Domingo's Pagliacci ( Is it Art?)
ben field
London raises an interesting question, I.e. what is the function
of art ? Is it an end in itself? Now those who object to a work
being altered to suit an individual artist do so, it seems to me
from the point of view that the work is sacrosanct and should be
treated as such and not altered. It is conceivable that by this
criteria certain works would never be performed and therefore
serve no purpose, unless you suppose that their mere existence is
of some relevance. On the other hand many works get performed by
perfectly adaquate interpreters, but fail to stimulate any
great interest with the general public. In my opinion Art is,
like Religion a way of uniting people. As organised Religion has
long ago ceased to realise its' original aim, we are left with
Art. Does the fact that thousands come together in unity ( if
only momentarily) to hear performance by an individual
capable of realising that goal count for nothing because the music
was lowered by a semitone? If that is the general view then I feel
we are worshipping false gods.
Ben
GRNDPADAVE
>Date: 09/26/2003 1:04 PM Central Daylight Time
>Message-id: <809f91ed.03092...@posting.google.com>
Ben:
Your points are well taken. You may, however, be missing the subtext.
Those who tolerate cuts, all manner of vocal omissions and/or interpolations,
pounce on the matter of transposition for one primary objective: to castigate
Placido Domingo.
Opera being a *performing* art is most subject to the interpretations and
*adjustments* by the performers.
Verdi, himself, was famous for making substantial revisions to his scores for
the sake of making a given performance successful. For the French La Traviata
he cut the baritone and tenor cabalettas and changed the ending of Act II Scene
1. But he did not alter the Italian version. Out of sheer curiosity, I'd love
to hear La Traviata precisely as Verdi intended with no cuts or interpolations.
But I doubt that such a performance will ever transpire.
On the other hand for a French performance of Aida, he added 12 measures to the
Act II Scene 2 ballet. He liked the result so much that he instructed Ricordi
to make the change in the Italian version.
Consider all the different versions of Don Carlos: the opera as most frequently
performed today represents no version that Verdi ever heard.
In any event all the fol-de-rol over transpositions isn't so much a matter of
*what* is changed as it is a matter of castigating the *who* for whom the
changes are being made.
==G/P Dave
stephenmead
"GRNDPADAVE" <grndp...@aol.com> wrote in message
news:20030926150507...@mb-m24.aol.com...
> >From: arb...@hotmail.com (ben field)
> >Date: 09/26/2003 1:04 PM Central Daylight Time
> >Message-id: <809f91ed.03092...@posting.google.com>
> >
<snip>
Out of sheer curiosity, I'd love
> to hear La Traviata precisely as Verdi intended with no cuts or
interpolations.
> But I doubt that such a performance will ever transpire.
>
The recording with Gheorgiu conducted by Solti is exactly that.
Stephen
GRNDPADAVE
>Date: 09/26/2003 2:19 PM Central Daylight Time
>Message-id: <bl23fv$n0q$1...@newsg1.svr.pol.co.uk>
As I recall that was a rather dull performance.
Did Gheorgiu actually sing the ending of "Sempre libera" precisely as written
-- no dropping out of the voice to wind up and pitch a spurious E-Flat?
==G/P Dave
Premiereopera
>Those who tolerate cuts, all manner of vocal omissions and/or interpolations,
>pounce on the matter of transposition for one primary objective: to castigate
>Placido Domingo.
And just who might those be that tolerate all you say above. Certainly no me. I
hate cuts, and omissions. That's one reason I don't like Domingo. He omits,in
one way or the other, what the composer wrote, but transposing greatly, or just
leaving things out
Ed
Chez Jerome
"Premiereopera" <premie...@aol.com> schreef in bericht
news:20030926191628...@mb-m27.aol.com...
HelenMynrd
the 'Star Spangled Banner" mangled, strangled, dangled, wrangled and
tangled.............Just thinking what would happen if they tried this kind of
'murder' with opera....Wow...Hugs and all that good stuff.....HelenM....sing
.>
stephenmead
Solti, who had never conducted the opera before the performances at Covent
Garden at the time the recording was made, made the point of saying that he
approached the score with the same respect he would Wagner or Strauss or any
other great composer, and played the score precisely as written.
Stephen
Sergio H. da Silva
would be happy to oblige ... not that I agree with what he does ... I also
think operas where he is now tranposing whole sections he should give them
up and look for other roles.
And since you are so keen on fidelity to the score, I've never heard Tucker
sing the trills in "Deserto sulla terra" ... Domingo has :-)
"Premiereopera" <premie...@aol.com> wrote in message
news:20030926191628...@mb-m27.aol.com...
HelenMynrd
his extensive (yikes!) list of those he already claims to have sung.(small and
large!).......Goodness me!!......He could just keep going on and on......every
Baritone role added to his extensive display.(and then he could go on to Bass
roles....hmmmm??!!)......Hugs and sing!.Helen
Greg
audience like Domingo? Audiences need gods to worship, and until
another comes round, whatever Domingo does, sells.
helen...@aol.com (HelenMynrd) wrote in message news:<20030928222911...@mb-m03.aol.com>...
Premiereopera
>From: gregg...@yahoo.com (Greg)
>Date: 9/29/03 1:28 PM Eastern Daylight Time
>Message-id: <9a034715.03092...@posting.google.com>
>
>Just look around. Is there any young tenor who can draw the same size
>audience like Domingo? Audiences need gods to worship, and until
>another comes round, whatever Domingo does, sells.
Sadly, I must agree with the above.
Ed
GRNDPADAVE
>Date: 09/29/2003 12:28 PM Central Daylight Time
>Message-id: <9a034715.03092...@posting.google.com>
>
>Just look around. Is there any young tenor who can draw the same size
>audience like Domingo? Audiences need gods to worship, and until
>another comes round, whatever Domingo does, sells.
>
It is part of the mysterious phenomenon of "fandom".
Some people have this propensity for idolizing celebrities even when their
skills have faded.
Placido Domingo, imho, was a wonderful operatic tenor from about 1969 through
1990.
Thanks to his stamina and care he managed to preserve a sturdy middle voice for
about 10 years more.
The more lyrical Wagnerian roles are friendlier to the current state of his
tessitura than are the more demanding Italian and French operas.
Fans even went to hear him sing the role of Rasputin in a contemporary opera.
Last year we had the Met broadcast of "Sly" -- an opera that would probably
have been heard by a half-empty house had Domingo not been in the cast.
"Parsifal" may have been the perfect opera for Domingo: he got the title role
in one of Wagner least challenging principal roles.
Maybe a Broadway appearance in "South Pacific" would mark a new career path for
him as it did for Ezio Pinza in 1945.
==G/P Dave
Commspkmn
<< Maybe a Broadway appearance in "South Pacific" would mark a new career path
for
him as it did for Ezio Pinza in 1945.
==G/P Dave >>
Wouldn't it have to be transposed down?
Sorry, Dave, I just thought I'd beat the usual suspects to make that crack!
Best,
Ken
GRNDPADAVE
>Date: 09/29/2003 12:49 PM Central Daylight Time
>Message-id: <20030929134941...@mb-m25.aol.com>
Ken,
I doubt that the ghost of Richard Rodgers would quibble over key selection.
But, I, for one would love to enjoy an Enchanted Evening of Domingo singing
this lovely music.
By the way, Domingo is one of the few tenors who sang the very low note in "Di
tu se fedele" (in the Karajan recording).
==G/P Dave
Commspkmn
<< I doubt that the ghost of Richard Rodgers would quibble over key selection.
>>
I agree, Dave, and I'm sure you know I was just giving you the business.
Best,
Ken
Leonard Tillman
> Pacific" would mark a new career path for him
> as it did for Ezio Pinza in 1945.
>==G/P Dave
He did a fine rendition of "Some Enchanted Evening" on a tv-special
some years ago, so that's not implausible.
LT
daniel f. tritter
dft
======================
Premiereopera
>Maybe a Broadway appearance in "South Pacific" would mark a new career path
>for
>him as it did for Ezio Pinza in 1945.
>
>==G/P Dave
Please, Dave. Don't give him any ideas! But since South Pacific was written for
a basso, the tessitura would be correct!! :-)
Ed
Premiereopera
>Date: 9/29/03 1:49 PM Eastern Daylight Time
>Message-id: <20030929134941...@mb-m25.aol.com>
No, Ken, as I just posted. South Pacific was written with Pinza in mind, so it
is a basso tessitura. Perfect for Mr. Domingo! He will sing the entire role in
key!
Ed
GRNDPADAVE
>Date: 09/29/2003 1:18 PM Central Daylight Time
>Message-id: <24155-3F7...@storefull-2275.public.lawson.webtv.net>
Good point, LT.
By the way, I misstated the year of the "South Pacific" premiere. It was 1949
and not 1945.
But, as far as transposing is concerned, Domingo recorded an abridged version
of "Man of La Mancha" where the keys were moved northward.
I find it a thrilling offering in that Domingo signs a very suave "Dulcinea"
and a heroic "Impossible Dream" -- his accent is perfect for the role of Don
Alonzo (aka Don Quixote),
At his age Domingo could probably sing this role on stage and in the keys used
by Richard Kiley (who sang in the original production).
==G/P Dave
GRNDPADAVE
>Date: 09/29/2003 1:53 PM Central Daylight Time
>Message-id: <20030929145305...@mb-m12.aol.com>
>
>Re: Domingo
>
>>Maybe a Broadway appearance in "South Pacific" would mark a new career path
>>for
>>
>>==G/P Dave
>
>Please, Dave. Don't give him any ideas! But since South Pacific was written
>for
>a basso, the tessitura would be correct!! :-)
>
>Ed
>
Ed,
Well, at least he would be acting his age.
I think on Broadway (with all the electroninc amplification) Domingo could have
a career that would not interfere with newcomers engaging the traditional
operatic roles.
And, of course, instead of having to sing 7 performances a week, his track
could be pre-recorded and he would only have to lip-sync the "singing."
The fans wouldn't mind and Broadway might benefit from this.
And, how about "The Most Happy Fella" -- a role that was written for a high
baritone with nicely accented English.
Now that's a cast recording I might spring for even though I already have
Robert Weede and Spiro Malas in this wonderful American opera.
==G/P Dave
Leonard Tillman
>as I just posted. South Pacific was written with
> Pinza in mind, so it is a basso tessitura.
> Perfect for Mr. Domingo! He will sing the
> entire role in key!
>Ed
When's this going to be available, Ed? :)
I want to know if it'll be on 2 or 3 CDs with dialogue included, like
the set Diaz recorded a while back (in England, IIRC).
LT
Leonard Tillman
Emile de Becque
Don Quixote de la Mancha
Tony Esposito
(Somehow that last seems dramatically wrong for him.... JMO.)
LT
stephenmead
"GRNDPADAVE" <grndp...@aol.com> wrote in message
news:20030929151230...@mb-m26.aol.com...
> >From: premie...@aol.com (Premiereopera)
> >Date: 09/29/2003 1:53 PM Central Daylight Time
> >Message-id: <20030929145305...@mb-m12.aol.com>
> >
> >Re: Domingo
> >
> >>Maybe a Broadway appearance in "South Pacific" would mark a new career
path
> >>for
> >>him as it did for Ezio Pinza in 1945 (oops, 1949).
> >>
> >>==G/P Dave
> >
> >Please, Dave. Don't give him any ideas! But since South Pacific was
written
> >for
> >a basso, the tessitura would be correct!! :-)
> >
> >Ed
> >
> ~~~~~~~~~~~~~~~~~~~~~
> Ed,
>
> Well, at least he would be acting his age.
>
> I think on Broadway (with all the electroninc amplification) Domingo could
have
> a career that would not interfere with newcomers engaging the traditional
> operatic roles.
>
As the person who inadvertently set off this raging controversy by praising
the singing of the whole cast (not just Domingo) in the recent Covent Garden
Pagliacci, could I ask who these newcomers are that could have sung Canio
instead? I'm not trying to be sarcastic, I would really like to know who
Domingo detractors think Covent Garden should have had sing the role instead
of him. Jon Frederic West in SF does not seem to have been an improvement.
I am not an ardent Domingo worshipper but I have seen him many times at
Covent Garden and he always gives a riveting performance. Opera is not just
about a voice and singing the notes. His previous performance at Covent
Garden before Pagliacci was Hermann in Queen of Spades and there again he
was spell-binding and thrillingly dramatic, however his vocal powers may
have declined in the last years.At the horrendous prices Covent Garden
charges, you always feel after a Domingo performance that you have got your
money's worth and believe me that is not always the case.
Stephen
GRNDPADAVE
>Date: 09/29/2003 2:33 PM Central Daylight Time
>Message-id: <3137-3F7...@storefull-2274.public.lawson.webtv.net>
Why not, LT?
You have a Latin trio:
- a Frenchman living in Polynesia
- a Spaniard
- an Italian living in the Napa Valley
OK, Tony Esposito is not supposed to be so handsome. That would challenge his
histrionic gifts.
Sometimes it is a good thing for a performer to go against "type".
==G/P Dave
donpaolo
operatic roles by transposing down & leave "Sam & Janet Evening" alone; it
would not sound right with upward transpositions.
Franco Bonisolli excelled in the low note in Ballo.
DonPaolo
"GRNDPADAVE" <grndp...@aol.com> wrote in message
news:20030929135920...@mb-m26.aol.com...
Ancona21
<< And, how about "The Most Happy Fella" -- a role that was written for a high
baritone with nicely accented English.
Now that's a cast recording I might spring for even though I already have
Robert Weede and Spiro Malas in this wonderful American opera >>
"The Most Happy Fella" is an opera?
Ancona
Leonard Tillman
>From: tapef...@webtv.net (Leonard
> Tillman)
>Date: 09/29/2003 2:33 PM Central Daylight
> Time
>Message-id:
><3137-3F7...@storefull-2274.public.la
>wson.webtv.net>
"So, we have three MT possibilities for PD:
Emile de Becque
Don Quixote de la Mancha
Tony Esposito
(Somehow that last seems dramatically wrong for him.... JMO.)
LT "
~~~~~~~~~
>Why not, LT?
>You have a Latin trio:
>- a Frenchman living in Polynesia
>- a Spaniard
>- an Italian living in the Napa Valley
Theoretically fine, except:
>OK, Tony Esposito is not supposed to be so
> handsome.
A partial "Bingo!" on that point.
>That would challenge his histrionic gifts.
No, not in the least (especially with *his* acting-ability), but from
the "perceptual" end of the experience, he'd be less-than-optimally
plausible in that particular role, with his familiar bearing and
appearance that we know so well in favorite lead roles - virtually all
of them "handsome", at least by implication.
>Sometimes it is a good thing for a performer to
> go against "type".
I have no real doubt he could do it, - and successfully. It just didin't
seem as perfect for him as de Becque and Quixote.
All three are, in any case, among the noblest male-lead characters in
Musical Theater, and should PD ever undertake any of these roles, I'd
certainly not want to miss the occasion (or video).
>==G/P Dave
LT
Leonard Tillman
> And, how about "The Most Happy Fella" -- a
> role that was written for a high
>baritone with nicely accented English.
>Now that's a cast recording I might spring for
> even though I already have Robert Weede
> and Spiro Malas in this wonderful American
> opera
If I spring for any, soon, - it'll be Louis Quilico's version with
restored dialogue and music, according to a post of some time ago.
What an ideal "Tony" he must have been!
LT
Steve Silverman
"stephenmead" <ste...@mead9720.freeserve.co.uk> wrote in message
news:bla392$qa6$1...@news8.svr.pol.co.uk...
> At the horrendous prices Covent Garden
> charges, you always feel after a Domingo performance that you have got
your
> money's worth and believe me that is not always the case.
No you don't. You should know this by now. However, any of the scenarios
listed below are possible:
You imagined it.
You know nothing about singing.
Domingo has paid you to say this.
There appear to be plenty of people in this newsgroup who will attest to
this and are ready to pounce should you offer the merest hint of resistance
to the undeniable fact that Domingo was worse than a fourth-rate singer who
should have had his vocal cords severed at birth. Next you'll be denying
that the only sensible way to deal with opera is to listen to the passages
that require volume and squillo, and sleep through the remaining ninety
percent of the music.
Steve Silverman
donpaolo
many, many years ago? As i recall Tozzi fit the role of Tony to a "T"
I also saw William Chapman in the work at Wolf Trap during (I think late
70's) - he was also great.
DonP.
"Leonard Tillman" <tapef...@webtv.net> wrote in message
news:28602-3F7...@storefull-2273.public.lawson.webtv.net...
Leonard Tillman
>Anyone possibly have a copy of the Giorgio
> Tozzi performance aired on PBS many, many
> years ago? As i recall Tozzi fit the role of
> Tony to a "T"
I saw it too, and GT *was* fantastic, absolute perfection! The
songs/duets were apparently transposed, very effectively, for basso.
That year, he was nominated for (and IMO should have won) the same-named
Award, but Mickey Rooney got it for "Sugar Babes".
>I also saw William Chapman in the work at
> Wolf Trap during (I think late 70's) - he was
> also great.
It's one of the great roles in MT, and a "natural" for many an
opera-star in his career's latter stages.
>DonP.
LT
>"Leonard Tillman" <tapef...@webtv.net>
> wrote in message
>news:28602-3F78A6F5-337@storefull-2273.p
>ublic.lawson.webtv.net...
>From: grndp...@aol.com:
>And, how about "The Most Happy Fella" -- a
>role that was written for a high
>baritone with nicely accented English.
>Now that's a cast recording I might spring for
> even though I already have Robert Weede
>and Spiro Malas in this wonderful American
> opera
" If I spring for any, soon, - it'll be Louis Quilico's
version with restored dialogue and music, according to a post of some
time ago.
What an ideal "Tony" he must have been!
LT "
LT
Premiereopera
>"Di
>> tu se fedele" (in the Karajan recording).
>>
>> ==G/P Dave
Tucker also sings it this way on the 1955 Met broadcast under Mitropolous, and
Bjoerling recorded it in a 1957 recital under Erede.
And, Domingo's low C was as good as theirs!!!
best,
Ed
Premiereopera
>used
>by Richard Kiley (who sang in the original production).
>
>==G/P Dave
Bite your tongue! The last thing he needs is new ways to prolong his career!!!!
Best,
Ed
Premiereopera
>Date: 9/29/03 3:12 PM Eastern Daylight Time
>Message-id: <20030929151230...@mb-m26.aol.com>
>
>>From: premie...@aol.com (Premiereopera)
>>Date: 09/29/2003 1:53 PM Central Daylight Time
>>Message-id: <20030929145305...@mb-m12.aol.com>
>>
>>Re: Domingo
>>
>>>Maybe a Broadway appearance in "South Pacific" would mark a new career path
>>>for
>>>him as it did for Ezio Pinza in 1945 (oops, 1949).
>>>
>>>==G/P Dave
>>
>>Please, Dave. Don't give him any ideas! But since South Pacific was written
>>for
>>a basso, the tessitura would be correct!! :-)
>>
>>Ed
>>
>~~~~~~~~~~~~~~~~~~~~~
>Ed,
>
>Well, at least he would be acting his age.
>
>I think on Broadway (with all the electroninc amplification) Domingo could
>have
>a career that would not interfere with newcomers engaging the traditional
>operatic roles.
>
>And, of course, instead of having to sing 7 performances a week, his track
>could be pre-recorded and he would only have to lip-sync the "singing."
I, for one, hope Broadway never reverts to lip-sync, though I believe it might
already have done just this.
Ed
Premiereopera
>Date: 9/29/03 4:05 PM Eastern Daylight Time
>Message-id: <bla392$qa6$1...@news8.svr.pol.co.uk>
Not that I'm a fan of all of them, but how about Jose Cura, Lando Bartolini,
Giacomini, Botha, Heppner (has he done Canio yet?) and even West, for me!
Ed
Premiereopera
>this and are ready to pounce should you offer the merest hint of resistance
>to the undeniable fact that Domingo was worse than a fourth-rate singer who
>should have had his vocal cords severed at birth
I think he's got it. By God, he's got it!!!
Ed
daniel f. tritter
production. add our recently departed friend, chester ludgin, and likewise,
the late louis quilico. the malas tony was transposed downward [loesser had
done a bass version for another singer] and had only 2-piano accompaniment.
this role was decidedly for a verdi baritone...weede said it was like singing
6 rigolettos a week, and few could give us what weede did.
dft
============
daniel f. tritter
production. add our recently departed friend, chester ludgin, and likewise,
the late louis quilico. the malas tony was transposed downward [loesser had
done a bass version for another singer] and had only 2-piano accompaniment.
this role was decidedly for a verdi baritone...weede said it was like singing
6 rigolettos a week, and few could give us what weede did.
dft
============
daniel f. tritter
Premiereopera wrote:
ed...
i don't know whether it is good or bad news, but your fears are a reality. it's a
piece of shit, and one shouldn't care one way or the other, but andrew lloyd
talentless' plagiarist's delight, called "phantom of the opera," does indeed use
prerecorded passages with lip-synch. with that score, though, who cares?
dft
Premiereopera
>use
>prerecorded passages with lip-synch. with that score, though, who cares?
>
>dft
I agree, except for the music by Puccini in Phantom!!! If they are going to lip
synch it, they may as well do it with Del Monaco, Corelli, or Tucker!!
Ed
donpaolo
DonP.
"Premiereopera" <premie...@aol.com> wrote in message
news:20030929234645...@mb-m04.aol.com...
donpaolo
"Steve Silverman" <ssil...@btopenworld.com> wrote in message
news:blac1l$de1$1...@titan.btinternet.com...
> No you don't. You should know this by now. However, any of the scenarios
> listed below are possible:
>
> You imagined it.
> You know nothing about singing.
> Domingo has paid you to say this.
>
> There appear to be plenty of people in this newsgroup who will attest to
> this and are ready to pounce should you offer the merest hint of
resistance
> to the undeniable fact that Domingo was worse than a fourth-rate singer
who
> should have had his vocal cords severed at birth. Next you'll be denying
> that the only sensible way to deal with opera is to listen to the passages
> that require volume and squillo, and sleep through the remaining ninety
> percent of the music.
>
> Steve Silverman
Boy, it sure took you long enough to see/hear reason. Welcome to the fold.
Ed & I will be happy to participate in the ceremonial destruction of your PD
CDs & the scattering of the remains to the 4 winds.
DonP.
Pat Finley
>
> The more lyrical Wagnerian roles are friendlier to the current state of his
> tessitura than are the more demanding Italian and French operas.
>
> ==G/P Dave
Italian and French roles are more demanding than Wagnerian roles???
They are demanding in different ways, yes. But I think there have
been more tenors who deserve to be called great 'Italian' tenors than
there are who have earned recognition as great Wagnerian tenors.
Pat
Commspkmn
<< Italian and French roles are more demanding than Wagnerian roles??? >>
Particularly if you don't know Italian and French.
Best,
Ken
stephenmead
Thank you for an interesting reply. I too would like to hear Lando
Bartolini. I would pass on West having heard his Tristan and Jose Cura,
judging by his Manrico at Covent Garden last year, seems to have completely
gone to pieces.We don't ever seem to get Giacomini here,don't know why.
Stephen
Commspkmn
<< Thank you for an interesting reply. I too would like to hear Lando
Bartolini. >>
How much is he currently singing? I did see a really fine Aida with him and
Millo in Baltimore, but that was a good 20 years ago.
Best,
Ken
NBPalmer1
Hasn't he retired now? Mind you, we all thought that Giorgio Merighi had too
until shown otherwise!
Regards, NICK/London
Steve Silverman
"donpaolo" <donp...@erols.com> wrote in message
news:blcdu7$fr1$1...@bob.news.rcn.net...
>
> Boy, it sure took you long enough to see/hear reason. Welcome to the
fold.
> Ed & I will be happy to participate in the ceremonial destruction of your
PD
> CDs & the scattering of the remains to the 4 winds.
>
Does this mean that you really do subscribe to the view that the only
sensible way to deal with opera is to listen to the passages
that require volume and squillo, and sleep through the remaining ninety
percent of the music? Because, if so, it would explain a lot.
Steve Silverman
Commspkmn
Regards, NICK/London >>
Nick-
I don't know about Giacomini's current performance schedule, but he did record
a couple of recital albums for Bongiovanni in the past few years. One of them
was really quite good, the other less so, IMO.
Best,
Ken
GRNDPADAVE
>Date: 09/30/2003 1:55 PM Central Daylight Time
>Message-id: <ce68920e.03093...@posting.google.com>
The Wagnerian challenge in roles such as Siegfried and Tristan is stamina and
volume.
Domingo avoids these roles, selecting Siegmund (who appears only in two scenes)
and Parsifal (a rather lyrical role).
Domingo is thwarted -- currently -- by roles which have a consistently high
tessitura or require finesse.
In his heyday, Domingo did fairly well by Hoffman and Samson (recording Faust
and Bénédict well). These roles are more Italianate. Domingo applied his
oleaginous middle voice to great advantage.
I found him disappointing in "Carmen", "Werther", "Louise" and the French
version of "Don Carlos". He was defeated, imho, by either the French vowels or
the thinner vocal line (head tones) that French tenor roles normally require.
"Un autre est son époux" has defeated such fine tenors as Corelli, Shicoff and
Kraus. Only Nicolai Gedda has triumphed in that curatin line of "Werther" Act
I, delivering it with sufficient heft and precision.
Not that Domingo's German prounciation is perfect. I guess I find homespun
German less irritating than ersatz French.
==G/P Dave
Premiereopera
>until shown otherwise!
>
>Regards, NICK/London
Old singers never retire. They just lose their voices.
Ed
donpaolo
self & agreeing with your sudden enlightenment. Me - I don't have to
"explain" nothing to nobody, no time....never.
Gotta run - off to listen to LaGioconda (loads of terrific high notes, you
know); shouldn't YOU be packing????
DonPaolo
"Steve Silverman" <ssil...@btopenworld.com> wrote in message
news:blcoab$r93$1...@sparta.btinternet.com...
donpaolo
big loss.
DonPaolo
"Premiereopera" <premie...@aol.com> wrote in message
news:20030930172508...@mb-m22.aol.com...
Ron Dargenio
Ed, by naming the above, you have correctly answered the question as
to why Domingo is still singing Canio at Covent Garden, or anywhere
else. Lando and Giacomini are well past their best, Cura is a
muscle-bound voce strangulato, and to be fair, I haven't heard
Botha...but maybe Licitra will have a go at it someday. Meanwhile, the
recession drags on.
RD
Capa0848
>
>I find it a thrilling offering in that Domingo signs a very suave "Dulcinea"
>
>
>==G/P Dave
He "signs" ?? Up to this point I've been rather forgiving of these
transpositions, but I had hoped not to see Mr Domingo resort to signing as if
we were all hearing impaired. ;-)
Where is Garrett Morris when we need him?
Pat
Capa0848
>
> If I spring for any, soon, - it'll be Louis Quilico's version with
>restored dialogue and music, according to a post of some time ago.
>
> What an ideal "Tony" he must have been!
>
>LT
>
Was it a "Tony"-award winning performance?
Pat
Money is a singular thing. It ranks with love as man's greatest source of joy.
And with death as his greatest source of anxiety.
JK Galbraith "The Age of Uncertainty"
GRNDPADAVE
>Date: 09/30/2003 9:35 PM Central Daylight Time
>Message-id: <20030930223552...@mb-m16.aol.com>
The recording was made at Gallaudet University in DC.
Carreras did some of the singing, and for the benefit of the aurally
challenged, Placido suavely signed.
Sometimes PD has to transpose down a semitone his signs, too. But Carreras
bravely covered for him.
:>)) G/P Dave
Capa0848
>Message-id: <20030930161907...@mb-m06.aol.com>
>The Wagnerian challenge in roles such as Siegfried and Tristan is stamina and
>volume.
>
>Domingo avoids these roles, selecting Siegmund (who appears only in two
>scenes)
I don't have any data in front of me, but I'll bet that Siegmund is on stage
longer in those two acts than many tenors are in four and five-act French and
Italian operas. One of Domingo's finest roles in recent years, by the way.
>I found him disappointing in "Carmen", "Werther", "Louise" and the French
>version of "Don Carlos". He was defeated, imho, by either the French vowels
but he was an admirable Hoffman, no?
or the thinner vocal line (head tones) that French tenor roles normally
require.
> "Un autre est son époux" has defeated such fine tenors as Corelli, Shicoff
>and Kraus. Only Nicolai Gedda has triumphed in that curatin line of "Werther"
>Act I, delivering it with sufficient heft and precision.
>
>Not that Domingo's German prounciation is perfect. I guess I find homespun
German less irritating than ersatz French.
The French feel precisely the same way!
Pat
A liberal is a man too broad-minded to take his own side in a quarrell.
Robert Frost
Capa0848
>Message-id: <20030930225233...@mb-m03.aol.com>
=========
A great moment surely.
I am reminded of Walt Whitman's evocative "I Hear America Signing"