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Subject: Re: Florez Mozart
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Fri, 6 Oct 2017 22:29:08 +0000
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (578 lines)


Les Mitnick:
 "Both [Florez] and Jonas Kaufmann, albeit in completely diverse repertoires, rule the tenor world today.  It's just a tragedy that neither chooses to sing on our shores anymore."
......


Les, this seems to be an idée fixe with you, and I believe last time it came up I and maybe other posters pointed out that Jonas Kaufmann is singing three performances of an Act II TRISTAN concert with the Boston this coming April under Nelsons ( 2 in Symphony Hall and one in Carnegie.

He is also giving a recital in Carnegie on January 20: Schoene Muellerin with Helmut Deutsch.
For the most in-demand tenor of the moment, 4 seasonal appearances in the US is little but not non-existent either.

Boston and Manhattan count as on *my* shores, at least..

Best- David


      From: OPERA-L automatic digest system <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Friday, October 6, 2017 5:52 PM
 Subject: OPERA-L Digest - 6 Oct 2017 - Special issue (#2017-968)
   
There are 9 messages totalling 539 lines in this issue.

Topics in this special issue:

  1. Florez Mozart (3)
  2. Happy to Be an Opera Engineer (2)
  3. Moffo recordings
  4. Steber at the Continental Baths
  5. Moffo commercial recordings (2)

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Date:    Fri, 6 Oct 2017 13:08:58 -0500
From:    Les Mitnick <[log in to unmask]>
Subject: Re: Florez Mozart

It's great to hear that Juan Diego Florez is still at the top of his game.  After a twenty one year career that began his his early twenties, it's good to know that he can still deliver the goods.  Hardly a surprise.  He's got a fabulously trained voice, and he's kept away from anything even remotely heavy, and he's got tremendous presence on the stage.  His work in the Rossini, Donizetti, and Bellini repertoire has made him THE bel canto tenor of his generation ------ possibly any generation.  Both he and Jonas Kaufmann, albeit in completely diverse repertoires, rule the tenor world today.  It's just a tragedy that neither chooses to sing on our shores anymore.

 

> 
>    On October 6, 2017 at 11:02 AM Stephen Charitan <[log in to unmask]> wrote:
> 
>    My pre-ordered copy of the new Florez Mozart recital arrived yesterday and
>    "WOW" sums it up best.
> 
>    Cataracts of beautifully rounded ornaments flood "Fuor del Mar" giving the
>    piece a baroque grandeur it seldom gets from tenors who come to Mozart from
>    Puccini or Verdi.
> 
>    In fact all the da capos are fearlessly decorated reinforcing the
>    justification for the A-B-A form. Its a minor quibble, but I think the
>    only place where Florez miscalculates is in an overly fussy delivery of the
>    elegiac Un'aura amorosa.
> 
>    His "Tito" would surely steal the show from the various ladies both in and
>    out of trousers.
> 
>    Would love to hear him rip through Handel's Bajazet in "Tamerlano."
> 
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Date:    Fri, 6 Oct 2017 14:14:12 -0400
From:    LANE WHITESELL <[log in to unmask]>
Subject: Re: Florez Mozart

Unfortunately all the instrumental work was recorded at very high levels and clipped 
during the production of the album (I was programming three sections on the air this morning 
and could see the clipping as I put  the first three pieces into  tomorrow's pre-recorded 
after-the-opera programming.)  Florez, however, is truly magnificent!

Lane A. Whitesell
Opera host, KUCO-FM

> 
>    On October 6, 2017 at 12:02 PM Stephen Charitan <[log in to unmask]> wrote:
> 
>    My pre-ordered copy of the new Florez Mozart recital arrived yesterday and
>    "WOW" sums it up best.
> 
>    Cataracts of beautifully rounded ornaments flood "Fuor del Mar" giving the
>    piece a baroque grandeur it seldom gets from tenors who come to Mozart from
>    Puccini or Verdi.
> 
>    In fact all the da capos are fearlessly decorated reinforcing the
>    justification for the A-B-A form. Its a minor quibble, but I think the
>    only place where Florez miscalculates is in an overly fussy delivery of the
>    elegiac Un'aura amorosa.
> 
>    His "Tito" would surely steal the show from the various ladies both in and
>    out of trousers.
> 
>    Would love to hear him rip through Handel's Bajazet in "Tamerlano."
> 
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Lane A. Whitesell

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Date:    Fri, 6 Oct 2017 15:10:09 -0400
From:    donald kane <[log in to unmask]>
Subject: Re: Happy to Be an Opera Engineer

I am happy for you; congratulations!

This gives me an opportunity to air my personal pet peeve about
the way in which the Met's HD performances are presented on
television.  It is simply this: why can't the names of the singers
be displayed on screen as each one appears for his or her curtain
call?  It is not possible for the human eye to read the credits as
they roll by at the end.  This, I'm sure, is Brian Large's responsibility,
but I think it would be in the interest of the Met to advocate such a
simple improvement to an otherwise completely enthralling home
viewing event.

dtmk



On Fri, Oct 6, 2017 at 12:17 PM, Mark Schubin <[log in to unmask]>
wrote:

> as I start my 45th season at the Met:
> https://www.linkedin.com/pulse/happy-opera-engineer-mark-schubin/
>
> TTFN,
> Mark
>
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Date:    Fri, 6 Oct 2017 15:11:44 -0400
From:    Scott Grunow <[log in to unmask]>
Subject: Re: Moffo recordings

I got the Verdi arias on CD recently. Some amazing singing in arias from roles she probably could not have handled on stage, and she interpolates a high E flat at the end of Ernani, involami. 


Some have argued that her forays (I heard her husband at that time forced her into this direction) into coloratura roles and arias or just interpolating those notes in alt ultimately damaged her voice. 


Mezzomaniac




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Date:    Fri, 6 Oct 2017 15:24:01 -0400
From:    Scott Grunow <[log in to unmask]>
Subject: Steber at the Continental Baths

I bought this record for two bucks at Reckless Records (used CDs, vinyl, DVDs). Little did the seller know I've seen this LP for sale for as much as three hundred dollars on amazon.


I knew by then it was a camp classic. 


Well, it is what it is. But note: Bette Midler sang there, but that was at the start of her career. I think she only sang one night there with Barry Manilow.


I would like to think that she was not appearing as an "old joke," and she seems to be enjoying herself, especially in the last half, operetta, after the opera arias program.. Ambitious, to say the least, Depuis le jour, wow. 


But she could sing anything in her prime.  


At that point, she still could, even if the results are less than spectacular. 


Maybe she needed the money by then, I don't know. I heard she got into some financial trouble in the late fifties, and her personal life was in shambles.


Whatever the case, if one listens to either her Inflammatus or her Hear ye, Israel, she should be numbered among the great singers. 


https://www.youtube.com/watch?v=yW9bgy-NEMA



https://www.youtube.com/watch?v=AX-wwiTZrnw



Mezzomaniac



















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Date:    Fri, 6 Oct 2017 15:32:57 -0400
From:    Stephen Charitan <[log in to unmask]>
Subject: Re: Florez Mozart

I'd definitely add Grigolo to the mix...He is a galvanizing force of
nature...as at home in French as he is in Italian...Just saw him last week
burn up the MET stage in Hoffmann - and contrary to his stage persona he
has that glorious voice of his under perfect control while still keeping
his audience of the edge of their seats.
As to Florez, too bad he can't execute a fully articulated trill - oh
well...as Bette Davis said to Paul Henried - "Lets not ask for the moon we
have the stars..."

On Fri, Oct 6, 2017 at 2:08 PM, Les Mitnick <[log in to unmask]> wrote:

> It's great to hear that Juan Diego Florez is still at the top of his
> game.  After a twenty one year career that began his his early twenties,
> it's good to know that he can still deliver the goods.  Hardly a surprise.
> He's got a fabulously trained voice, and he's kept away from anything even
> remotely heavy, and he's got tremendous presence on the stage.  His work in
> the Rossini, Donizetti, and Bellini repertoire has made him THE bel canto
> tenor of his generation ------ possibly any generation.  Both he and Jonas
> Kaufmann, albeit in completely diverse repertoires, rule the tenor world
> today.  It's just a tragedy that neither chooses to sing on our shores
> anymore.
>
>
>
> On October 6, 2017 at 11:02 AM Stephen Charitan <[log in to unmask]>
> wrote:
>
> My pre-ordered copy of the new Florez Mozart recital arrived yesterday and
> "WOW" sums it up best.
>
> Cataracts of beautifully rounded ornaments flood "Fuor del Mar" giving the
> piece a baroque grandeur it seldom gets from tenors who come to Mozart from
> Puccini or Verdi.
>
> In fact all the da capos are fearlessly decorated reinforcing the
> justification for the A-B-A form. Its a minor quibble, but I think the
> only place where Florez miscalculates is in an overly fussy delivery of the
> elegiac Un'aura amorosa.
>
> His "Tito" would surely steal the show from the various ladies both in and
> out of trousers.
>
> Would love to hear him rip through Handel's Bajazet in "Tamerlano."
>
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Date:    Fri, 6 Oct 2017 16:53:59 -0400
From:    Mark Schubin <[log in to unmask]>
Subject: Re: Happy to Be an Opera Engineer

I'll pass your comment on to the creative team.

FYI, Brian Lange hasn't directed television at the Met for quite some time.

Thanks!

TTFN,
Mark


On Fri, Oct 6, 2017 at 3:10 PM, donald kane <[log in to unmask]> wrote:
>
> This gives me an opportunity to air my personal pet peeve about
> the way in which the Met's HD performances are presented on
> television.  It is simply this: why can't the names of the singers
> be displayed on screen as each one appears for his or her curtain
> call?  It is not possible for the human eye to read the credits as
> they roll by at the end.  This, I'm sure, is Brian Large's responsibility,
> but I think it would be in the interest of the Met to advocate such a
> simple improvement to an otherwise completely enthralling home
> viewing event.
>
> dtmk

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------------------------------

Date:    Fri, 6 Oct 2017 17:36:51 -0400
From:    R Stuart <[log in to unmask]>
Subject: Re: Moffo commercial recordings

Moffo had a truly "phonogenic" voice, one that oozed sex in a way that I=20=

think only Lotte Lehmann and Crespin could rival.=20

I'd add her Susanna - one of the best on record - in the Giulini recordin=
g,=20
and all the operetta excerpts.

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Date:    Fri, 6 Oct 2017 17:52:02 -0400
From:    Max Paley <[log in to unmask]>
Subject: Re: Moffo commercial recordings

I think her Susanna in that Giulini =93Nozze di Figaro=94 is absolutely deli=
cious. Charming, sexy and just plain fun.

She sang Zerlina delightfully on a 1956 =93Don Giovanni=94 conducted by Rosb=
aud.

The EMI/Columbia recordings of Mozart arias under Galliera and various bel c=
anto arias with Colin Davis are both excellent, showing a refined style and t=
aste, quite at odds with the PR style RCA later adopted for her.

I think the RCA =93beige album=94 is no slouch and the Canteloube/Rachmanino=
v recording with Stokowski is ravishing.

Max Paley

Sent from my iPad

> On Oct 6, 2017, at 17:36, R Stuart <[log in to unmask]> wrote:
>=20
> Moffo had a truly "phonogenic" voice, one that oozed sex in a way that I=20=

> think only Lotte Lehmann and Crespin could rival.=20
>=20
> I'd add her Susanna - one of the best on record - in the Giulini recording=
,=20
> and all the operetta excerpts.
>=20
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