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Subject: Re: OPERA-L Digest - 21 Jan 2018 (#2018-93)
From: Paul Fornatar <[log in to unmask]>
Reply-To:Paul Fornatar <[log in to unmask]>
Date:Mon, 22 Jan 2018 07:54:52 -0500
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Sent from my iPad

> On Jan 22, 2018, at 12:00 AM, OPERA-L automatic digest system <[log in to unmask]> wrote:
> 
> There are 5 messages totalling 436 lines in this issue.
> 
> Topics of the day:
> 
>  1. More Vinay studio discography (2)
>  2. Franco Corelli & Stefan Zucker
>  3. Vinay
>  4. NPR World of Opera
> 
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> 
> Date:    Sun, 21 Jan 2018 13:45:59 -0500
> From:    Art McManus <[log in to unmask]>
> Subject: Re: More Vinay studio discography
> 
> There were also highlights of Otello with Steber and Guarrera, and duets
> from Carmen and Tosca with Florence Quartararo (all now contained in a
> single Preiser CD).
> 
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> ------------------------------
> 
> Date:    Sun, 21 Jan 2018 14:17:55 -0500
> From:    Stephen Charitan <[log in to unmask]>
> Subject: Re: Franco Corelli & Stefan Zucker
> 
> It seems Mr. Zucker  always needs a "John Alden" to deliver his missives.
> I assume it was for standing "Underneath the Lanern, by the Barrack gate"
> trying to hawk his wares?
> 
> On Sat, Jan 20, 2018 at 9:41 AM, Rudi Van den Bulck <[log in to unmask]>
> wrote:
> 
>> When Zucker's first 'Corelli' (sick) book came out. Our reviewer on
>> operanostalgia started his piece with"
>> 
>> "Author, publisher and editor -all rolled in one-  announces this book as
>> part of three volumes which discuss the evolution of 200 years of tenor
>> singing. Now don=E2=80=99t expect a spun out story full of an internal lo=
> gic which
>> leads from the times of Nourrit to the emergence of Calleja, Florez or
>> Kaufmann. In reality Mr. Zucker tries by hook and by crook to sell the
>> pirated CD=E2=80=99s and DVD=E2=80=99s he produces. Hence, the 34 pages e=
> ntirely devoted to
>> his commercial catalogue (pages 322 -356). By crook too is the
>> advertisement on the sleeve that announces =E2=80=9CRobert Tuggle, Direct=
> or of The
>> Metropolitan Opera Archives, contributes a chapter on Bj=C3=B6rling to th=
> e
>> appendices=E2=80=9D. This =E2=80=9Cchapter=E2=80=9D consists of a grand t=
> otal of 49 lines
>> concentrating on the tenor=E2=80=99s fees at the Met and in which Tuggle =
> proves
>> that Bjorling was the supreme tenor of his time, in America at least,
>> proven by his fees compared to other tenors and singers at the Met.
>> I am fairly confident Mr. Tuggle will not be too happy with Mr. Zucker
>> trying to sell his book by implying that a serious researcher contributed
>> =E2=80=9Ca chapter=E2=80=9D on Bj=C3=B6rling. Another feature (surely wel=
> l-known to members of
>> Opera-L) is Mr. Zucker=E2=80=99s penchant for titillating sex stories. Up=
> to now
>> few or any opera lovers at all had Mr. Zucker=E2=80=99s eagle eyes which =
> lead him
>> to write in a caption for a well-known innocent photograph of Del Monaco
>> and Caniglia after a performance of Ch=C3=A9nier: =E2=80=9CDid he really =
> sing with his
>> genitals in that position ?=E2=80=9D The second volume in this series sur=
> ely
>> promises to be most interesting as Mr. Zuckers promotes this
>> book-to-be-published with a so-called Franco Corelli quote: =E2=80=9CPeop=
> le assume
>> that in old age I am hearing Verdi and Puccini in my mind=E2=80=99s ear. =
> No! The
>> music I am hearing and that keeps me going is the sound of Teresa
>> Zylis-Gara having orgasms. =E2=80=9C
>> 
>> which led to a mail to me by the late Albert innaurato saying the reviewe=
> r
>> was far too kind......
>> 
>> For those who want to read the whole review, a review of volume two will
>> follow soon :
>> 
>> http://www.operanostalgia.be/html/CORELLI-Zucker.html
>> 
>> RvdB
>> 
>> 
>> 
>> Stephen Charitan wrote:
>> 
>> "The whole thing ["Opera Fanatic"] was a colossal missed opportunity.  Al=
> l
>> of those
>> wonderful
>> post - verismo divas who also experienced the Bel Canto revival - and the
>> only subject on Zucker's agenda is "voce di petto."   After hearing him
>> prissily extrude the words a few times even the humor of Zucker's persona=
> l
>> absurdity drains away and the net result is frustration.  These gracious,
>> humorous, articulate ladies had so much to say - unfortunately they trust=
> ed
>> all of these qualities to an utter Buffoon."
>> 
>> That was my reaction, too, when I first saw "Opera Fanatic."  (That, and
>> Zucker's apparent
>> obsession with "What was the highest note you ever sang?" which struck me
>> as an inane
>> question to focus on.)  But I subsequently learned that Zucker did not
>> edit that
>> documentary and may not even have given final approval to it, and that hi=
> s
>> interviews -
>> which were wide-ranging and as in-depth as the circumstances would allow =
> -
>> covered a lot
>> more than voce di petto and high notes.  A lot of really interesting stuf=
> f
>> wound up on the
>> cutting room floor, as one can see from the Opera Fanatic website:
>> 
>> https://www.belcantosociety.org/category/interview/
>> 
>> What I suspect happened is that some clueless editor decided, post hoc,
>> that the "voce di
>> petto" and "highest note" questions made for a nice thematic device and s=
> o
>> focused on
>> them to the exclusion of other exchanges.  That was not Stefan's fault an=
> d
>> it undoubtably
>> gives a false impression of what those interviews actually covered.
>> 
>> That Stefan Zucker is a very knowledgeable and competent interviewer of
>> singers is evident
>> from even a cursory listening to recordings of his radio programs.  I
>> doubt that "Opera
>> Fanatic" is fair to Stefan's abilities, nor should he be judged based on
>> that documentary.
>> 
>> I should add that Zucker himself, in his comments about "Opera Fanatic,"
>> has always been
>> very circumspect about criticizing the documentary, but my strong
>> impression from other
>> sources is that he was not happy with it.
>> 
>> MDW
>> 
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> 
> ------------------------------
> 
> Date:    Sun, 21 Jan 2018 14:31:40 -0500
> From:    donald kane <[log in to unmask]>
> Subject: Re: More Vinay studio discography
> 
> Those, together with the Steber OTELLO highlights, are important; I'm
> glad I brought it up.
> 
>> On Sun, Jan 21, 2018 at 12:19 PM, David Shengold <[log in to unmask]> wrote:
>> 
>> I kept thinking "CARMEN highlights" and sure enough there was an abridged
>> RCA  set  with Swarthout, Vinay, Albanese and Merrill under Leinsdorf.
>> 
>> There is also the Met Opera Club version of WALKUERE with Harshaw, Uhde,
>> Schech, Vinay, Thebom and Norman Scott under Mitropolous.
>> 
>> -David Shengold
>> 
> 
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> 
> ------------------------------
> 
> Date:    Sun, 21 Jan 2018 22:46:41 +0000
> From:    David Kubiak <[log in to unmask]>
> Subject: Re: Vinay
> 
> David and Angelo,
> 
> Thank you very much for your history of Vinay's career.  I did not realize =
> that he made a serious reversion to baritone before ending as a buffo!  (I =
> liked the story about poor Uhde not being able to get through Telramund.  I=
> have never understood how any singer does.)  The question of baritones who=
> turn tenor has always interested me.  Certainly Vinay and Melchior make se=
> nse when you listen to them.  But Bergonzi?? I am told there are very early=
> records of him as Figaro, but how anyone could take that sound for a barit=
> one is beyond me.  And James King, whom I got to know a little at IU, I als=
> o found puzzling.  He sang baritone parts well into his 30's -- he thought =
> Alfio was the most ridiculous one -- but his speaking voice was tenor-y and=
> he never had especially strong low notes.  He used to talk a lot about how=
> Martial Singher worked him into a tenor, but never really explained why pe=
> ople thought he was a baritone for so long.  He did always admit that altho=
> ugh he finally became able to sing in a quite high tessitura, he couldn't d=
> o it for long.  He said B=F6hm tried to talk him out of it, but he agreed t=
> o sing excerpts from 'Tristan' with Bernstein at Tanglewood, and promptly l=
> ost his voice after the first orchestral rehearsal.
> 
> 
> This reminds me of a question one of you may have an opinion about.  I was =
> given for Christmas a set the Met is putting out of its first season in the=
> new house.  I remember as a teenager how excited I was at the 'Frau', but =
> listening to it again, as opulent as the cast is (and James definitely had =
> the C!), B=F6hm's conducting strikes me as terrible -- which is a pretty gr=
> ave heresy to entertain about an intimate friend of Strauss.  Did he become=
> so exasperated with the orchestra that he gave up?  Everything is just lou=
> d and fast, as if he couldn't wait to get it over with.  He even trivialize=
> s that transcendent violin motif at the very end. (As an example of how har=
> d it was to get James to say anything profound about his career, the only t=
> hing he ever told me about that iconic Met 'Frau' was how irritated he was =
> at Bing for refusing to pay him more than $500 a performance.)
> 
> 
> Thanks again.
> 
> 
> Best,
> 
> David
> 
> ________________________________
> From: ANGELO MAMMANO <[log in to unmask]>
> Sent: Saturday, January 20, 2018 9:47:58 PM
> To: David Kubiak; David Shengold
> Cc: Discussion of Opera and Related Issues
> Subject: Re: Vinay
> 
> 
> Vinay sang Dr. Schoen with Opera Company of Boston in January of 1964.
> 
> Joan Carroll was Lulu and Thebom was Geschwitz.  It was the Eastern U. S.
> 
> premiere after Santa Fe.  He also returned to the company in  February of 1=
> 967
> 
> as Iago with Heater, Tebaldi and Theyard. His return-to-baritone days went =
> on
> 
> for quite a while and I was happy to see him after not being able to in his=
> tenor
> 
> period.  He is listed in the program as co-director with Caldwell.  His Dr.=
> Schoen
> 
> was particularly impressive.  After the performance outside the theater I h=
> eard
> 
> Sills say that Lulu would not appeal to audiences in contrast to Wozzeck.
> 
> BTW while attending an Ernani dress several years ago at the Met I was talk=
> ing
> 
> with my companion about Boston and a woman who overheard us said that her
> 
> husband had sung there and his name was William Dembaugh.  I recognized the
> 
> name and told her that I had seen him at that '67 Otello as Roderigo.  He t=
> hanked
> 
> me profusely for remembering him and said that I made his day.  There's not=
> hing
> 
> that makes singers happier than when someone remembers their performances.
> 
> 
> Angelo from Boston
> 
> 
> 
> 
> 
> 
> 
> 
> 
> On January 20, 2018 at 6:45 PM David Shengold <[log in to unmask]> wrote:
> 
> 
> 
> Vinay had started as a baritone and when he re-descended in category he san=
> g some major gigs through 1969 including Iago, Scarpia and Telramund-- that=
> even at Bayreuth ( witness the Sawallisch recording of 1962).
> 
> In San Francisco  Opera's 1965-66 he sang not only Bartolo but Scarpia  ( w=
> ith Collier and Kirsten) and Dr. Schoen ( with Lear and Richard Lewis)!
> 
> I imagine Bing-- who, one gathers from Kolodin's book, could not wait to ge=
> t rid of Vinay at the end of his tenor phase, gave him Bartolo as a return =
> vehicle to invite failure. Surely he would have done better in a serious, n=
> on-bel canto part. Bing also had and deployed MacNeil and Colzani , but sur=
> ely Vinay (whom my parents recall as one of the greatest opera actors they'=
> d ever seen) would have been am improvement in 1964-64 as Iago over Merrill=
> -- for all his vocal excellence quite risible in the part, at least as seen=
> in the televised excerpts with McCracken. In 1964's LOHENGRIN Bing had the=
> sturdy and doubtless convincing Cassel as Telramund finish at least one sh=
> ow for the vocally fatigued Uhde. Vinay could have helped out there too.
> 
> Of course Bing "only did masterpieces" ( like MARTHA, THE GYPSY BARON and T=
> HE LAST SAVAGE!!), so that no Vinay Dr. Schoen would have been possible. An=
> yone see that assumption SF or LA?
> 
> What might an early 60s Old Met LULU have been like?
> 
> To cast just from the actual roster 1963-65
> 
> Lulu: Anneliese Rothenberger
> Geschwitz: Blanche Thebom/Kerstin Meyer
> Dr. Schoen: Ramon Vinay
> Alwa: John Alexander
> Schigolch: Paul Schoeffler/Marko Rothmueller
> Athlete/Rodrigo etc: John Reardon/Sherrill Milnes [perfect, no?]
> Schoolboy etc: Mildred Miller/Helen Vanni
> 
> Karl Boehm, conductor
> 
> 
> 
> -David Shengold
> 
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> ------------------------------
> 
> Date:    Sun, 21 Jan 2018 11:19:18 -0500
> From:    Al Zaharias <[log in to unmask]>
> Subject: NPR World of Opera
> 
> NPR World of Opera was cancelled about December 2016.  I have 2 questions=
> :
> 1) WDAV is still broadcasting under the name of =93At the Opera=94 with S=
> imeone on=20
> Saturday=92s, is that correct?
> 2) Are podcasts or recordings of the archived shows available?
> 
> Thank you!
> 
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> ------------------------------
> 
> End of OPERA-L Digest - 21 Jan 2018 (#2018-93)
> **********************************************

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