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Subject: Fwd: WHEN TO RETIRE
From: Ombrarecds <[log in to unmask]>
Reply-To:Ombrarecds <[log in to unmask]>
Date:Thu, 30 Nov 2017 22:29:24 -0600
Content-Type:text/plain
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Sent from my iPhone

Begin forwarded message:

> From: Stefan Zucker <[log in to unmask]>
> Date: November 30, 2017 at 8:00:27 PM CST
> To: Ombrarecds <[log in to unmask]>
> Subject: WHEN TO RETIRE
> 
> Dear Patrick,
> 
> I’d be grateful if you’d post my reply to Kiwi, since Kos didn't let it through.
> 
> Thanks,
> 
> Stefan
> 
> For many of my New York concerts I was the impresario, and I made sure I had some insurance in the form of other singers. Some of them were Met singers put out to pasture prematurely or who were better than the singers they covered: Theodore Lambrinos, Ronald Naldi and Arturo Sergi were regulars. Jerome Hines, Lucine Amara and Russell Christopher sang at one or another concert. Others were from NYCO, Betty Jones among them. Still others were singers active in Europe but unknown here. And then there were those making their NY debuts. I always made sure we had a mix that included singers in their twenties and in their seventies..
> 
> Regina Fiorito on WBAI declared, “We come hoping Stefan will have his voice but knowing that if he doesn’t we’ll still have an interesting evening.” That may be why the audience returned year after year. 
> 
> I never knew until the last minute if I’d have my voice. It depended on the atmosphere. I came to think of myself in more than one respect as a 20th-century Giovanni David, who as he grew older became extremely inconsistent but on a good night was able to carry away an audience.
> 
> For your information, every performance everywhere is a gamble. Any number of factors can degrade an evening.
> 
> Stefan
> 
>> On Nov 30, 2017, at 7:54 AM, Kiwi <[log in to unmask]> wrote:
>> 
>> Well, to me and to me only, I would say your performance behavior was eminently egotistical. Who were you singing for?  Certainly not the audience, who bought a ticket in the expectation of hearing a certain vocal style and instead had to sit through a concert in which the artist was hoarse and congested and, perhaps on occasion, singing with a partner who flatted notes.  This is exactly the type of behavior that turns off a lot of people:  we don't buy tickets as a gamble, we expect a certain performance standard and if the artist is incapable of delivering, then the artist should cancel and refund money (in a concert).
>> 
>> It is somewhat different in a fully staged opera, I think, when a single performer is struggling on any given night.  Should that performer struggle consistently, it is time to take a break, get some help, and if nothing much helps, it is time to retire from  the stage.
>> 
>> This does parallel with singers who go on too long:  if they know that they are going to have problems vocally more often than not, then they need to gracefully retreat.  The world will continue on without them, and they leave behind whatever good memories they created during their 'glory days.'
>> 
>> But to continually book concerts knowing that you will more likely than not be in horrible voice seems a sham and misuse of the good will of the public.
>> 
>> But that is just me.

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