LISTSERV mailing list manager LISTSERV 15.5

Help for OPERA-L Archives


OPERA-L Archives

OPERA-L Archives


View:

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

Options:

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


Subject: Anniversary / Guarany / Libretti
From: Nicolas Gounin & Cyrene Paparotti <[log in to unmask]>
Date:Wed, 13 Mar 1996 09:56:25 -0500
Content-Type:text/plain
Parts/Attachments:
Parts/Attachments

text/plain (43 lines)


That's a three-in-one, that's to save bandwidth and reduce the number of
posts on opera-l... If you ndecide to reply, please edit the subject line
to signal which issue you are addressing, thanks.

1. I had not realized when I signed up about a year ago that Opera-l had
just moved to CUNY. I guess due to Bob's commitment and talent it was
just running fine from the first day. Thanks again, Bob!

2. I finally went to NYC Tower Records to buy my Guarany. Two comments on
this (comments on the actual performence will come later, as I only have
listened to the first CD yet.) First, I went to Towers on 4th street,
where the two salespersons were totally ignorant of opera. When I saked
about Il Guarany with Placido Domingo, the first one told me to look in
the Placido Domingo shelf... Asking another one, he could find it on the
computer, but not in the store, and finally told me that it was certainly
still in the boxes in the basement... Well, I took my car and went to HMV
on 72 St., where I bought the last copy on the shelf!

   I had heard about the ARKADIA re-release of the Tank-Perrotta
/Belardi recording , but what amazed me was the price! Knowing the
recording, I know it does not really compare to the Bonn
one. However, the Bonn one was $23.99 (down from 29.99, is
it a sign of commercial success or unsuccess, or what? Anyone
at HMV or Towers to confirm the sales for this release?) while the
Belardi one is sold $33.99!

3. This is a question I intended to send to Jane Ennis via private mail,
but I believe that some other listers have experience in the subject,
while some others will benefit from the responses.

   My question is: how does one approach a libretto in a new opera? there
can be various approaches, based on the inspiring piece (book, play,...),
the level of litterary mastery of the librettist, the way it is musically
treated, ... Do you pay more attention to the global libretto (history,
plot,...) or to its structure , or to the word themselves, from a poetic
point of view (gotta know tha language, in this case)?

Private or public replies, depending on your own judgement ;-)

Nick.
[log in to unmask]

PS: more good news for the Gomes Fans in a couple weeks, be patient!

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

Permalink



LISTSERV.BCCLS.ORG

CataList Email List Search Powered by the LISTSERV Email List Manager