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Subject: Re: applause habits (Was: Booing at the Met)
From: Les Mitnick <[log in to unmask]>
Reply-To:Les Mitnick <[log in to unmask]>
Date:Mon, 30 Oct 2017 21:56:51 -0500
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Paul:

      Many thanks for sharing this and supplying the links to YouTube.  I am convinced that Puccini wrote this role for Corelli (though of course he couldn't have known it).  He was definitive in this role, and for me he remains so.  As far as the Callas Sonnambula is concerned, it too is definitive.  It's almost impossible to believe that this was a voice that encompassed Medea, Norma, Anna Bolena, and all the others.  Both Callas and Corelli knew how to ignite an audience into a frenzy unlike anyone else.  Both were pure electricity.


                                                                                          

> On October 30, 2017 at 12:21 PM "G. Paul Padillo" wrote:
> 
> 
>     While today we love to highbrow opera behavior to within an inch of its artificial life, it’s my
>     strong belief many composers predicted (or hoped for) the effect their music would have on
>     the audience. As to Nessun Dorma, I don’t know when it began, but the applause at that
>     spot began very early on, almost as though Puccini were saying, “I dare you NOT to
>     applaud.”
> 
>     There’s a 1960 recording of Corelli in a complete Turandot where the audience demands an
>     encore of the aria, and the tenor (and conductor) oblige, and, yes, the audience applauds at
>     that same spot again.
> 
>     Here’s the audio from a 1964 performance where the audience gets Franco Fever and the
>     ovation gets so carried away, it continues through part of Ping, Pang and Pong’ music.
> 
>     https://www.youtube.com/watch?v=0D3mNVmJkkI&list=RD0D3mNVmJkkI https://www.youtube.com/watch?v=0D3mNVmJkkI&list=RD0D3mNVmJkkI
> 
>     The older I get, the more forgiving I become of this behavior, and will admit, I wish I’d been
>     there and cheered him to the rafters myself!
> 
>     Then, there’s the case of that tremendous '55 Scala "Sonnambula" with Callas and
>     Bernstein, where, during “Ah non giunge” the audience goes bananas while Callas is still holding the note that ushers in the chorus for the final cadential sequence and the house
>     continues cheering through the rest of the finale. Perhaps it’s not very dignified, but holy
>     Moses, is it ever exciting and exactly the kick in the ass opera needs at least every once in a
>     while!
> 
>     https://www.youtube.com/watch?v=J0x9RFGp-M8
> 
>     p.
>         * 
>               o 
>                     + 
>                           # *
> 
> 
>     Mr. Weimar wrote, asking:
>     "I've often wondered if audiences have always burst loudly into ecstatic
>     applause at that invariable, inevitable moment during the reprise of the
>     melody at the end of "Nessun dorma," or if audiences were conditioned to do
>     so during the era when Pavarotti's televised stadium performances of the
>     aria were seemingly ubiquitous. How far back does this audience timing go
>     in live performances?"
> 
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