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Subject: Re: So Long Met - Hello World: Post Met Careers
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Wed, 31 Jan 2018 02:30:45 -0500
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The very sad thing is that Bozidar Kunc died of a heart attack on April 1, 1964 (on stage or in the wings) following a performance with the Detroit Symphony in which Zinka also performed.  I remember reports of Zinka crying his name out as she ran across the stage to reach him.


Best.

Ray


***

> On January 31, 2018 at 1:12 AM Donald Levine wrote:
> 
> 
>     Perhaps I can offer some insight as to why Milanov did not continue singing
>     recitals after her retirement from the Met. If anyone has heard her
>     recital of songs issued by RCA in 1954, you can see that she was a good
>     singer of songs and actually sang beautifully in German and in English.
>     Throughout her career, from the beginning, Milanov's mentor, musical
>     collaborator and accompanist was her brother Bozidar, a pianist and
>     composer of some distinction. She gave many recitals through the 40's and
>     50's, always with Bozidar at the piano. German was her second language so
>     Schubert, Schumann and Strauss came easily to her linguistically and
>     musically. Bozidar Kunc died suddenly in I think 1963 and she took his
>     death very hard. After her retirement, I just don't think she had the
>     desire to work with anyone else. She had a comfort level with him that was
>     not transferable. I think the answer is as simple as that. She could have
>     but the desire was no longer there. And the voice remained into old age.
>     Without the necessity of singing stage performances, she kept her voice in
>     shape. There are some snippets floating around of her teaching showing
>     that the voice is clearly intact. I heard one years ago.
> 
>     Many singers develop particularly close relationships with their
>     accompanists and these artistic relationships don't alway survive with the
>     loss of one. The relationship of the singer, or instrumentalist to their
>     musical partners is an intensely personal one for some. As for Victoria De
>     Los Angeles, I saw her many, many times in recital. Particularly wonderful
>     were her occasional collaborations with Alicia De Larrocha. She could
>     still charm well into her sixties but the truth is, her husband squandered
>     the money she earned and she had a handicapped child she had to support.
>     She sang so long out of necessity - she needed the money.
> 
>     Donald
> 
>     On Tue, Jan 30, 2018 at 2:32 PM, G. Paul Padillo
>     wrote:
> 
>         > > 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.”
> >             * 
> >                   o 
> >                         + *
> > 
> > 
> >         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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