About Floods?
> 
> Gotterdammerung.
> 
> Now that we have a male stand-in to sync Brunnhilde while injured-foot Ca=
> therine Foster=20
> sings Brunnhilde at Bayreuth for the last two acts of Gotterdammerung, I =
> want to apply for=20
> the next time an opportunity comes up.  I'll have to scrounge around my c=
> loset for what=20
> good lame I may have purchased a long time ago and maybe whatever high he=
> els may be=20
> sitting around similar to what Melania wore in flight to Texas this morni=
> ng.  I am acquainted=20
> with Buck Ross at the University of Houston and probably could sign up fo=
> r some acting=20
> classes from him as well, perhaps even get cast in either Hedda Gabler or=
> an Edward Albee=20
> play, as I should probably grow very quickly good at doing this.  Where t=
> hen at Bayreuth do=20
> I send in my application?  ;-),, ;-)=20=20
> 
> Slipped Disc announced that both males and females may apply for the part=
> - Brunnhilde.=20=20
> And then, I'd like to request Lance Ryan, Daniel Brenna, or Simon O'Neill=
> as my Siegfried,=20
> because Andreas Schager is simply too good to sing this part in Bayreuth'=
> s current=20
> production.  He should save his voice for elsewhere.  Furthermore, I do n=
> ot think my acting=20
> chops would compare with his either, and if any acuti are required out of=
> me at any point,=20
> to fill in for Cathy, I do not reckon they'd turn out any better than out=
> of either Goerke or=20
> Herlitzus.
> 
> Pardon my change of subject here.  Hope I have not thrown anybody off tra=
> ck too much.
> 
> 
> David H Spence
> 
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> ------------------------------
> 
> Date:    Tue, 29 Aug 2017 23:24:00 -0400
> From:    "Max D. Winter" <[log in to unmask]>
> Subject: Steber's Desdemona
> 
> I have been listening to a 1952 Met broadcast of "Otello" with Ramon Vina=
> y, Eleanor Steber=20
> and Leonard Warren, Fritz Stiedry conducting.  It is a corker of a perfor=
> mance with all three=20
> principals in great form and fine conducting by Stiedry.  The cream of th=
> e crop is Steber,=20
> whose Desdemona is beautifully sung, vibrant and passionate with a great =
> sense of character.=20=20
> The Willow Song and Ave Maria are exquisite.  What a great singer this la=
> dy was!  This is not=20
> a role I associate with her but it is a treat to hear.  (I have never hea=
> rd Steber sing anything=20
> that was not a treat, at least in her prime.)=20=20
> 
> According to the Archives, Steber only sang five performances of Desdemon=
> a at the Met in=20
> the 1952 season.  Two years later Tebaldi showed up on the next broadcast=
> of "Otello."  (I'm=20
> listening to that performance next.)  Then in 1958, De los Angeles was th=
> e broadcast=20
> Desdemona.  Steber, Tebaldi, de los Angeles - that's quite a procession! =
> Pity Milanov didn't=20
> do a broadcast "Otello."  I have heard some in-house tapes but they are i=
> n pretty mediocre=20
> sound.  Even so, you can tell that this was a good late-career role for M=
> ilanov.=20
> 
> MDW 
> 
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> ------------------------------
> 
> End of OPERA-L Digest - 29 Aug 2017 (#2017-842)
> ***********************************************

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