Who was the tenor that Scotto did not like ?
Damo
in one chapter she makes it quite clear that there is one tenor she
dislikes from a personal and professional point of view.
But she does not name him.
This tenor played Rodolfo opposite Scotto`s Mimi in the first "live
from the Met" telecast of La Boheme in 1976.
This tenor also played Enzo in La Gioconda by Ponchielli in a live
telecast from San Francisco in 1979. Scotto received an Emmy award for
her performance in this production.
Who was this tenor ?
Can anyone name him ?
Regards
Dave.
Mallardo7
A guy named Pavarotti.
Premiereopera
Yes, Dave Pavarotti. He never went anywhere!
Ed
Premiereopera.com for the best opera website on the net.
Don Paolo
the SF Gioconda in late '70's. But, I thought they kissed & made up, sort
of like Andre & Jimsy Boy on this NG :>)))
BPP
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Uttini1813
threadbare, the big fella fine, and that the rest of the cast was of collegiate
opera workshop quality (if not on paper, at least in execution)?
Xise
Don Paolo
the required darkness, volume, chest tones alla Tebaldi & Milanov to do the
role justice.
As I remember, Pav was fine, no Bergonzi; but as you say, the rest were
disappointing.
DonPaolo
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Premiereopera
Scotto sounded alright, but very overparted. Unfortunately, at the end of
rather tepid applause for her "Suicidio" some jokestar shouted out "povero
Poncielli." She didn't deserve that, but it can be clearly heard on the
telecast.
david melnick
thought both Renata and Pav were very fine the night I attended.
MD
opera, but Pav changed his mind and decided to sing his first Enzo instead. Scotto
was expected to cancel, but to everyone's amazement, decided to take on the title
role! It was the wrong voice for the part, though she acted it beautifully and
there were many individual moments that were well sung. Still, it's no wonder that
she sounded threadbare... she had to scream to be heard above the heavy
orchestration and yodel in and out of chest voice all night. Why the woman decided
she needed to sing roles outside of her abilities is an enduring mystery.
Uttini1813 wrote:
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Premiereopera
>Part of the issue was that originally, it was supposed to be a completely
>different
>opera, but Pav changed his mind and decided to sing his first Enzo instead.
That could be, but not as I recall it. The Gioconda had long been scheduled,
and Pavarotti had trouble learning his new role. The SF Opera would and did
send a coach, one Otto Goot, and he would spend at least two months with
Pavarotti, both in Modena, and as he traveled, and went over the role with him
constantly. Luciano still did not know the role well on opening night, which I
attended. He made many word mistakes, and a few musical mistakes.
Of course, what took place after the performance, which was documented on PBS,
was a much better show!
Ed
Premiereopera.com for operatic Videos & CDs
DC4Opera
>PBS,
>was a much better show!
Could you please elaborate on what exactly took place? I read Scotto's bio but
the details are sketchy. Do you have a tape of this by the way?
Dan
NYC
Premiereopera
>Could you please elaborate on what exactly took place? I read Scotto's bio
>but
>the details are sketchy
PBS had their cameras backstage after the performance to document the event. I
haven't watched it in some time, but as best as I recall, there was a good bit
of coverage in Scotto's dressing room. She was very upset, and mumbling, and
yelling, in Italian and English.
She called Pavarotti fans "gente di merda" and got very angry when an innocent
man walked into her dressing room and identified himself as a friend of
Pavarotti. She said something to the effect that he doesn't have nice friends,
or he should choose better friends. I happen to know the guy who walked in- he
was Dr. Leon Schmidt, from Santa Rosa. I didn't know him well, and I have had
no contact with him for over 20 years.
It was the kind of opera documentary that one always hopes to see, but almost
never does. All the backstage stuff, warts and all. And anger and temper and
all.
Ed
Premiereopera.com for operatic Videos, and CDs.
Irvnurik100
david melnick
Premiereopera wrote:
She was angry over the fact that Pav got a solo bow at the end, which she said
never happens in Gioconda. She cited Domingo as a counterexample, a "gentleman"
who would never tread on the tradition in that way. Presumably Pav got one because
he was the absolute toast of S.F. during the '70s. Mansouri was seen in the
footage as the director of the production (not yet the general director of the
compnay, which he became more than a decade later). Nowadays, the issue would be
moot, because of the current practice of no bows at all until the end of the
opera. Another reason there's little high drama in the world of opera these days!
REG
committed...I have it on tape somewhere, and it is the chilliest 2nd Act
you've ever heard, with Pav very nervous about the C' (which was maybe a B'
transposed) and Scotto determined to outlast him in it.....very collegial
and both of them subservient to Verdi, of course.
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Premiereopera
>Shortly thereafter, they appeared in a Chicago Ballo, they had already both
>committed...I have it on tape somewhere, and it is the chilliest 2nd Act
>you've ever heard, with Pav very nervous about the C' (which was maybe a B'
>transposed)
They refused to speak to one another all through rehearsals and performances of
this run of Ballo. Scotto also refused to so much as touch Pavarotti on stage,
so it was the most unromantic "love" duet in history.
Evelyn Vogt Gamble (Divamanque)
course of intermission features on something she did with
Pavarotti, I get the impression it might be he!
Evelyn Vogt Gamble (Divamanque)
MD wrote:
>
Why the woman decided
> she needed to sing roles outside of her abilities is an enduring mystery.
>
She's a soprano! They may not be as bad as tenors - more
brains, generally - but they seldom want to admit anything
is beyond their abilities. (I think the name of the game is
"Ego".)
Georio
admirer AND a Gioconda freak, but I must say she is not the real McCoy in the
part.
Pavo sounds good but is very sloppy and uninteresting in the part. The are only
adequate.
michael farris
Georio wrote:
> Gala has this Gioconda out on CD. I listened to a bit of it, as I am a Scotto
> admirer AND a Gioconda freak, but I must say she is not the real McCoy in the
> part.
Too bad you didn't see it. If you saw and heard her at the same time (even on TV)
she was electrifying, but vocally she was overparted. I think Robert Jacobson(sp?)
then editor of Opera News wrote it best, something along the lines of 'Thank you
for giving us such a committed musical reading and detailed dramatic performance,
please never do it again.' It summed up my feelings pretty exactly.
-mike farris
Xise
intermission. She was so mad that she didn't realize she was on tv and
commented about this San Francisco production :
"Questa gente di merda". Very funny but a big booboo for such a diva.
On the other hand, I had the chance to see Deborah Voigt's debut as Tosca,
directed by Scotto, here in Miami, and let me tell you. IT WAS OUTSTANDING!!!
Regards,
Ximena
Regards,
Ximena
DonJose36
House....Live"!!
Rob in St. Louis
Proud Clarion
"Live From the Met" telecast. Don't know about the 1979 San Francisco "La
Gioconda."
PC
Carlo Mazza
Lucciano has to do this record but he was sick.
Was another tenor and she dont love
him......domingo?..carreras?....this is a competition?---who cares
about the tenor? jajajajajajajajajajajajajajajajajajajajajajajajajaja....i
loveu guys
Leonard Tillman
not exactly...objective?
Near her career's end, she seemed less than aware of a kind of
"tremolo" her voice had acquired - but even so , in her prime, and
somewhat past it, she made fine complete recordings and a few recital
albums.
She certainly was at least one of the better lyric sopranos of her
era!!
Best, LT
"Never explain-
your friends do not need it,
and your enemies will not believe it anyway."
Premiereopera
40th Anniversary Gala on Apri 29 in Modena, and also participated in a 90
minute TV tribute taped in the theater the following day. It is all in Italian,
mostly spoken, but with some music.
There is a host, who first introduces and talks to Pavarotti. Later special
guests include Carreras, Scotto, Georgiou, among others, and the father of
Luciano, Fernando Pavarotti.
All talk about Luciano, and Scotto is especially charming and sincere. She gets
up and sings "A vuchella" with piano, and is wonderful. It is a very moving
moment, and one can see Pavarotti beaming during her song. Carreras does not
sing (he did sing the evening before in the concert) but talks at length about
singing and Pavarotti. A charming highlight is the Pavarotti father-son duet of
Panis Angelicus.
Luciano himself sings the end of the Act 1 Boheme duet with Mrs. Alagna, down a
half step, but sings a fine, lengthy high B!
It's a moving show and certainly worth seeing. But remember- it is all in
Italian with no subtitles. I doubt if it will be released commercially, since
it is so conversational. The musical highlight is Scotto's singing, in April,
2001!!!
Ed
Premiereopera.com for the best in operatic Videos & CDs
sfc...@gmail.com
> I can see it now...a new reality series on MTV...."Backstage at the Opera House....Live"!!Rob in St. Louis<< PBS had their cameras backstage after the performance to document the event. I haven't watched it in some time, but as best as I recall, there was a good bit of coverage in Scotto's dressing room. She was very upset, and mumbling, and yelling, in Italian and English >>
I saw that PBS program in the early 80s and have been loooking for it. Any ideas where I can find it?
