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Subject: Re: Fw: Interpolated notes
From: jmpennetier <[log in to unmask]>
Reply-To:jmpennetier <[log in to unmask]>
Date:Mon, 25 Sep 2017 09:12:00 +0200
Content-Type:text/plain
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Everybody talks about that Callas E flat in Mexico in 1952 but she already interpolated one in 1951 if I remember well.
Jean Michel.



Envoyé depuis mon smartphone Samsung Galaxy.
-------- Message d'origine --------De : Russ Geschke <[log in to unmask]> Date : 25/09/2017  08:09  (GMT+01:00) À : [log in to unmask] Objet : Fw: Interpolated notes 
----- Original Message ----- 
From: "Russ Geschke" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Sunday, September 24, 2017 10:11 PM
Subject: Fw: Interpolated notes


>
> ----- Original Message ----- 
> From: "Russ Geschke" <[log in to unmask]>
> To: "daaaac" <[log in to unmask]>
> Sent: Sunday, September 24, 2017 7:02 PM
> Subject: Re: Interpolated notes
>
>
>>
>> Yes, that's basically it, according to Ardoin p. 14:  "Supposedly this 
>> addition was suggested by the then manager of the Mexico season, Antonio 
>> Caraza-Campos.  He owned a score of Aida which had belonged to Angela 
>> Peralta, a nineteenth-century singer who had first sung Aida in Mexico 
>> and who had included the interpolated E-flat.  Callas told Caraza-Campos 
>> that if he wanted to hear her E-flat he would have to engage her for 
>> Puritani; this he did in 1952.  In the meanwhile, Callas had a 
>> disagreement with [Kurt] Baum during the dress rehearsal of Aida, and 
>> following the first act on opening night, [Nicola] Moscona -- who had 
>> known Callas since her student days in Greece -- came to her dressing 
>> room complaining of the manner in which Baum was holding on to high 
>> notes.  Callas decided then and there to add the E-flat which had been 
>> urged upon her, provided Simionato and [Robert] Weede would agree to its 
>> inclusion.  Both did, and obviously Baum was given as  big a jolt as the 
>> audience when the moment arrived.  He declared furiously that he would 
>> neever sing again with Callas (unfortunately, his threat was in vain)."
>>
>> ----- Original Message ----- 
>> From: "daaaac" <[log in to unmask]>
>> To: <[log in to unmask]>
>> Sent: Sunday, September 24, 2017 6:45 PM
>> Subject: Re: Interpolated notes
>>
>>
>> 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
>>>> >>
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