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Subject: Re: So Long Met - Hello World: Post Met Careers
From: tom ponti <[log in to unmask]>
Reply-To:tom ponti <[log in to unmask]>
Date:Tue, 30 Jan 2018 22:28:42 +0000
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Milanov, it seems to me, did not care to travel often which may be the reason most of her prime career was at the Met or in the USA. When she left the Met, she was 60 and probably realized her opera days were over. She and Tebaldi had enough voice left to perform recitals, but either were not interested in that sort of singing or were just tired of singing and traveling. de Los Angeles and Schwarzkopf were constant recitalists throughout their operatic careers, so the transition from operatic singer to recitalist was easy and natural for them. Victoria, though giving up opera rather early, had a recitalist career into her mid seventies.


________________________________
From: Discussion of opera and related issues <[log in to unmask]> on behalf of G. Paul Padillo <[log in to unmask]>
Sent: Tuesday, January 30, 2018 4:32 PM
To: [log in to unmask]
Subject: [OPERA-L] So Long Met - Hello World: Post Met Careers

Mr. Carver wrote:

“I always wonder why, as in Milanov's case, why singers retire from the
stage almost completely when they retire from the MET.  There are so
many other opera houses around the world. Plus, one could start a recital
tour.”

* * * *

While that may have been very true in the past, for some time now, many
singers, once they’ve sung their last at the Met, have continued singing
elsewhere.

One that springs to mind immediately – because I loved and still love her –
is Hildegard Behrens.  Her final Met performance was in a 1999 Wozzeck
which garnered rave reviews for all involved: Grundheber in the title role –
who had only just finished a run of Rigoletto with the company, and
Levine.

Behrens continued singing for another 10 years, right up until her sudden
death at 72, collapsing during a masterclass at the Kusatsa Festival in
Japan where she was also scheduled to perform a recital.  She had been
involved and proud of her work at the festival for several years.  She took
on new roles, including a world premiere of an opera for Berio (who had
composed it for her), The Kostelnicka in Jenufa, Lady McBeth of Mtsensk
and Schoenberg’s Pierrot Luinaire.

At 67 she gave the vocal equivalent of a “monster concert” wherein she
sang Schumann’s Frauneliebe und Leben, followed by the big monologues
of 1) the Kostelnicka and 2) Elektra.  After intermission she sang Wagner’s
Wessendonck Lied, THEN Brunnhilde’s Immolation Scene.  Insane.

Leontyne Price sang her final operatic role, Aida, at the Met in 1985.  While
never appearing again in an opera she did she continue giving recitals for
another dozen years.  I attended one of her last – she was 70 – and still
sounded magnificent offering a formidable program of arias by Handel,
Mozart, Verdi and Puccini, and songs by Rorem, Strauss and Hoiby, with
about a handful of encores.

Then there’s the case of Renata Scotto last seen on the Met stage in a
1987 Butterfly, but continued singing, not only recitals, but new major
roles, including the Marschallin, Elle (La Voix Humaine), Madame Flora (The
Medium), Kundry, Klytemnestra, Charlotte (Werther) and Ewartung.  For
someone who made their stock-in-trade as an Italian singer in Italian roles,
her post-Met career seems to have been primarily German and French.  In
addition to singing, Scotto also taught and directed – a lot.

Three great ladies!

p.

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