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Subject: Re: OPERA-L Digest - 10 Feb 2018 - Special issue (#2018-207)
From: Gene Bowen <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sat, 10 Feb 2018 23:29:19 -0500
Content-Type:text/plain
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Parts/Attachments

text/plain (656 lines)


L'Elisir
As with last season's Pearl Fishers the analyses of those at the telecast
and those who only heard the broadcast are divergent.  Is there a
charismatic/cinematic  factor in play?  At both telecasts I found Polenzani
splendid.  The quasi-disappointment today for me was Yende. Great
flexibility and sweet tone, a bit thin at the top.  The characterization
was somewhat one-dimensional. Too nice in the first act to make a credible
apology in the second act for having been mean.
And what about the direction? Yende having to be constantly pawed and
groped.  Even in 1832 I don't think Adina would have tolerated that.  (Note
that neither the Nemorino nor Belcore had to endure any sexual indignity in
this production).

On Sat, Feb 10, 2018 at 10:42 PM, OPERA-L automatic digest system <
[log in to unmask]> wrote:

> There are 8 messages totalling 553 lines in this issue.
>
> Topics in this special issue:
>
>   1. Written on Skin
>   2. favorite opera books (2)
>   3. A gorgeous Elisir
>   4. "una furtive" - was Re: L'Elisir today from the Met as heard on WQXR
>   5. L'Elisir today from the Met as heard on WQXR (2)
>   6. Levine returns to the Sirius airwaves (sattelite beams?)
>
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> ----------------------------------------------------------------------
>
> Date:    Sat, 10 Feb 2018 18:51:43 -0500
> From:    John Feather <[log in to unmask]>
> Subject: Re: Written on Skin
>
> My husband, who likes very little written after, contemporaneously and sh=
> ortly before=20
> TURANDOT, actually liked WRITTEN ON SKIN.  He found it dramatic and he li=
> ked the music=20
> (though I wonder how much was that we saw it in NYC with the stunning Bar=
> bara Hannigan!).=20=20
> The only other contemporary opera he liked as much was the NY Philharmoni=
> c's production of=20
> LE GRAND MACABRE (but purely for the staging. . .NOT the music).
>
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 15:55:32 -0800
> From:    Mark Bartelt <[log in to unmask]>
> Subject: Re: favorite opera books
>
> I was planning to mention Father Lee's books, but
> Dennis Ryan beat me to it (and did a better job of
> providing capsule summaries of them than I probably
> would have).  But his mention of Father Lee reminds
> of an amusing anecdote, though:
>
> Back in the 1990s (I forget the exact year) I bought
> a copy of First Intermissions to give to my dad for
> Christmas.  Since I was working at the University of
> Toronto at the time, I decided that it might be nice
> to have the book autographed by Father Lee.
>
> So I phoned him in his office to ask him whether it
> would be OK with him.  At first he sounded kind of
> negative about it, and added (I presume as a way to
> persuade me that it wouldn't be worth my time) that
> I'd need to get myself to the University of Toronto
> to come to his office.
>
> I explained that I worked at UofT, so it would take
> me only three or four minutes to walk over.  Then he
> (sort of gruffly) said OK, but that he could really
> spare only a minute or two, since he was quite busy
> preparing for midterms.  That seemed OK to me.
>
> But when I got to his office, he was much friendlier
> than he had been over the phone.  He asked me what my
> favourite opera was, and when I replied Parsifal, he
> seemed genuinely surprised, and asked why.  So that
> started a discussion about opera which continued for
> an hour or so!  For him, that clearly took precedence
> over his getting ready for midterms.  ;-)
>
> I also enjoyed the inscription he wrote on the inside
> cover of the book.  He asked me what my father's name
> was, and I replied that it was Lou.  So he wrote (and
> up to that point I didn't know what his first name was
> since he was always referred to as "M. Owen Lee") ...
>
> To Mark's father Lou
> From Father Mark Owen Lee
>
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 19:17:26 -0500
> From:    Peggy Houdek <[log in to unmask]>
> Subject: Re: A gorgeous Elisir
>
> We had only about 30 in the house.  For the Tosca, it was sold out.  =
> This is a movie theater that has recently been remodeled with huge =
> lounging rocking chairs.  I=E2=80=99m sure the Boheme will be sold out =
> in two weeks and I=E2=80=99m glad I have a ticket this time!
>   I had a very good time at an opera I don=E2=80=99t really like very =
> much.
> Peggy
>
> (,,,) ^..^(,,,)
>
>
>
> > On Feb 10, 2018, at 4:51 PM, Idia Legray <[log in to unmask]> wrote:
> >=20
> > I am not normally enamored of comedy but today's treat was just that.=20=
>
> > Polenzani rendered an "Una furtiva...." that was absolutely perfect in =
> every=20
> > possible way. =20
> > The team of Polenzani and Yende were adorable together. =20
> > Kudos to D'arcangelo's Dr. Dulcamara.
> > Sweet opera.
> >=20
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 19:25:42 -0500
> From:    Idia Legray <[log in to unmask]>
> Subject: Re: favorite opera books
>
> Oh I loved this story.  I got a lump in my throat.
> I wonder if he would have thrown me out when I mentioned "Mefistofele"=20=
>
> as my favorite opera. LOL
>
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 18:36:31 -0600
> From:    k youngmann <[log in to unmask]>
> Subject: "una furtive" - was Re: L'Elisir today from the Met as heard on
> WQXR
>
> For me the standard version of this aria against which I measure others =
> is the one sung by Cesare Valletti in a black & white Italian film of =
> the operas from around 1950 (give or take).
>
> Valletti performs it with a dreamlike quality which, matched with his =
> beautiful timbre, makes an uncommon aria out of one that we may have =
> heard a few too many times. It=E2=80=99s a reflection, not a =
> declamation.
>
> And yes, Bob, the di Stefano early (1944) version is rather scrumptious =
> as well.
>
> Kurt Youngmann
>
> > On Feb 10, 2018, at 4:26 PM, Bob Rideout <[log in to unmask]> wrote:
> >=20
> > Polenzani, who once again showed us what he can do rather
> > than how it should go. "Una furtiva lagrima" featured all of
> > his technical skills, and it went for nothing in this house.
> > I hear variations on a theme of "anything he can do I can
> > do better, except that I can't phrase". Listen to Schipa, Di Stefano
> > and, especially, Bergonzi, to know how music, as opposed
> > to notes, is supposed to go. There is a reason why he is
> > not a World class star. The definition of "good", not "great".
>
>
> "The first method for estimating the intelligence of a ruler is to look =
> at the men he has around him.=E2=80=9D - Niccolo Machiavelli, political =
> philosopher and author
>
>
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 20:06:02 -0500
> From:    Myriam Hernandez <[log in to unmask]>
> Subject: Re: L'Elisir today from the Met as heard on WQXR
>
> Besides Di Stefano and Bergonzi, a special mention should go to the
> gorgeous Nemorino of the young Jos=C3=A9 Carreras. Incomparable honeyed
> ton=
> e and
> phrasing. Same praise goes to the late Luciano, who made of Nemorino one of
> his signature roles.
>
> Myriam
>
> On Sat, Feb 10, 2018 at 5:26 PM, Bob Rideout <[log in to unmask]> wrote:
>
> > I only heard the second act, but I was not overly impressed,
> > grouse bag that I am.
> >
> > Pretty was really very good, except that she shouldn't do
> > high Eb kinda stuff with that sound. It's accurate but it ain't
> > pretty. Still. she was more than ok, much more. She phrases
> > very well, quite different from -
> >
> > Polenzani, who once again showed us what he can do rather
> > than how it should go. "Una furtiva lagrima" featured all of
> > his technical skills, and it went for nothing in this house.
> > I hear variations on a theme of "anything he can do I can
> > do better, except that I can't phrase". Listen to Schipa, Di Stefano
> > and, especially, Bergonzi, to know how music, as opposed
> > to notes, is supposed to go. There is a reason why he is
> > not a World class star. The definition of "good", not "great".
> >
> > Since I only heard one act, I can't do an overall assessment, but
> > I'd venture, from that which I heard, that it was very enjoyable,
> > though far from a benchmark.
> >
> > Bob
> >
> > **********************************************
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 18:27:25 -0800
> From:    Maxwell Paley <[log in to unmask]>
> Subject: Re: L'Elisir today from the Met as heard on WQXR
>
> Ditto on Carreras as Nemorino. Saw him in 1975 with Blegen, Wixell and
> Monta=
> rsolo. Didn=E2=80=99t know how good I had it!
>
> He looked and sounded beautiful. So did she.
>
> Max Paley
>
> Sent from my iPhone
>
> > On Feb 10, 2018, at 17:06, Myriam Hernandez <[log in to unmask]>
> wrote:=
>
> >=20
> > Besides Di Stefano and Bergonzi, a special mention should go to the
> > gorgeous Nemorino of the young Jos=C3=A9 Carreras. Incomparable honeyed
> to=
> ne and
> > phrasing. Same praise goes to the late Luciano, who made of Nemorino one
> o=
> f
> > his signature roles.
> >=20
> > Myriam
> >=20
> >> On Sat, Feb 10, 2018 at 5:26 PM, Bob Rideout <[log in to unmask]>
> wrote:=
>
> >>=20
> >> I only heard the second act, but I was not overly impressed,
> >> grouse bag that I am.
> >>=20
> >> Pretty was really very good, except that she shouldn't do
> >> high Eb kinda stuff with that sound. It's accurate but it ain't
> >> pretty. Still. she was more than ok, much more. She phrases
> >> very well, quite different from -
> >>=20
> >> Polenzani, who once again showed us what he can do rather
> >> than how it should go. "Una furtiva lagrima" featured all of
> >> his technical skills, and it went for nothing in this house.
> >> I hear variations on a theme of "anything he can do I can
> >> do better, except that I can't phrase". Listen to Schipa, Di Stefano
> >> and, especially, Bergonzi, to know how music, as opposed
> >> to notes, is supposed to go. There is a reason why he is
> >> not a World class star. The definition of "good", not "great".
> >>=20
> >> Since I only heard one act, I can't do an overall assessment, but
> >> I'd venture, from that which I heard, that it was very enjoyable,
> >> though far from a benchmark.
> >>=20
> >> Bob
> >>=20
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> >=20
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> ------------------------------
>
> Date:    Sat, 10 Feb 2018 19:42:06 -0800
> From:    Maxwell Paley <[log in to unmask]>
> Subject: Re: Levine returns to the Sirius airwaves (sattelite beams?)
>
> By 1972 she was starting to get uneven. She did an SF
> =E2=80=9CRing=E2=80=9D=
>  that fall of which I saw one full one and another
> =E2=80=9CG=C3=B6tterd=C3=A4=
> mmerung.=E2=80=9D On the full Ring, Walk=C3=BCre was superb, Siegfried was
> a=
> wful. Shrill, strident, constantly singing sharp.
> =E2=80=9CG=C3=B6tterd=C3=A4=
> mmerung=E2=80=9D started harsh and strident but she got better in Act 2.
> The=
>  second =E2=80=9CG=C3=B6tterd=C3=A4mmerung=E2=80=9D was superb from the
> firs=
> t note to the last.
>
> She was likewise variable in a=E2=80=9974 =E2=80=9CTristan=E2=80=9D -
> superb=
>  opening performance, others less so.
>
> I thought she was fading and wasn=E2=80=99t sure what to expect when, on
> my f=
> irst trip to London, a friend got us tickets at the Royal Opera for an
> =E2=80=
> =9CElektra=E2=80=9D conducted by a guy named Carlos Kleiber. Phenomenal
> from=
>  beginning to end as was the whole performance.
>
> In the early 80s I saw her as Dyer=E2=80=99s Wife in Vienna of which the
> fir=
> st act was wailings of the dead and why is this woman still on stage? In
> Act=
>  2 she dropped years and by the end was thrilling as ever.
>
> Max Paley
>
> Sent from my iPhone
>
> > On Feb 10, 2018, at 14:28, Les Mitnick <[log in to unmask]> wrote:
> >=20
> > David:
> >=20
> >    You are obviously referring to a Nilsson broadcast of "Walkure" in
> 1972=
>  from the Met, where you say that "strident tone was settling in".  I
> don't k=
> now how reliable that broadcast was, but Nilsson did a Ring Series in
> Chicag=
> o (Valkure in 1972, Seigfried in 1973, and Gotterdammerung in 1974) and
> was o=
> utstanding.  Moreover, she sang a single performance of Salome with the
> Chic=
> ago Symphony under Solti in December of 1974, and all but caused the
> plaster=
>  on the walls to come tumbling down.  I saw all of those performances, and
> w=
> as, along with critics, totally blown away, especially by the Solome.  It
> wa=
> s one of the most memorable evenings of my opera-going life.
> >=20
> >
>  =
>           Les
> >=20
> >> On February 10, 2018 at 12:51 PM David Kubiak wrote:
> >>=20
> >>=20
> >>    My thought on this issue is a little different. No one can deny
> Levine=
> 's
> >>    making the Met orchestra into a virtuoso instrument when at times in
> t=
> he
> >>    past it could sound like a pick-up band. I was never a fan of his
> >>    conducting, however, finding him incapable of real profundity (of
> the t=
> ype
> >>    Thielemann brought to 'Frau') in any repertoire. At one point I
> though=
> t I
> >>    had it figured out -- in whatever tempo he was playing his eighth
> note=
> s were
> >>    always too short in relation to everything else.
> >>=20
> >>    During Levine's Sirius absence it often occurred to me that it was
> >>    unfortunate that he hogged so much of the repertoire for so long.
> Ther=
> e was
> >>    a '71 'Tristan' with Leinsdorf recently that was really splendid.
> (And=
>  so,
> >>    by the way, was Nilsson. It might have been the best 'Liebestod' I
> hav=
> e
> >>    ever heard her sing. And by the next year, as evidenced in a
> 'Walk=C3=BC=
> re'
> >>    broadcast not long ago, the strident tone was setting in.)
> >>=20
> >>    I understand that there were issues with conductors demanding
> amounts o=
> f
> >>    rehearsal time the Met could not manage contractually, but I have
> rath=
> er
> >>    enjoyed listening to other people over the last months.
> >>=20
> >>    David Kubiak
> >>=20
> >>    **********************************************
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> >=20
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