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: Tom Frey <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sun, 24 Sep 2017 22:02:50 -0400
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (59 lines)


Something I just don't know. Who makes the decision to sing a high note at the end of an aria that isn't in the score? The singer?  the conductor?  the company? If the singer doesn't have the note in his/her arsenal, there's not much to quibble about. Recently. in productions of Traviata and Rigoletto, the sopranos have not gone for the high notes after Sempre libera and the quartet. and I wonder why .
----- Original Message -----
From: Jon Goldberg <[log in to unmask]>
To: [log in to unmask]
Sent: Sun, 24 Sep 2017 19:51:23 -0400 (EDT)
Subject: Re: Interpolated notes

Just to clarify - are you referring to "come scritto" or to interpolations? I assume the 
former, as I can certainly think of a number of interpolations that end upward (for 
instance, Alfredo's cabaletta and "Di Quella Pira").  

But in addition to "Teco Io Sto" I can also think of quite a few others that do end on the 
upper tonic: 

The final time the Duke sings "La Donna E Mobile" (offstage)
The end of "Si Pel Ciel"
The end of Falstaff's "L'Onore? Ladri!"
The end of "Pace Pace Mio Dio"
Amneris' endings to both the duet with Aida and the Judgement scene
Leonora at the end of the Miserere
Oscar's "Volta La Terrea"

So, indeed I'd say your supposition would not be an invariant rule, lol. 




On Sun, 24 Sep 2017 12:53:52 -0700, Max Paley <[log in to unmask]> wrote:

>It seems to me that it’s very rare for Verdi to have the climactic passage end on the 
high note. The ending usually goes down, frequently a fifth. The “Traviata” interpolation 
sticks to that. That said, it’s not an invariant rule with Verdi: he ends the “Ballo” duet 
“Teco io sto” on the high note.

**********************************************
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