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Subject: Re: Fwd: WHEN TO RETIRE
From: Kiwi <[log in to unmask]>
Reply-To:Kiwi <[log in to unmask]>
Date:Thu, 30 Nov 2017 07:54:12 -0500
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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.

-----Original Message----- 
From: Ombrarecds
Sent: Wednesday, November 29, 2017 7:29 PM
To: [log in to unmask]
Subject: Fwd: WHEN TO RETIRE

Sent from my iPhone

Begin forwarded message:

> From: Stefan Zucker <[log in to unmask]>
> Date: November 29, 2017 at 5:52:33 PM CST
> To: Ombrarecds <[log in to unmask]>
> Subject: WHEN TO RETIRE
>
> Dear Patrick,
>
> Since Kos blocks my posts I’d be grateful if you’d post this for me.
>
> With every good wish,
>
> Stefan
>
> You people make it seem as if the decision when to retire were black and 
> white. But consider my history: I suffered from allergies to the point 
> that I gave many more performances when I was hoarse or congested than 
> ones when I was in voice. But I wasn’t consistently out of voice and kept 
> hoping that when the day came I would be able to sing with some tone. 
> Sometimes I sang previews of concerts in Brooklyn or the Bronx where I 
> would have my voice but was stuffed up for the Manhattan concert.
>
> Down here in the Florida Keys my allergies rarely affect me. I have my 
> voice despite myriad bodily aches and pains. (In any case the Keys are a 
> Philistia where almost no one has heard a note of opera.)
>
> More to the point, consider Rosina Wolf, who often sang with me. As she 
> aged she developed the tendency to flat certain notes. She would sing a 
> good high C but then flat a G-sharp in an ascending passage. But she didn’t 
> always flat them and kept hoping the day of a performance would be one of 
> the good ones.
>
> At what point should you draw the line and say the odds of my giving a 
> good performance are too poor? Suppose you are likely to have your voice 
> in one location but not another. What then?
>
> The singers you criticize may have had physical problems they had reason 
> to think they could surmount on a good day.
>
> Stefan
>

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