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Subject: Re: OPERA-L Digest - 16 Sep 2017 (#2017-902)
From: Don <[log in to unmask]>
Reply-To:Don <[log in to unmask]>
Date:Sun, 17 Sep 2017 07:14:22 -0600
Content-Type:text/plain
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text/plain (625 lines)


I pre-ordered the set from Barnes & Nobles for the great price of $65 with
fee shipping.  It's on the way and I will report back to the list on my
feelings about its quality.  I'll be interested in other reactions to the
set.  I am 78 and not sure how much difference I will hear but I certainly
did hear an improvement on the recordings in the previous Callas red box
with all her studio recordings.
dond

On Sun, Sep 17, 2017 at 5:15 AM, Gene Bowen <[log in to unmask]> wrote:

> Maria Callas Live release
>
> Warner has sent an email touting the release of their new set "Callas
> Live".   The text includes somewhat extravagant claims about sonic
> restoration/improvement and a link to a YouTube demo from the French
> engineer who headed the project. [Maria Callas Live: Re-mastering her live
> opera recordings from original tapes]
>   A curious video.   First, let me admit that I am in my 70's with the
> concurrent high frequency loss that entails.  There are several
> source/restoration examples and I could barely discern much improvement.
> But my hearing may be at fault.  Others' opinions would be helpful.  The
> engineer said that the number one criterion was the best original source.
> He had access to one private collector (the name meant nothing to me) and
> then he seemed to say that he relied on the EMI previous releases of the
> live performances.   At that previous time of those releases I recall there
> was criticism that EMI simply had not gotten the best available original
> sources in several performances. If that is true, reverting back to EMI as
> source material seems bizarre.  While I'm a Callas fan,  I am not a
> completist and many listers likely are more knowledgeable.  The two
> performances I was hoping that might be improved are the *Nabucco* and
> *Andrea
> Chenier*.
> In the comments section there is a posting from someone who seems to
> already have the Warner set and says that some of the  "restorations" are a
> hoax, citing  *Nabucco* with the claim that the old  Myto release had
> better sonics and  that Divina Records transfers are superior in several
> performances.  How can one decide what to purchase?
>
> On Sun, Sep 17, 2017 at 12:00 AM, OPERA-L automatic digest system <
> [log in to unmask]> wrote:
>
> > There are 4 messages totalling 449 lines in this issue.
> >
> > Topics of the day:
> >
> >   1. Maria Callas box set
> >   2. Maria Callas
> >   3. Opera Theater of Montclair - Cenerentola - AMAZING
> >   4. Rattle Live Sunday - Damnation of Faust
> >
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> >
> > ----------------------------------------------------------------------
> >
> > Date:    Sat, 16 Sep 2017 18:48:45 -0500
> > From:    Mike Leone <[log in to unmask]>
> > Subject: Maria Callas box set
> >
> > I got in today the new live Callas set and the two-disc sampler.  I
> played
> > t=
> > he sampler in the car this afternoon.  My impression was generally
> > positive b=
> > ut I didn't think the Mad Scene from Anna Bolena sounded nearly as good
> as
> > I=
> >  remember it sounding on the BJR set on LP.
> >
> > I sampled the Vestale earlier today.  I wouldn't say it sounded exactly
> > "goo=
> > d," but it didn't seem to have all the roar I have become accustomed to
> > from=
> >  recordings going back to the UORC set.
> >
> > The Armida omits that section at the beginning of the third act which is
> > nor=
> > mally omitted because the original tape was recorded at a slower speed
> > over a=
> >  man who had recorded some speech, so it is twelve minutes of a guy
> > talking i=
> > n slow motion competing with the music.  That section is included on the
> > Div=
> > ina Records release for those who are interested.
> >
> > I started listening to the Nabucco.  I think they employ the standard
> > trick o=
> > f using an overture from a different performance, since the sound quality
> > ch=
> > anges at the beginning of the first act.  I think the first act sounds
> > bette=
> > r than I am accustomed to, so far at least.
> >
> > Those are my impressions of the set so far.
> >
> > Mike Leone
> >
> > [log in to unmask]
> > Ecco il Leone!
> >
> >
> >
> > Sent from my iPhone
> >
> > > On Sep 16, 2017, at 3:45 PM, Vesna Danilovic <[log in to unmask]>
> > wrote:
> > >=20
> > > There are lots of tributes on social media and radio stations today.
> She
> > > was my introduction to opera and, at least for me, she remains the most
> > > special artist in the whole opera world. I'm glad to read your positive
> > > reaction to this massive reissue of her live recordings because I'm
> still
> > > undecided whether to buy it. Those who love her have their favorite
> > Callas=
> >
> > > Traviata, Norma, Medea... alas, none of my favorites of her live
> > recording=
> > s
> > > in these roles are in this set and I was surprised at some omissions
> too
> > > (her Mexico City I PURITANI for one). Still, there are some rarities
> that
> > > can be attractive enough to get the entire set.
> > >=20
> > > I've already listened to her LYRIC & COLORATURA ARIAS disc earlier
> today
> > > and her second studio LA GIOCONDA. She was in a better voice a few
> years
> > > earlier on her first studio set, but here she sings as if she bares her
> > > soul and heart to the whole world, devotees and detractors alike,
> > > absolutely fearless in her artistic and emotional commitment. Even a
> few
> > > vocal imperfections she acquired by this stage in her career come
> across
> > a=
> > s
> > > utterly human. Though I can't find the documented source for her often
> > > circulated quote about this recording (the first time I read it was in
> > > Ardoin's book), it rings very much true: "It's all there for anyone who
> > > cares to understand or wishes to know what I was about." To her memory.
> > >=20
> > > Vesna
> > >=20
> > > On Sat, Sep 16, 2017 at 9:49 AM, David Patterson <
> > > [log in to unmask]> wrote:
> > >=20
> > >> Been spending some time today remembering this wonderful artist who
> died
> > >> forty years ago this afternoon and sampling some of the discs in the
> new
> > >> Maria Callas Live Remastered set from Warner Classics.  I like what
> I've
> > >> heard so far especially the Mexico Rigoletto which is significantly
> > bette=
> > r
> > >> than my previous live recording.
> > >>=20
> > >>=20
> > >>=20
> > >> David
> > >>=20
> > >>=20
> > >>=20
> > >>=20
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> >
> > ------------------------------
> >
> > Date:    Sat, 16 Sep 2017 20:33:56 -0400
> > From:    daaaac <[log in to unmask]>
> > Subject: Re: Maria Callas
> >
> > Great - I must look for that!
> >
> > Donald
> > > On Sep 16, 2017, at 7:02 PM, tom ponti <[log in to unmask]> wrote:
> > >=20
> > > There is a web site called  gramilano  that has very nice pictures of =
> > Maria and some of her costumes, that are on display at La Scala now. If =
> > you all have not seen them you will very much enjoy them.
> > >=20
> > >=20
> > > ________________________________
> > > From: Discussion of opera and related issues =
> > <[log in to unmask]> on behalf of Bob Rideout =
> > <[log in to unmask]>
> > > Sent: Saturday, September 16, 2017 5:29 PM
> > > To: [log in to unmask]
> > > Subject: Re: [OPERA-L] Maria Callas
> > >=20
> > > I would add to the observations of David and Vesna that the vocal
> > > perfection of the Puritani "Mad scene" on Cetra has never been =
> > surpassed
> > > in my experience and that Callas's quote that "it's all there......" =
> > applies
> > > equally to the Dallas "Medea", which is not quite so overwhelming a =
> > vocal
> > > display as the earlier revivals at Florence and La Scala, but is as =
> > nearly
> > > perfect a realization of vocal splendor and dramatic intensity as this
> > > World
> > > has ever known.
> > >=20
> > > I remember the day of her passing as though it were yesterday.
> > >=20
> > > To her memory!
> > >=20
> > > Bob
> > >=20
> > > On Sat, Sep 16, 2017 at 16:46 Vesna Danilovic <[log in to unmask]> =
> > wrote:
> > >=20
> > >> There are lots of tributes on social media and radio stations today. =
> > She
> > >> was my introduction to opera and, at least for me, she remains the =
> > most
> > >> special artist in the whole opera world. I'm glad to read your =
> > positive
> > >> reaction to this massive reissue of her live recordings because I'm =
> > still
> > >> undecided whether to buy it. Those who love her have their favorite =
> > Callas
> > >> Traviata, Norma, Medea... alas, none of my favorites of her live =
> > recordings
> > >> in these roles are in this set and I was surprised at some omissions =
> > too
> > >> (her Mexico City I PURITANI for one). Still, there are some rarities =
> > that
> > >> can be attractive enough to get the entire set.
> > >>=20
> > >> I've already listened to her LYRIC & COLORATURA ARIAS disc earlier =
> > today
> > >> and her second studio LA GIOCONDA. She was in a better voice a few =
> > years
> > >> earlier on her first studio set, but here she sings as if she bares =
> > her
> > >> soul and heart to the whole world, devotees and detractors alike,
> > >> absolutely fearless in her artistic and emotional commitment. Even a =
> > few
> > >> vocal imperfections she acquired by this stage in her career come =
> > across as
> > >> utterly human. Though I can't find the documented source for her =
> > often
> > >> circulated quote about this recording (the first time I read it was =
> > in
> > >> Ardoin's book), it rings very much true: "It's all there for anyone =
> > who
> > >> cares to understand or wishes to know what I was about." To her =
> > memory.
> > >>=20
> > >> Vesna
> > >>=20
> > >> On Sat, Sep 16, 2017 at 9:49 AM, David Patterson <
> > >> [log in to unmask]> wrote:
> > >>=20
> > >>> Been spending some time today remembering this wonderful artist who =
> > died
> > >>> forty years ago this afternoon and sampling some of the discs in the
> =
> > new
> > >>> Maria Callas Live Remastered set from Warner Classics.  I like what =
> > I've
> > >>> heard so far especially the Mexico Rigoletto which is significantly
> > >> better
> > >>> than my previous live recording.
> > >>>=20
> > >>>=20
> > >>>=20
> > >>> David
> > >>>=20
> > >>>=20
> > >>>=20
> > >>>=20
> > >>> **********************************************
> > >>> OPERA-L on Facebook:
> > >>> http://www.facebook.com/groups/25703098721/
> > >>>=20
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> > ------------------------------
> >
> > Date:    Sat, 16 Sep 2017 21:36:59 -0400
> > From:    Michael Liebert <[log in to unmask]>
> > Subject: Opera Theater of Montclair - Cenerentola - AMAZING
> >
> > Attended a performance this afternoon.  It was really good.  Real
> Orchest=
> > ra,
> > real singers, limited production, but not so limited that you would
> reall=
> > y
> > notice.
> >
> > There are two more performances next week: Friday at 8PM and Saturday at
> > 4PM.  The cast I heard will perform again next Saturday.  An alternate
> ca=
> > st
> > performs on Friday as they did last night.
> >
> > http://www.operamontclair.org/
> >
> > **********************************************
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> > ------------------------------
> >
> > Date:    Sat, 16 Sep 2017 22:57:19 -0400
> > From:    E J Michel <[log in to unmask]>
> > Subject: Rattle Live Sunday - Damnation of Faust
> >
> > http://www.bbc.co.uk/programmes/b094scdk
> >
> > 1 pm EDT
> >
> > Sir Simon Rattle conducts Berlioz's The Damnation of Faust - live from
> the
> > Barbican Hall
> > As part of the celebrations to mark his inaugural season as Music
> Director
> > of the London Symphony Orchestra, Sir Simon conducts Berlioz's 'dramatic
> > legend,' a tale that captures the extremes of man's ambition and folly.
> > Berlioz's fantastical setting of Goethe's Faust is, as Rattle says, "A
> > dramatic legend waiting for cinema which needs to be experienced
> > live...within forty-five seconds, you're in an ecstatic world."
> > Presented by Martin Handley as part of Rattle at Radio 3
> >
> > Berlioz: The Damnation of Faust
> >
> > Marguerite ..... Karen Cargill (mezzo-soprano)
> > Faust ..... Bryan Hymel (tenor)
> > Mephistopheles ..... Christopher Purves (baritone)
> > Brander ..... G=C3=A1bor Bretz (baritone)
> > London Symphony Chorus, Simon Halsey (chorus director)
> > Tiffin Boys' Choir, Girls' Choir and Children's Chorus, James Day (Tiffin
> > choirs director)
> > London Symphony Orchestra
> > Sir Simon Rattle (conductor)
> >
> > 1 pm EDT  Parts 1 and 2
> > approx 2pm: Interval
> > approx 2.25: Parts 3 and 4.
> >
> >
> > Best regards,
> > Elizabeth
> >
> > E J Michel
> > =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> > [log in to unmask]
> >
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> >
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-- 
​Always keep a roll of baling wire and another of duct tape in your car.
It's amazing how useful it can be.

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