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Subject: Interpolated notes
From: Ghozel <[log in to unmask]>
Reply-To:Ghozel <[log in to unmask]>
Date:Sat, 23 Sep 2017 09:40:15 -0400
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I have a love/hate relationship with interpolated notes.  Certainly they have a strong place in opera, but sometimes they take me out of the character.

For example, Callas' (and more recently Millo's) interpolated E flats in Aida's Triumphal Scene are wonderful to hear but don't seem appropriate for the character.

On the other hand, elongating (and singing forte) Judith's high C in Bluebeard is actually preferable to what Bartok wrote, in my opinion.

Your thoughts?

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