In a message dated 6/29/99 10:01:41 AM, [log in to unmask] writes:
will listen to post-1953 Callas for her musical ideas, phrasing, general
artistry...certainly not for the voice.>>
Well, of course this is all a matter of taste, but I can certainly more than
tolerate such recordings/performances as the 1954 studio Norma, the 1954
Puccini album, the 1955 La Scala Lucia and Norma, the 1957 Anna Bolena, the
Cologne Sonnambula, the 1958 Covent Garden Traviata, Medea, etc.
<<Even if Bergonzi is not up to
his May 2nd level, the worst that the Otello could be would be a
performance where we could listen to his musical ideas, phrasing,
general artistry. >>
I would run to a lecture-demonstration by Bergonzi, where, with a piano
accompanist, the great tenor would talk about Verdi, Otello, and offer his
insights on "musical ideas, phrasing, general artistry," etc. However, I
think that when the greatest Verdi tenor of the post-war generation performs
the greatest of all Verdi tenor roles, the stakes are raised, considerably.
Such a performance should have been at a time in Bergonzi's career when would
have been truly able to do the role justice. Still, I wish him all the best
and hope that if the Otello occurs, it will be a triumph.