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Subject: Alidoro;Lorca;Verona;Transposing accompanists
From: Per Backstrom <[log in to unmask]>
Reply-To:Per Backstrom <[log in to unmask]>
Date:Thu, 20 Aug 1998 09:39:40 +0200

text/plain (86 lines)

As I'm going nomail, for a week in Bayreuth, I've collected some
reflections made from interesting postings.

Adelmo Guidarelli wrote:
> I was wondering if the role of Alidoro in La Cenerentola is sometimes sung by
> a Baritone, or if it is just a Bass role, or if it is just a matter of taste?

Kobbe classifies it as a bass part.

But as I have understood it baryton was not invented in Rossini's day.
It's existence has much to do with Wagner I think.

Many lower male roles in Rossini's and older work can be sung by both
barytones and basses.
[log in to unmask] wrote:

> There is an Hungarian opera based on BLOOD WEDDING by Sandor Szokolay (a
> composer born in 1931. It is - or used to be - available in a 2CD
> Hungaroton recording conducted by Andras Korodi (HCD 11262-63).

For the sake of completeness there is also a Swedish opera based on
Blood wedding, by Sverker Magnusson. It was performed by
Norrlandsoperan  in 1988 and recorded. I have own it for several years
but have not really listened concentrated to it. I should do that. There
are several interesting singers in it, among others a young Peter
Mattei! When I bought this record I had not yet heard of him!
Harris S. Saunders, Jr. wrote:
> me, I had thought that prompters just gave words, but he was virtually a
> second conductor (the conductor himself was VERY far from the singers).
This differs between theaters. In some the prompter gives the words only
when asked for, at others they give the words all the time, and in
others they are second conductor. (I think it depends on the kind of
work too. The more complicated the orchestra part is the more the
conductor must concentrate on it.) I did not know before that this is
the case in Verona.

Just before the performance began, a
> woman in the highest row just above us let out an extended scream (think
> Caballe Don Carlos).

She dropped stearine on her hands.
The acoustics were excellent,
> something that amazes me each time I go to the arena, since I hear singers
Yes. The wonderful thing with Verona is that 20.000 can hear a singer,
which I mea they can not really at those #tenors concerts and simlar.
   When she went above the staff, her
> voice took on that sort of slow vibrato that I associate, perhaps
> mistakenly, with some Slavic trained voices
At least you are not alone, though this may fade when the world is more
open to them, but it won't happen overnight of course.

>One man in the audience clearly wanted to be
> the first person to shout out "bravo[a]" before everyone, which I found a
> bit annoying (and indiscriminate).

This in not uncommon, and yes it's irritating.

 This international
> audience--surprisingly to me- even applauded after "Guerra" stretta to the
> "Su del Nilo" concertato before "Amneris's "Ritorna vincitor" (which isn't
> even a cadence", spoiling one of the most important moments in the >opera.

Remember that there are many tourists in the arena who don't know very
FrabjousDay wrote:

> I once played for Mme. Freschl at Juillard: until a singer started in on some very tricky Hugo Wolf and the Madame said "Let's try that up a half tone. Down a whole tone." And so on. We didn't try that while I was at the keyboard, and I wasn't at Freshl's long.
> But there are pianists who can do this thing without turning a hair.

This reminds me of a funny story I read in the memoirs of Gerald Moore.
He was accompanying a tenor who had a bad day and thus asked Moore to
transpose a song down. It started well, but then there was a diificult
passage for solo piano, I don't remember what it's called, but it
envolved changing tune. After this passage, when the tenor entered,
Moore found he had now transposed it up. The tenor was near strangling
himself and afterwards Moore.
Per Backstrom

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