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Subject: Re: Interpolated notes
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Sun, 24 Sep 2017 21:29:26 -0700
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Usually, it’s the conductor. Callas cleared it with the conductor (and others in the cast) before she added the E-flat in Mexico.

Conductors who aren’t asked ahead of time tend to get very angry about these things.

Usually, what happens is that the conductor either agrees with the high note or doesn’t. If he doesn’t, typically that’s end of story.

If he agrees, sometimes the singer will want some space in performance to decide whether or not they’re going to do it on a particular day. They usually work out some signal to the conductor in the bars before as to whether or not they’ll go for it, because interpolated high notes frequently involve some tempo adjustment or corresponding orchestral fermata.

Muti has frequently been the most severe “come scritto” authoritarian, but even he has allowed the E-flat in “La Traviata.” 

Max Paley

> On Sep 24, 2017, at 7:02 PM, Tom Frey <[log in to unmask]> wrote:
> 
> 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.
> 
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