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Subject: Re: When to retire
From: Donald Levine <[log in to unmask]>
Reply-To:Donald Levine <[log in to unmask]>
Date:Tue, 28 Nov 2017 12:54:17 -0700
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It is different for each singer.  Yes the great Sam Ramey perhaps hung
around too long as did Paul Plishka.  I am sure their are reasons why
Milnes wasn't give a new contract, as you say behind the scenes, things
happen.  As for Ruth Ann Swenson, I think Gelb just didn't get her.  I
heard her sing Adalgisa in Palm Beach about the time she left the Met,
maybe a year or two after, and she was in stupendous voice.  Perhaps she
could no longer negotiate the high soprano stuff but she had developed into
a full rich, big voiced lyric soprano.  It was obviously a major voice, not
in decline, and still capable of giving great pleasure.

Donald

On Tue, Nov 28, 2017 at 11:52 AM, R Stuart <[log in to unmask]> wrote:

> And what is the appropriate role of opera house management?
>
> The Met was viscously criticized, for example, for not continuing to give a
> contract to Milnes (though apparently behind the scenes, things were a
> little
> more complicated), or Swenson. Cries go out of the house "owes" it to him
> or her to keep presenting aging singers as long as they want to appear.
>
> Sorry, but to my way of thinking, it's strictly a business proposition. A
> contract for this season is just that, and comes with no future obligations
> from either party involved.
>
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