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Subject: Congratulations to Michael Kaye
From: Dennis Ryan <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Mon, 9 Oct 2017 00:43:58 -0400

text/plain (49 lines)

Hi, Y'all!
    Congratulations to Michael Kaye on the publication  of his amazing book 
(co-authored with Vincent Giroud,) "The Real "Tales of  Hoffmann."  It is a 
thorough account of the gradual process by which the  new critical 
Kaye-Keck edition became possible and evolved, together with  detailed accounts of 
the origin and history not only of the opera's libretto,  its scenario, and 
the play by Barbier and Carre, but a thorough discography  and filmography as 
well.  This book is a piece of operatic  scholarship almost unparalleled in 
the entire history of operatic  criticism.  
    The essays included answered nearly every question  I had about this 
critical edition and the very complicated process by which it  came to be.  
The complete authentic libretto (especially of the Giulietta  act) came as a 
    My only remaining question is WHY, in the name of  all decency and all 
sanity, does the Metropolitan Opera (as well as other  houses) persist in 
performing corrupt editions knowing them full well to be  corrupt?  WHY, in 
the name of all decency and all sanity, is there no CD or  DVD of a complete 
performance using the Kaye-Keck edition?  (Note:   the Nagano CD on Erato of 
1996 did use the Kaye edition as it was then  known, but it was made before 
the discovery of much significant material,  especially the finale for the 
Giulietta act.  The DVD of the Bregenz  Festival performance, directed by 
Herheim, is BASED on the Kay-Keck edition but,  as always, Herheim has tinkered 
with the edition--as he does with most operatic  material he touches--in 
order to make the result his own arrangement of what the  composer and 
librettist(s) MAY IN HIS MIND have intended.)  Like every  Herheim production I 
know of, he demands that what he directs be HIS OWN  creation and not that of 
the librettist and composer at all.  Operas that  Herheim has directed have 
been filled with thrilling moments that have left me  in temporary awe.  But 
overall, Herheim remains, for ME, a great talent  whose monstrous ego 
overshadows everything else he touches and demeans even his  greatest moments.  
    If Mr. Kaye is monitoring this board, or if he has  friends who do and 
who can relay this message:  my most profound  congratualtions.  
    Dennis Ryan 

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