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Subject: Lovely, fluid `che gelida'
From: Louis Perraud <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Sun, 25 Feb 2018 12:47:04 -0500
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-Dear Mr. Daniels,

If the `Che gelida' you get from Mr. Vickers is as good live as it is on YouTube, you are in for a treat.


Louis











--- Godfrey Daniels <[log in to unmask]> wrote: 
> Mr. Youngmann, I agree with many points of your post, to wit:
> 
> I also don't wait for the fourth act to tear up; I start to feel the strong emotional tug almost 
> from the beginning. I also agree with your comments about Zeffirelli and relevance. The 
> mere fact that this traditional production stills packs them in after 35+ yrs and who know 
> how many performances SHOULD say something to today's directors.
> 
> I have never seen this production in house. Of course, I saw the original telecast with 
> Stratas and Carreras which just destroyed me. What sticks in memory the most after all 
> these years is Addio, senza rancor - I was out of control; thank goodness I wasn't in an 
> opera house! My first experience of Boheme was in San Francisco with Cortrubas, Aragall 
> and Ramey in a Ponnelle production.
> 
> I thought Yoncheva sounded matronly. I don't care for Fabiano anymore in his heavier 
> repertory. I liked him in the lighter stuff like Nemorino. I recall that he himself made some 
> comment in the movie The Audition about his high notes not being his best point; he 
> appeared to be jealously responding to Shrader's high Cs in Ah mes amis.
> 
> I also agree that La Boheme is a masterpiece, a miracle really that a composer could get it 
> so right and connect with a vast spectrum of others through that score so solidly.
> 
> I expect to go to Roanoke to see Boheme in a few weeks; it's been about 10 yrs since I've 
> seen it. The tenor is Matthew Vickers whom I saw in Sarasota in La Battaglia a couple of yrs 
> ago. I liked him. He was the cover and came on after the first scene and finished out the 
> opera extremely well.
> 
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