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Subject: Re: Turandot
From: Tom Frey <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Wed, 8 Nov 2017 23:03:12 -0500
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I have mixed feelings about Turandot. I sang in the chorus of a concert version years ago so I got deeply involved. I've seen staged versions numerous times. Once with the Berio ending. The last time was the HD Met with Stemme. First of all the main character is a bitch, both as a person and as a vocal outing. It's hard for me to like an opera when the lead is so nasty and I don't buy her conversion in the last act. The male lead is a true rectum who stands by while his servant girl is tortured till she commits suicide to protect his sorry butt. The music for Lui is sweet and tender. The music for Turandot and Calaf can turn into a screaming match with inept singers, The lame work of Alfano is pathetic in my opinion. I thought the  Met telecast with Stemme was a disaster. She looked frightening and sounded worse. Nessun Dorma is the tenor version of O mio babino caro in pop society tidbits from opera. Even Aretha Franklin had a go at it. It shows up at TV talent shows by a range of 10 year old boys to talking parrots. I feel the opera world would be better off if the production of Turandot would stop where Puccini stopped. I realize that I am,no doubt, alone in my ranting thoughts.
     
----- Original Message -----
From: donald kane <[log in to unmask]>
To: [log in to unmask]
Sent: Wed, 08 Nov 2017 20:13:06 -0500 (EST)
Subject: Re: Turandot

For some reason this subject has entirely disappeared from my
Inbox today.  After reading numerous postings on the same subject,
I want to reaffirm what I said earlier: I still think Toscanini was right
about the excesses of Alfano's dutiful completion; perhaps no one
would have done better with what the composer left unfinished , but
the conductor, I insist, was more attuned to Puccini's instinct for
knowing when enough was enough.

I have as fond memories of Birgit Nilsson "live" at the Met as any
one could, but great as she was as Turandot, Ingrid Bjoner, whose
Norwegian trumpet easily matched that of the Swede, note for note,
added a layer of warmth that succeeded in humanizing our icy princess
to a sumptuous and satisfying degree, once with Corelli, and again with
McCracken, as Calaf.

dtmk

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