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Subject: Re: When to retire
From: Bob Rideout <[log in to unmask]>
Reply-To:Bob Rideout <[log in to unmask]>
Date:Tue, 28 Nov 2017 22:56:16 +0000
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A very brief note, having nothing to do with the issue of
reirement, or not, and whether or when to -

Soderstrom's official Met farewell was as the Marschallin in
(I think) 1987, at a Saturday matinee, and it remains among
the greatest performances I ever saw. Jurinac and Schwarzkopf
were, each, in very different ways, her equal, and all three are
indelible memories in this old grey head.

Soderstrom's female partners were Barbara Hendricks and
Brigitte Fassbaender, a trio for the ages.

Soderstrom was ageless that day. but age is often only a date in
the calendar.

Bob

On Tue, Nov 28, 2017 at 17:26 Stephen Charitan <[log in to unmask]> wrote:

> I saw, but most importantly heard a portly, elderly, virtually immobile
> Bergonzi pour out a voice of burnished gold as Macduff in a Pittsburgh
> Macbeth...
>
> I have never seen or heard a more heartbreaking Countess (Figaro) or nobly
> eloquent Marschallin than those from late career Elisabeth Soederstrom...
>
> Marilyn Horne's valedictory Arsace at the MET could still knock my socks
> off...
>
> and a craggy Jon Vickers as Handel's Samson was like staring up in awe at
> the Matterhorn...
>
> I'm so glad they hung on!
>
> On Tue, Nov 28, 2017 at 3:47 PM, David Kubiak <[log in to unmask]> wrote:
>
> > I think for some singing in front of an audience is a kind of physical
> > compulsion that overcomes their ability to hear what they sound like.
> > Everything I have read about Bergonzi suggests he was like that.  He
> > certainly had a troop of enablers with the 'Otello' fiasco.  But how
> could
> > he himself not realize that he could not sing above G?  There has to be
> > something psychological to explain it.
> >
> > David Kubiak
> >
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