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Subject: Re: Interpolated notes
From: ANGELO MAMMANO <[log in to unmask]>
Reply-To:ANGELO MAMMANO <[log in to unmask]>
Date:Sun, 24 Sep 2017 19:09:50 -0400
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An interpolation that I have envisioned for ages and will probably never

heard is in the close of the final duet between tenor and baritone before

Pace, pace in Forza.  I would love to hear Alvaro sing the last Andiam not

on A but on C#.  That would be somet


> 
>     On September 24, 2017 at 5:50 PM donald kane <[log in to unmask]> wrote:
> 
>     I'm with you. And I would say to Max Paley and anyone else who thinks
>     an E flat at the finale of AIDA ACT 2 sounds "circusy", a rousing
>     performance
>     of AIDA (and a few other Verdi works), is as close as I would ever want to
>     get to an actual circus.
> 
>     dtmk
> 
>     On Sun, Sep 24, 2017 at 3:59 PM, daaaac <[log in to unmask]> wrote:
> 
>         > > 
> >         I’ve probably said this here before. If a congenial Tosca soprano and
> >         conductor should exist, I think it would be great for Cavaradossi to share
> >         the high C in act 2 with Tosca as he's being dragged off, “screaming” in
> >         pain. I’m sure Bonisolli would have if given the chance.
> > 
> >         Donald
> > 
> >             > > > 
> > >             On Sep 24, 2017, at 1:27 PM, donald kane <[log in to unmask]> wrote:
> > > 
> > >             "Enough said" department: this is compact, amusing, and informative;
> > >             thank you.
> > > 
> > >             As for the AIDA interpolation, once heard, a performance that doesn't
> > >             include it, is doomed.
> > > 
> > >             dtmk.
> > > 
> > >             On Sun, Sep 24, 2017 at 1:44 AM, R PRADA <[log in to unmask]> wrote:
> > > 
> > >                 > > > > 
> > > >                 Turns out that in Mozart, fermatas are invitations to add decorations.
> > > >                 For
> > > >                 a long time some imagined idea of purity made people afraid to add
> > > >                 cadenzas
> > > >                 and little turns, but an expert such as Boris Goldovsky absolutely
> > > >                 expected
> > > >                 cadenzas and decorations.
> > > > 
> > > >                 During the time of Mahler there was a trend towards excessive
> > > >                 decoration,
> > > >                 and Mahler wrote a cannon, known as The Mahler reform, trying to make a
> > > >                 unified aesthetic. Later someone or other erased all decoration.
> > > >                 The great Henry Pleasants agreed with Goldovsky and had a recording of
> > > >                 Come Scoglio with ornaments and cadenzas arranged by Goldovsky that he
> > > >                 played every summer for a course in Salzburg for American singers.
> > > >                 At a certain point there was an effusive use in ornament in Donizetti
> > > >                 and
> > > >                 Bellini, even Rossini.
> > > >                 Based on this Maestro Ricci wrote a books of cadenzas for every voice
> > > >                 type. He was also an expert on Puccini performance style, having worked
> > > >                 at
> > > >                 the composer's side.
> > > >                 Estelle Liebling also wrote cadenzas.
> > > >                 Before this everyone has his own cadenzas.
> > > >                 GB Faure has an amusing anecdote about Battistini and his favorite
> > > >                 cadenza.
> > > > 
> > > >                 I am about to crash, but I will locate the Faure story as it is quite
> > > >                 sweet.
> > > > 
> > > >                 From what I have read the audiences wanted novelty and some of those
> > > >                 high
> > > >                 notes would have served to inject a note of excitement.
> > > > 
> > > >                 Of course if everyone does the same interpolation, it becomes tradition.
> > > >                 That is ho-hum, to some at least.
> > > > 
> > > >                 I'm not sure but I think Rossini may have been the first composer to
> > > >                 write
> > > >                 out cadenzas. That would have been to keep singers from going totally
> > > >                 off
> > > >                 the reservation, and distorting the form of arias by carrying on too
> > > >                 long.
> > > > 
> > > >                 RP
> > > > 
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