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Subject: Re: Subject: Re: An Opera-L Christmas: Tchaikovsky, Rimsky, Puts, Leroux
From: donald kane <[log in to unmask]>
Reply-To:donald kane <[log in to unmask]>
Date:Sun, 24 Dec 2017 09:18:58 -0500
Content-Type:text/plain
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If I had been more impressed by SILENT NIGHT than I was when watching
it on TV, I might have remembered, and mentioned it, though it is still not
what I would call "standard".  What I am well pleased with, is the reminder
of
the two operas by Tschaikowsky and by Rimsky-Korsakoff.  There is much
delightful music in both of them, and an enterprising American Opera House
ought to consider such works at this season instead of the irrelevant
(holiday-
wise) ZAUBERFLOTE and HANSEL & GRETEL.

My other question, the one that seems to interest no one but myself, is
doomed, as expected, no matter how carefully OPERA_RELATED it may
be, to remain unanswered.

Oh well, (that rhymes with something!) it's still not too late to ask
"what's
your favorite recording of a Christmas song by an opera singer?"

dtmk




On Sun, Dec 24, 2017 at 6:23 AM, David Shengold <[log in to unmask]> wrote:

>
>
> Not standard repertory, but  the Russian rep can boast also Tchaikovsky's
> VAKULA THE SMITH/KUZNETS VAKULA (1876), revised as TCHEREVICHKI/THE GOLDEN
> SLIPPERS (1885) and Rimsky's CHRISTMAS EVE/ NOCH' PERED ROZHDESTVOM (1895),
> both based on the same Gogol' tale in which Xmas eve and Xmas morning
> figure in the fantastic plot.
>
> Stravinsky's father Fyodor created small bass roles in both KUZNETS VAKULA
> and NOCH' PERED ROZHDESTVOM. TCHEREVICHKI, done in 2009 by Covent Garden,
> was done by NYCO circa 1958 with Richard Cassilly  and Jean Fenn. Then
> house soprano Beverly Sills did Oksana ( the female lead) for one
> performance and- as she relates in her 'friendly" autobiography ( not the
> score settling one) - having sung all evening about how much she wanted the
> slippers, danced right out of them in the final scene, leaving them visible
> onstage).
>
> And let's not forget Kevin Puts's very enjoyable and Pulitzer
> Prize-winning SILENT NIGHT, based on a movie about the 1914 spontaneous
> armistice between German, French and English soldiers, premiered by
> Minnesota Opera in 2011 and since heard in Philadelphia, Kansas City, Fort
> Worth, Calgary, Wexford, Cincinnati, Detroit, Winston-Salem, Atlanta and
> San Jose. That's a pretty impressive track record for a contemporary opera.
> Glimmerglass is staging it this summer, conducted by Nicole Paiement.
>
> Another opera set during  (the  then-ongoing) WW I is Xavier Leroux's LES
> CADEAUX DE NOEL (THE CHRISTMAS PRESENTS), premiered at the Opera-Comique in
> 1915 by a cast including Ninon Vallin and Henri Albers. It was a success
> and was heard in several other cities including Milan, Rome, Monte-Carlo,
> Rio de Janiero and Montevideo. I don't know if it's ever been done in North
> America. In 1919, the Met staged Leroux's earller opera LA REINE FIAMMETTE
> ( 1903, Opera-Comique starring Mary Garden and Belgian tenor Adolphe
> Marechal, who in fact created Jean in LE JONGLEUR DE NOTRE DAME as well as
> Julien in LOUISE) in 1919 for Geraldine Farrar, the cast unsurprisingly
> including the Met's stalwart French bass Leon Rothier as well as Adamo
> Didur and Hippolito Lazaro under Pierre Monteux in his 'first' Met career.
>
> Happy Christmas Eve - David Shengold
>
>
>

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