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Subject: Met and 'Possente amor'
From: David Kubiak <[log in to unmask]>
Reply-To:David Kubiak <[log in to unmask]>
Date:Mon, 18 Dec 2017 15:44:48 -0500

text/plain (32 lines)

I was listening to a recent Sirius broadcast of an early 90's 'Rigoletto'
with Richard Leach, who I must say sounded very good indeed -- gleaming
forward sound and a voice that seemed to get happier the higher it went. 
Too bad he ending up pushing in roles he should have left alone and
eventually got into trouble.  In any event, I was very surprised when the
tenor cabaletta was cut, especially when several traditional cuts earlier in
the opera had been restored.  I would have thought first that Leach would
have been very happy to sing it, and second that the Met had by the 90's
stopped the egregious slashing of important music, especially when, as at
this place in 'Rigoletto', you leave in the introductory music to the
cabaletta and then -- surprise -- the baritone sings.   What is the Met's
history with this cut?  And in general, does the conductor have the last
word on what stays and what goes?  Can a singer protest either way?  How are
the orchestral parts kept clean enough to read with constant markings of a
particular production's cuts?

Thanks for ideas. 

David Kubiak  

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