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Subject: Tempos, tempi
From: Ariane Csonka <[log in to unmask]>
Reply-To:Ariane Csonka <[log in to unmask]>
Date:Sun, 4 Feb 2018 16:56:03 -0500
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Roberta is right about Conductors and especially accompanists accommodating singers in recitals and orchestral performances.  However in opera (as Toscanini insisted) the singer is part of a whole, a column in the infrastructure.  He or she may see a high note or a phrase as being vital to her applause, but the conductor must consider the pace - and ideally the dynamics - as building the architecture of the total effect of the work.
Which doesn’t stop them from arguing!  And generally singers do what they want and are able to do, when the actual performance begins.
Did no one notice that Radvansky was often behind the conductor in the Norma?  He accommodated her, it would have been terrible had he not.  She was reveling in the moment, and so were we all.
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