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Subject: Re: "Tu vedrai" at the Met (was Re: Sirius 'Trovatore')
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Thu, 31 Aug 2017 10:01:31 -0700
Content-Type:text/plain
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Toscanini not only allowed Martinelli to sing the usual interpolations, he
permitted Emmy Destinn to sing the d-flat in the final section of D'amor
sull'ali rose (ma dir non dirgli le pene....) that became known as the
Destinn cadenza.  When done right its thrilling and frankly, I miss not
hearing it, especially when I know the Leonora is full capable of doing
it.  Otherwise, its best left out.  Listen to Destinn's own recording and
the one left us by Hina Spani.  Both are remarkable.  I might be mistaken,
but I believe on her recording, Maria Nemeth also does it.

Donald

On Thu, Aug 31, 2017 at 9:42 AM, Max D. Winter <[log in to unmask]> wrote:

> David Kubiak wrote:
>
> "I should also say that this broadcast reminded me of the sadly mutilated
> condition the standard repertoire used to be presented in.  Every "stretta"
> gone and of course no "Tu vedrai"."
>
> I am reading the new bio of Toscanini by Harvey Sachs (it is superb in
> every respect, highly
> recommended!) and I learned something interesting.  When Toscanini led a
> new production
> of "Trovatore" at the Met in 1915, he included "Tu vedrai," which I did
> not know had been
> performed at the Met that far back.  (Toscanini also staged the
> production; Karajan the
> regisseur had a precedent!)
>
> Do those with long experience at the Met recall whether "Tu vedrai" was
> performed at the
> Met any time during the 50s or 60s?  The first time I heard it in
> performance was at the
> 1976 production with Scotto and Pavarotti.  I have heard many of the
> Trovatore broadcasts
> from 1950 on, and several before 1950, and I don't recall ever hearing "Tu
> vedrai."
>
> Incidentally, that Toscanini-led "Trovatore" made a huge impact on critics
> and public and
> caused many critics to revise their rather dismissive attitude towards the
> opera.  Apparently
> Toscanini really scrubbed the old warhorse clean (although he allowed
> Martinelli the usual
> interpolated high notes).
>
> MDW
>
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