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Subject: Re: Seconda Donna - Angela Meade
From: David Kubiak <[log in to unmask]>
Reply-To:David Kubiak <[log in to unmask]>
Date:Mon, 11 Dec 2017 12:15:50 -0500
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I missed this message when it was first posted but want to say how much I
agree with the sentiments expressed.  Professional tolerance for wobbling
voices is close to driving me out of the opera house. Even as great a diva
as Callas admitted in late interviews that she had developed a wobble and
that it was a technical fault she was trying to improve on.  Today it is
apparently taken for granted that a teacher will launch a student with
woefully inadequate vocal technique.

Further on the diminishing importance of singing in opera, it amuses me no
end to hear on the Met broadcasts the completely inane things singers say
about the dramatic meaning of their parts, because these are the only kind
of questions they are ever asked.  Can you imagine what sort of reply
Corelli would have given if asked about the psychological motivation the
director had given him for his Don Carlo?

David Kubiak



On Fri, 8 Dec 2017 17:48:55 -0500, Stephen Charitan <[log in to unmask]>
wrote:

>I just listened to excerpts of Meade's "Norma" on the MET's website and
>they confirm what I've heard live  in house (Ernani, Trovatore...)  - she
>is at best a  "cover" artist or one who should only perform after the first
>cast at "reduced" prices.  A vibrato ridden voice of non descript
>character, reasonable agility, a faux trill, and a "dead on arrival" stage
>presence.  So sad that she will wobble and waddle through one of my "desert
>island" operas - Semiramide.  At one point Joyce di Donato was
>also to grace this important MET revival - on the evidence of her Munich
>outing it would have been a triumph.  Instead we have La Seconda in
>Rossinian HD and La Rossiniana herself -Di Donato - in the wispy Massenet
>confection - Cendrillion.
>
>Go Figure...
>
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