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Subject: Re: Tempos, tempi
From: Maxwell Paley <[log in to unmask]>
Reply-To:Maxwell Paley <[log in to unmask]>
Date:Sun, 4 Feb 2018 14:05:36 -0800
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Even if we agree that the conductor is “in charge,” there also has to be common sense relative to accommodation. If the conductor believes the composer really wanted a very brisk tempo for something like the Trov Leonora’s “Di tale amor” but his brisk tempo makes the singer crash and burn, that’s surely NOT what the composer wanted.

On the other hand, tasteless extension of phrases and high notes, distorting the shape and flow just so the singer can show they can do it is gross and a good conductor will put his foot down, even if it is a celebrity singer.

Max Paley

Sent from my iPhone

> On Feb 4, 2018, at 13:56, Ariane Csonka <[log in to unmask]> wrote:
> 
> 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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