LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives

OPERA-L Archives

OPERA-L Archives


Next Message | Previous Message
Next in Topic | Previous in Topic
Next by Same Author | Previous by Same Author
Chronologically | Most Recent First
Proportional Font | Monospaced Font


Join or Leave OPERA-L
Reply | Post New Message
Search Archives

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

text/plain (15 lines)

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.
OPERA-L on Facebook:
To UNSUBSCRIBE, send a message to [log in to unmask]
containing only the words:  SIGNOFF OPERA-L
To stay subscribed but TURN OFF mail, send a message to
[log in to unmask] containing only the words:  SET OPERA-L NOMAIL
Modify your settings:

Back to: Top of Message | Previous Page | Main OPERA-L Page



CataList Email List Search Powered by the LISTSERV Email List Manager