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Subject: Re: Interpolated notes
From: Graeme Wright <[log in to unmask]>
Reply-To:Graeme Wright <[log in to unmask]>
Date:Mon, 25 Sep 2017 12:29:37 +0100
Content-Type:text/plain
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text/plain (305 lines)


She did indeed to Baum’s fury!!

Sent from my iPhone

> On 25 Sep 2017, at 11:49, Jean Michel Pennetier <[log in to unmask]> wrote:
> 
> Thank you. And Callas interpolated that E flat the first time too, right ?
> 
> Kind regards.
> 
> Jean-Michel.
> 
> ----- Mail original -----
> De: "Graeme Wright" <[log in to unmask]>
> À: "jmpennetier" <[log in to unmask]>, "Opera-L" <[log in to unmask]>
> Envoyé: Lundi 25 Septembre 2017 12:13:55
> Objet: Re: Interpolated notes
> 
> 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 <rgeschke2@SBCGLOBALNET> 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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>>> 
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