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: Graeme Wright <[log in to unmask]>
Reply-To:Graeme Wright <[log in to unmask]>
Date:Mon, 25 Sep 2017 11:13:55 +0100
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (274 lines)


You don’t remember well! It was performed 1st in 1950 with Baum and repeated in 1951 with del Monaco.

Kind regards 

Graeme 

Sent from my iPhone

> On 25 Sep 2017, at 08:12, jmpennetier <[log in to unmask]> wrote:
> 
> 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
>>>>>>> 
>>>>>>> **********************************************
>>>>>>> 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
>>> --------------------------------------------------------------------------
>>> 
>> 
> 
> **********************************************
> 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