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Subject: Re: <La Traviata> in Bogota, Colombia (English Translation)
From: "Romero, Germaine" <[log in to unmask]>
Reply-To:Romero, Germaine
Date:Thu, 20 Aug 1998 11:07:56 -0400

text/plain (41 lines)

Simon writes:
        <<I'm glad both cabalettas tend to get performed these days, but
I am reminded
> of Verdi's comment about the high C at the end of "Di Quella
> Pira"...which is
> something like "If the tenor's got one, let him sing it." I'm not
> going to
> mention any particular singers here, but some otherwise very fine
> Dukes and
> Alfredos I've seen have unwisely attempted the high note (is it a C in
> Traviata and a D-Flat in Rigoletto..or vice-versa? I can never
> remember;
> fortunately I'm not asked to perform either aria at parties) and have
> paid
> Pride's Price.>>
        Simon: it's a C in the Traviata, and a D natural (!!) in the
Rigoletto.  Rigoletto also holds a Db, at the end of the Duca/Gilda

        My understanding of the current prevailing views on these Verdi

        (1) Possente amor: perfectly acceptable if you do not sing the
        (2) Oh, mio rimorso: why sing it if you don't have the C?  Skip
it and make Act II a little less long.
        (3) Di quella pira:  You BETTA sing that cabaletta, and you
BETTA sing that C.

        My favorite D's on record: Pavarotti (w/ Milnes, Southerland)
and Kraus (w/ Moffo, Merrill)  But of course the real thrill is to hear
it live.  Gedda has an astounding D, but I don't remember if he sings it
in Rigoletto.

        My policy at parties: nothing higher than Bb.  Of course, after
a few drinks, better judgement goes out the window... ;-)



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