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Subject: Re: OPERA-L Digest - 26 Sep 2017 - Special issue (#2017-933)
From: "James A. Van Sant" <[log in to unmask]>
Reply-To:James A. Van Sant
Date:Tue, 26 Sep 2017 12:31:56 -0600
Content-Type:text/plain
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text/plain (784 lines)


On Sep 26, 2017, at 8:47 AM, OPERA-L automatic digest system <[log in to unmask]> wrote:

> There are 3 messages totalling 754 lines in this issue.
> 
> Topics in this special issue:
> 
>  1. Interpolated notes (2)
>  2. DiDonato lacks the legato requisite to make her Bellini singing effective?
> 
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> ----------------------------------------------------------------------
> 
> Date:    Tue, 26 Sep 2017 09:45:45 -0400
> From:    ANGELO MAMMANO <[log in to unmask]>
> Subject: Re: Interpolated notes
> 
> I have two Met broadcasts of Walkuere - one from Feb 17, 1940 which states
> 
> as coming from Boston on the cover of the CD's and New York on the back.
> 
> The other is from Dec 6, 1941 and this seems to be definitely from New York.
> 
> I times the two Waelsen  and the one from Boston (maybe) is slightly longer
> 
> than the other - eleven seconds each   as oppos
> 
>> 
>>    On September 26, 2017 at 7:01 AM donald kane <[log in to unmask]> wrote:
>> 
>>    Isn't there a pirated Lauritz Melchior "Waelse" from Act One of
>>    DIE WALKUERE that sounds suspiciously prolonged?
>> 
>>    dtmk
>> 
>>    On Mon, Sep 25, 2017 at 5:37 PM, RAYMOND GOUIN <[log in to unmask]> wrote:
>> 
>>>> 
>>>        Hi, Vesna -
>>> 
>>>        There is also the famous -- or infamous -- "Di quella pira" recorded by
>>>        Caruso and inflicted on the public by Ed Smith. As the story goes, Caruso
>>>        heard comments that his high notes were getting shorter as he grew older,
>>>        To show otherwise, at a subsequent recording session, he surprised
>>>        everyone by holding the final note an exceedingly long time. The lie to
>>>        the story rests in the recorded fact that, if the holding of the note was a
>>>        surprise, why did the orchestra keep playing the final notes again and
>>>        again They did not. of course. It was a looping of the same portion
>>>        recording again and again.
>>> 
>>>        Best.
>>> 
>>>        Ry
>>> 
>>>> 
>>> 
>>>>>> 
>>>>            On September 25, 2017 at 2:51 PM Vesna Danilovic <
>>>>            [log in to unmask]> wrote:
>>>> 
>>>>            I suspect that this extension to 20 seconds was the result of audio
>>>>            editing
>>>>            by whoever posted it - a zealot fan(atic) or an equally zealot
>>>>            detractor.
>>>>            No legitimate tape shows that it lasted 20 seconds. It is indeed a
>>>>            "parody"
>>>>            but not of Callas' doing. Hers naturally lasted somewhat less than 10
>>>>            seconds and it was something entirely different - absolutely
>>>>            thrilling and,
>>>>            as Ardoin used the right word, epic.
>>>> 
>>>>            Vesna
>>>> 
>>>>            On Mon, Sep 25, 2017 at 11:53 AM, Louis Perraud <
>>>>            [log in to unmask]>
>>>>            wrote:
>>>> 
>>>>>>>> 
>>>>>> 
>>>>>                That was not only a high note, it was a parody. But I doubt
>>>>>                Baum was
>>>>>                embarrassed.
>>>>> 
>>>>>                L.
>>>>> 
>>>>>                --- Matt Carver <[log in to unmask]> wrote:
>>>>> 
>>>>>>>>>> 
>>>>>>>>>>>> 
>>>>>>>> 
>>>>>>>                        While I don't love the interpolation, I'll admit it can
>>>>>>>                        be thrilling
>>>>>>>                        (although it's done so rarely, I've never heard it live.)
>>>>>>> 
>>>>>>>>>>>> 
>>>>>>                    Here's a Youtube clip of Callas singing it for 20(!)
>>>>>>                    seconds.
>>>>>> 
>>>>>>                    https://www.youtube.com/watch?v=sT2BMO5TlJY
>>>>>> 
>>>>>>                    -----Original Message-----
>>>>>>                    From: Buoso Donati <[log in to unmask]>
>>>>>>                    To: OPERA-L <[log in to unmask]>; Matt Carver <
>>>>>>                    [log in to unmask]>
>>>>>>                    Sent: Mon, Sep 25, 2017 10:24 am
>>>>>>                    Subject: Re: Interpolated notes
>>>>>> 
>>>>>>                    My apology for not reading your post about Millo, before
>>>>>>                    I posted mine,
>>>>>>                    but
>>>>>>                    I do have to disagree a bit.
>>>>>> 
>>>>>>                    After hearing both the Callas and Millo E flats, I feel
>>>>>>                    a let down when
>>>>>>                    others don't "go for it".
>>>>>> 
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> 
> ------------------------------
> 
> Date:    Tue, 26 Sep 2017 14:14:06 GMT
> From:    William Weatherford <[log in to unmask]>
> Subject: Re: DiDonato lacks the legato requisite to make her Bellini singing effective?
> 
> Personally=2C I didn=27t care for JDD=27s Adalgisa=2E
> 
> Her voice is too fluttery and unsupported=2C and her pitch is often sket=
> chy=2E
> 
> I would have preferred a real soprano in the role=2C as called for=2E JD=
> D had to simplify passages and leave out notes=2E It was as bad as her s=
> tab at Maria Stuarda=2C if not worse=2E=A0
> 
> I agree=2C Marilyn Horne was a superb Adalgisa=2C even though she was a =
> mezzo=2E
> 
> Horne did=2C in fact sing it after her initial Met season in the role=2E=
> She sang Norma with Sutherland in San Francisco around 1981 I believe=2E=
> 
> 
> 
> 
> Bill P=2E
> 
> ----- Original Message -----
> From=3A Les Mitnick =
> 
> Date=3A Monday=2C September 25=2C 2017 9=3A32 pm
> Subject=3A Re=3A DiDonato lacks the legato requisite to make her Bellini=
> singing effective=3F
> To=3A OPERA-L=40LISTSERV=2EBCCLS=2EORG
> 
> =3E I think diDonato is a vocally fine Adalgisa=2E Adalgisa is a very =
> 
> =3E young girl=2C considerably younger than Norma=2C and the voice =
> 
> =3E should reflect that=2E I also think that a light lyric soprano is =
> 
> =3E also effective as Adalgisa (like Sumi Jo on the Bartoli =
> 
> =3E recording=2C or even Caballe=27 on the Sutherland recording)=2E In =
> 
> =3E contrast=2C I found Ebe Stignani to be far too matronly sounding =
> 
> =3E and =22old=22 for the role (judging by her singing on the first =
> 
> =3E Callas recording for EMI and the 1955 RAI recording)=2E Marilyn =
> 
> =3E Horne was a beautiful Adalgisa=2C and she contrasted with =
> 
> =3E Sutherland beautifully=2E However=2C I think her voice became far =
> 
> =3E less suitable for the role as time went on=2E If memory serves=2C =
> 
> =3E she never sang Adalgisa again after her initial Met season (not =
> 
> =3E the complete role anyway ------ she had others to sing)=2E Back =
> 
> =3E to Stignani=2C a great singer certainly=2C but to my ears=2C an =
> 
> =3E Amneris=2C Azucena=2C Ulrica=2C Eboli=2C etc=2C is not suitable for =
> 
> =3E Adalgisa=2E I also thought that Elena Obrasztova=2C booming and =
> 
> =3E exciting m
> =3E ezzo that she was ---------- was totally miscast in the role as =
> 
> =3E was Dolora Zajick=2E
> =3E =
> 
> =3E I find diDonato fine ----------- and Rad is superb=2E
> =3E =
> 
> =3E =3E =
> 
> =3E =3E On September 25=2C 2017 at 8=3A14 PM A Katalin Mitchell =
> 
> =3E wrote=3A
> =3E =3E =
> 
> =3E =3E Horne was not a foghorn mezzo in her prime=2C she was a =
> 
> =3E superb bel canto mezzo=3B I was introduced to Norma by her and =
> 
> =3E Sutherland=2C and never heard anything like it again=2E
> =3E =3E =
> 
> =3E =3E I agree=2E Adalgisa was not supposed to be a foghorn mezzo=2E
> =3E =3E =
> 
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> 
> ------------------------------
> 
> Date:    Tue, 26 Sep 2017 10:47:10 -0400
> From:    daaaac <[log in to unmask]>
> Subject: Re: Interpolated notes
> 
> March 30, 1940
> 
> http://www.collup.com/1940walsemelchior.mp3 =
> <http://www.collup.com/1940walsemelchior.mp3>
> 
> Donald
>> On Sep 26, 2017, at 7:01 AM, donald kane <[log in to unmask]> wrote:
>> =20
>> Isn't there a pirated Lauritz Melchior "Waelse"  from Act One of
>> DIE WALKUERE that sounds suspiciously prolonged?
>> =20
>> dtmk
>> =20
>> On Mon, Sep 25, 2017 at 5:37 PM, RAYMOND GOUIN <[log in to unmask]> =
> wrote:
>> =20
>>> Hi, Vesna -
>>> =20
>>> =20
>>> There is also the famous -- or infamous -- "Di quella pira" recorded =
> by
>>> Caruso and inflicted on the public by Ed Smith.  As the story goes, =
> Caruso
>>> heard comments that his high notes were getting shorter as he grew =
> older,
>>> To show otherwise,  at a subsequent recording session, he surprised
>>> everyone by holding the final note an exceedingly long time.  The lie =
> to
>>> the story rests in the recorded fact that, if the holding of the note =
> was a
>>> surprise, why did the orchestra keep playing the final notes again =
> and
>>> again  They did not. of course.  It was a looping of the same portion
>>> recording again and again.
>>> =20
>>> =20
>>> Best.
>>> =20
>>> Ry
>>> =20
>>>> =20
>>>>   On September 25, 2017 at 2:51 PM Vesna Danilovic <
>>> [log in to unmask]> wrote:
>>>> =20
>>>>   I suspect that this extension to 20 seconds was the result of =
> audio
>>> editing
>>>>   by whoever posted it - a zealot fan(atic) or an equally zealot
>>> detractor.
>>>>   No legitimate tape shows that it lasted 20 seconds. It is indeed =
> a
>>> "parody"
>>>>   but not of Callas' doing. Hers naturally lasted somewhat less =
> than 10
>>>>   seconds and it was something entirely different - absolutely
>>> thrilling and,
>>>>   as Ardoin used the right word, epic.
>>>> =20
>>>>   Vesna
>>>> =20
>>>>   On Mon, Sep 25, 2017 at 11:53 AM, Louis Perraud <
>>> [log in to unmask]>
>>>>   wrote:
>>>> =20
>>>>>> =20
>>>>>       That was not only a high note, it was a parody. But I doubt
>>> Baum was
>>>>>       embarrassed.
>>>>> =20
>>>>>       L.
>>>>> =20
>>>>>       --- Matt Carver <[log in to unmask]> wrote:
>>>>> =20
>>>>>>>> =20
>>>>>>           While I don't love the interpolation, I'll admit it can
>>> be thrilling
>>>>>>           (although it's done so rarely, I've never heard it =
> live.)
>>>>>> =20
>>>>>>           Here's a Youtube clip of Callas singing it for 20(!)
>>> seconds.
>>>>>> =20
>>>>>>           https://www.youtube.com/watch?v=3DsT2BMO5TlJY
>>>>>> =20
>>>>>>           -----Original Message-----
>>>>>>           From: Buoso Donati <[log in to unmask]>
>>>>>>           To: OPERA-L <[log in to unmask]>; Matt Carver <
>>> [log in to unmask]>
>>>>>>           Sent: Mon, Sep 25, 2017 10:24 am
>>>>>>           Subject: Re: Interpolated notes
>>>>>> =20
>>>>>>           My apology for not reading your post about Millo, =
> before
>>> I posted mine,
>>>>>>           but
>>>>>>           I do have to disagree a bit.
>>>>>> =20
>>>>>>           After hearing both the Callas and Millo E flats, I feel
>>> a let down when
>>>>>>           others don't "go for it".
>>>>>> =20
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> End of OPERA-L Digest - 26 Sep 2017 - Special issue (#2017-933)
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