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Subject: Re: Interpolated notes
From: Larry Kellum <[log in to unmask]>
Reply-To:Larry Kellum <[log in to unmask]>
Date:Mon, 25 Sep 2017 10:29:41 -0400
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Hi. I read once that Lucine Amara (of all people) & Marisa Galvany
(not much better) took that high E at end of Triumphal scene. We had a
black soprano come to Hartford years ago who did the
same......successfully.......on pitch & volume...................But
why?.....................Carnival that it is...................I
wouldn't do it as a soprano w/ Patria Mia right around the corner!!
Admire the bravery!

On Mon, Sep 25, 2017 at 10:23 AM, Jon Goldberg <[log in to unmask]> wrote:
> If it's *just* music, then it better be a concert version. No costumes, no sets, just one
> broad light cue for the full stage, the orchestra onstage with the singers, etc.
>
> And even then, some of us would and should argue that even music itself, even non-vocal
> music for that matter, has dramatic meaning and purpose. Or at least that it CAN have
> that meaning and purpose.
>
> Opera, from the Camerata on, has always been an attempt to bring together all forms of
> art in some respect - and at the forefront of that synthesis has always been theatre along
> with music. The balance has changed back and forth over time, and we will always debate
> what that balance is, but opera at its most basic is not just music.
>
> As to your final point, I'm trying to think of any standard choral piece where a voice
> section is invited to interpolate. Can't think of anything. Donald, I do think even you are
> savvy enough to recognize the difference between a soloist's ability to do so as opposed
> to the chorus, flippancy in your post or not. Hell - would you like the trombones to play
> that same soprano high Eb too? Why can't the orchestra be involved in interpolating too,
> huh?? ;-)
>
>
> On Mon, 25 Sep 2017 02:56:11 -0400, donald kane <[log in to unmask]> wrote:
>
>>It's not the plot, it's not the pageantry, it's the music.  Why not listen
>>to it
>>as music?  Alternatively, why not have the sopranos in the chorus all sing
>>an Eflat in unison, drowning every body out?
>>
>>dtmk
>>
>>
>>On Sun, Sep 24, 2017 at 8:16 PM, <[log in to unmask]> wrote:
>>
>>> Of course, not a single person has even mentioned whether a high E flat
>>> fits in with what's happening in the plot.  Yes, there is a lot of pagentry
>>> - but it's all ironic, as all the protagonists don't give a damn about it
>>> and are heavily engaged in lots of internal dialogue and turmoil.  That's
>>> what makes the scene exciting - not pagentry for its own sake, but that
>>> it's so very much at odds with what's going on with the characters.
>>>
>>> "What hope now is left to me?
>>> For him, glory and the throne,
>>> for me, oblivion and the tears
>>> of a hopeless love."
>>>
>>>
>>> Those are Aida's lines at the end of act 2.  Given the context of her
>>> hopeless situation, does it sound like she wants to sing a high E flat?
>>>
>>>
>>> Bob Kosovsky, Ph.D. -- Curator, Rare Books and Manuscripts,
>>> Music Division, The New York Public Library for the Performing Arts
>>> blog:  http://www.nypl.org/blog/author/44   Twitter: @kos2
>>>  Listowner: OPERA-L ; SMT-ANNOUNCE ; EXLIBRIS-L ; SoundForge-users
>>> --- My opinions do not necessarily represent those of my institutions ---
>>>
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