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Subject: Re: Dimingo's Yearly income
From: Robert Cardinalli <[log in to unmask]>
Reply-To:Robert Cardinalli <[log in to unmask]>
Date:Sun, 2 Dec 2018 15:42:07 +0200
Content-Type:text/plain
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Simionato was 55 when she retired.

 

Marilyn Horne also was first destined for Wagnerian and heavy dramatic
soprano repertoire such as Wozzeck, until through years of training she
pursued a coloratura mezzo repertoire.  This whole fach business is
something of a red herring, in any case.  Witness, Jessye Norman, Shirley
Verrett and Grace Bumbry.  Using the anti-Domingo logic, one could say that
all three presaged the Spaniard by stealing their way into other other vocal
ranges.    

 

From: tom ponti <[log in to unmask]> 
Sent: Sunday, December 2, 2018 3:31 PM
To: [log in to unmask]; Robert Cardinalli <[log in to unmask]>
Subject: Re: [OPERA-L] Dimingo's Yearly income

 

For me the question is which is more important, the Composers wishes, the
singers ego, or selling tickets? For me, the Composers wishes is most
important.  As for Sutherland, though she changed repertoire, she still
remained a soprano. I may be wrong, but Simionato was sixty or so when she
retired and no longer at her very best when she did, wisely, retire at
nearly the top of her game. Whatever, if one gets pleasure hearing a well
past prime tenor singing Major Baritone roles, that is their prerogative.
Enjoy!

  _____  

From: Discussion of opera and related issues <[log in to unmask]
<mailto:[log in to unmask]> > on behalf of Robert Cardinalli
<[log in to unmask] <mailto:[log in to unmask]> >
Sent: Sunday, December 2, 2018 8:01 AM
To: [log in to unmask] <mailto:[log in to unmask]> 
Subject: Re: [OPERA-L] Dimingo's Yearly income 

 

What kind of logic is that?  If someone is willing to hire someone singing
outside what you consider to be his/her natural fach, and audiences are not
being held with a gun to their head to purchase tickets to see that
performer, and plush paying bums fill seats, then who gets to make the call
that the employing house as well as the audiences are behaving
inappropriately?  Finally, given the fact that opera singing is a plastic
art inasmuch as it is created as a result of years of vocal training, for
the most part in a studio, who sings with a "natural" voice anyway?  Damned
few who actually make it big time.  Joan Sutherland's "natural" voice, once
thought to be limited to Brunnhilde material, through years of training
ultimately shone in a repertoire about as far from that aforementioned
"natural" range as one could possibly imagine.  By the way, Richard Bonynge
has said on numerous occasions that both Pavarotti and Corelli, hardly
literate musicians, sang with extraordinary "natural" voices, i.e. voices
that were not the product of years of training to force the voice into an
"unnatural" range and repertoire.  As it happens I did not think Domingo was
particularly good as Rigoletto or Papa Germont, as much as I enjoyed his
Boccanegra live.  I would not pay to see him in those roles again, but I
know out there in the dark are many audiences that gladly would, and will.
Rich Lowenthal is right, there are far too many singers who are made to
destroy their voices and retire earlier than envisioned, and those are the
singers we should be working on to save.  (I always thought it a shame that
Janet Baker retired from the operatic stage at 49 at the very peak of her
vocal powers---many here have spoken similarly of Simionato and Rise
Stevens.)       
  
Robert

-----Original Message-----
From: Discussion of opera and related issues
[mailto:[log in to unmask]] On Behalf Of tom ponti
Sent: Thursday, November 29, 2018 4:17 PM
To: [log in to unmask] <mailto:[log in to unmask]> 
Subject: Re: Dimingo's Yearly income

Old singers should not retire in favor of young ones as long as they can
sing roles suited for their natural voice well. Domingo, however, gave up
tenor roles to sing major baritone roles with a middle voiced tenor sound.
________________________________
From: Discussion of opera and related issues <[log in to unmask]
<mailto:[log in to unmask]> > on
behalf of Rich Lowenthal <[log in to unmask]
<mailto:[log in to unmask]> >
Sent: Thursday, November 29, 2018 6:00 PM
To: [log in to unmask] <mailto:[log in to unmask]> 
Subject: Re: [OPERA-L] Dimingo's Yearly income

As far as I know, Domingo's only L.A. performances in the coming season will
be in Penella's "El Gato Montes," a work that will attract an audience only
because Domingo is performing the title role. It's an opportunity to hear a
work that would otherwise not be performed.

I also think it's ludicrous to suggest it is the responsibility of
performers to retire in favor of younger artists. Just a few weeks ago we
had a long discussion of singers whose careers were too short, and I don't
recall any listers congratulating those singers for departing the stage
before they were ready.

------ Original Message ------
From: "Marc Shepherd" <[log in to unmask] <mailto:[log in to unmask]> >
To: [log in to unmask] <mailto:[log in to unmask]> 
Sent: 11/29/2018 5:08:29 PM
Subject: Re: Dimingo's Yearly income

>He is singing these roles all over the world, even where he is not the 
>administrator and cannot hire himself. Whether or not you like what he 
>offers artistically, he is clearly sought after in this repertoire, 
>probably because his performances are a big draw. I am sure that when L.A.
>Opera hired him, it was understood that he would sing there as well. 
>The Board is getting what they paid for. Your argument is with them, 
>not with him.
>
>On Thu, Nov 29, 2018 at 4:52 PM Miguel A De Virgilio < 
>[log in to unmask] <mailto:[log in to unmask]> > wrote:
>
>>  What is immoral is the conflict of interests that Domingo incurs    by
>>  hogging up ALL of  the leading Verdi Baritone roles presented by L.A.
>>  Opera. In his position as L.A. Opera Artistic Director he can get 
>> away with  this.
>>
>>
>
>--
>Marc Shepherd
>New York, NY
>

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