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Subject: Re: Trov Question on Tempo
From: Kiwi <[log in to unmask]>
Reply-To:Kiwi <[log in to unmask]>
Date:Sun, 4 Feb 2018 12:07:31 -0500
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In dance (yes, apples and oranges) the slower movements are usually the more 
difficult passages, for a host of mainly technical reasons, but they are 
also frequently the most impactful moments of a ballet.  It seems in opera 
that there is a fine line--too slow can lead to disaster, probably again for 
technical reasons?

I once heard Nessun dorma in theater that had the tempo of a race horse on 
the track.  The thought was that the aria (we'll not discuss whether it is 
an aria or not, please) was sort of a war song and Calaf was so eager to 
claim his prize as victory that he just had to rush through a number that is 
usually offered in a more sedate pace.  A trot rather than a gallop?

Wow, all over the place today.  And just to clear the record, yes, 
principles = things and principals = people.  I be bad!

-----Original Message----- 
From: Matt Carver
Sent: Sunday, February 04, 2018 11:14 AM
To: [log in to unmask]
Subject: Re: Trov Question on Tempo

Conductors tend to enjoy slow tempos generally, stretching out the music to 
make it seem more lyrical and meaningful.


In reality, from the audience point of view, almost without exception, 
operas come across better with faster tempos.


Levine sometimes went overboard with the tempo speed, but he generally got 
it right.  This is a major reason as to why audiences admired his 
conducting.

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