LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font

Options:

Join or Leave OPERA-L
Reply | Post New Message
Search Archives


Subject: Re: Interpolated notes
From: Russ Geschke <[log in to unmask]>
Reply-To:Russ Geschke <[log in to unmask]>
Date:Sun, 24 Sep 2017 18:36:03 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (155 lines)


John Ardoin, The Callas Legacy (1977), p. 14 re the Aida Act 2 E flat:  "The 
added note is, of course, pure circus and why not?  It fits well with the 
scope and pageantry of the scene and is thrilling in sheer visceral 
excitement."

----- Original Message ----- 
From: "donald kane" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Sunday, September 24, 2017 4:50 PM
Subject: Re: Interpolated notes


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
> >>
> >>
> >> Sent from my iPhone
> >>
> >> **********************************************
> >> OPERA-L on Facebook:
> >> http://www.facebook.com/groups/25703098721/
> >> ------------------------------------------------------------
> --------------
> >> To UNSUBSCRIBE, send a message to [log in to unmask]
> >> containing only the words:  SIGNOFF OPERA-L
> >> ------------------------------------------------------------
> --------------
> >> To stay subscribed but TURN OFF mail, send a message to
> >> [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> >> ------------------------------------------------------------
> --------------
> >> Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> >> ------------------------------------------------------------
> --------------
> >>
> >
> > **********************************************
> > OPERA-L on Facebook:
> > http://www.facebook.com/groups/25703098721/
> > ------------------------------------------------------------
> --------------
> > To UNSUBSCRIBE, send a message to [log in to unmask]
> > containing only the words:  SIGNOFF OPERA-L
> > ------------------------------------------------------------
> --------------
> > To stay subscribed but TURN OFF mail, send a message to
> > [log in to unmask] containing only the words:  SET OPERA-L
> NOMAIL
> > ------------------------------------------------------------
> --------------
> > Modify your settings: http://listserv.bccls.org/archives/opera-l.html
> > ------------------------------------------------------------
> --------------
>
>

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
-------------------------------------------------------------------------- 

**********************************************
OPERA-L on Facebook:
http://www.facebook.com/groups/25703098721/
--------------------------------------------------------------------------
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
--------------------------------------------------------------------------
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
--------------------------------------------------------------------------
Modify your settings: http://listserv.bccls.org/archives/opera-l.html
--------------------------------------------------------------------------

Back to: Top of Message | Previous Page | Main OPERA-L Page

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager