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Subject: Re: Met and 'Possente amor'
From: daaaac <[log in to unmask]>
Reply-To:daaaac <[log in to unmask]>
Date:Mon, 18 Dec 2017 19:07:47 -0500
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Your speaking of marked up parts reminds me of the history of the manuscript of the Fauré Réquiem.  I’ll be brief…

Chamber version
1893 changes on manuscript of orchestral score
Full orchestral version written, again, on the manuscript orchestral score
Original manuscripts of orchestral score and parts were rented out for 20 years after Fauré’s death

Another memory: I once saw the original orchestral parts of Pelleas and at the end of a horn part, the player had written “Enfin!”  Another part had a skull and crossbones drawn at the end of it.

Donald

> On Dec 18, 2017, at 3:44 PM, David Kubiak <[log in to unmask]> wrote:
> 
> 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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