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Subject: Re: Fw: Interpolated notes
From: Russ Geschke <[log in to unmask]>
Reply-To:Russ Geschke <[log in to unmask]>
Date:Mon, 25 Sep 2017 03:18:38 -0500
Content-Type:text/plain
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Sorry, it should have been mentioned that Ardoin is discussing the Aida 
performance in Callas' first Mexico season, in 1950, not the 1951 Mexico 
Aida (w del Monaco, Dominguez) in which Callas again interpolated an E-flat. 
Callas' only interpolated E-flats in Mexico in 1952 were in I Puritani, 
Lucia di Lammermoor and Rigoletto (info fr. Ardoin Callas Legacy).


----- Original Message ----- 
From: "jmpennetier" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Monday, September 25, 2017 2:12 AM
Subject: Re: Fw: Interpolated notes


> 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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