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: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Sun, 24 Sep 2017 19:45:17 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (166 lines)


I once read that a Mexican Aida sang it.  I also read that they requested it from Callas.  She said no.  Then, when Baum started misbehaving, she decided to do it.  Can someone verify this?

Donald
> On Sep 24, 2017, at 7:36 PM, Russ Geschke <[log in to unmask]> wrote:
> 
> 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
> --------------------------------------------------------------------------
**********************************************
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