tag:blogger.com,1999:blog-72113234160752569502024-03-08T14:28:50.772-08:00OperaPostReviewing the present, rehearsing the pastCharles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.comBlogger110125tag:blogger.com,1999:blog-7211323416075256950.post-7381048553410416772024-03-08T13:46:00.000-08:002024-03-08T13:46:43.541-08:00La Forza del destino <!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: 150%; margin-bottom: 12.0pt; tab-stops: 199.5pt;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-bidi; mso-ligatures: none;">The Metropolitan has mounted four productions of <i>La Forza del
destino</i> and has presented the opera more than two hundred times, about as
often as <i>Fledermaus </i>and <i>Manon Lescaut. </i>Late in entering the
company’s repertoire, its 1918 premiere was notable for its stellar cast of
Enrico Caruso, Giuseppe De Luca, José Mardones, and the debut, on any opera
stage, of Rosa Ponselle. Rudolf Bing counted <i>Forza </i>among the notable
Verdi revivals of his regime; opening night 1953 had Zinka Milanov, Richard
Tucker, Leonard Warren, and Cesare Siepi. The remarkable décor designed by
Eugene Berman was seen in fourteen out of thirty or so subsequent seasons. The
1996 edition of Verdi’s work, also decked out in traditional sets and costumes,
fared much less well; it earned but one repetition more than a decade later. </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">It is doubtful if the 2024 <i>Forza </i>would be recognized by the
artists who played Leonora, Alvaro, Carlo, and Padre Guardiano in the past. </span><a href="https://archives.metopera.org/MetOperaSearch/search.jsp?q=%22Mariusz%20Trelinski%22&src=browser&sort=PDATE"><span style="color: windowtext; font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-bidi; mso-ligatures: none; text-decoration: none; text-underline: none;">Mariusz Trelinski</span></a><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 0pt; mso-hansi-theme-font: minor-bidi; mso-ligatures: none;"> plants the narrative, based on a 19<sup>th</sup>
century Spanish melodrama, in a contemporary and post-Apocalyptic America, as
he teases out the themes of Patriarchy and War.</span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">This post recalls
a few of the great singers who made Verdi’s brilliant, but sprawling and
problematic <i>La Forza del destino, </i>such a frequent repertory item.</span></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Leonora, the
beleaguered heroine who seeks asylum and solitude after her beloved Alvaro
accidentally kills her father, pleads for the help of the Virgin in her Act II
aria “Madre, pietosa vergine.” Zinka Milanov, who holds the record for the most
Leonoras at the Met, was at her peak for the 1953 revival. The depth, roundness,
and power of her sound never prevents her from making a soft landing on the
high notes. Her famous pianissimo is but one feature of this deeply felt
rendition of the piece, drawn from a recital disk.</span></p>
<p class="MsoNormal" style="line-height: 150%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rXVuC8Xcp3c" width="320" youtube-src-id="rXVuC8Xcp3c"></iframe></div><br /><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Carlo Bengonzi,
acknowledged as the consummate Verdi tenor of his generation, is heard here in
a 1965 live performance. Bergonzi applies his warm timbre and scrupulous
phrasing to the tragic Act III aria, “O, tu che in seno agli angeli.” Disconsolate,
Alvaro evokes Leonora, whom he believes dead and among the angels.</span></p>
<p class="MsoNormal" style="line-height: 150%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fV1z1e2Vu1Q" width="320" youtube-src-id="fV1z1e2Vu1Q"></iframe></div><br /><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">The most familiar music in <i>La Forza del destino </i>is Leonora’s final aria, “Pace, pace, mio
dio.” Alone in her hermitage, she declares her love for Alvaro, whom she, too, believes
dead, and prays for peace. Her outburst in the final moments is a curse on those
who dare invade her asylum. The clip is from a 1953 live performance of the
opera from Florence, conducted by Dimitri Mitropoulos. Leonora is Renata
Tebaldi who unstintingly deploys her lush voice in one of her favorite roles.</span></p>
<p class="MsoNormal" style="line-height: 150%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/t0LW_uqvPlA" width="320" youtube-src-id="t0LW_uqvPlA"></iframe></div><br /><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">YouTube is a
treasure trove of <i>Forza </i>excerpts; Rosa Ponselle, Beniamino Gigli, Eileen
Farrell, Franco Corelli, <span style="mso-spacerun: yes;"> </span>RichardTucker
are highly recommended. Of particular interest are the Enrico Caruso/Giuseppe De
Luca and Jussi Bjorling/Robert Merrill duets.</span></p>
<p class="MsoNormal" style="line-height: 150%;"><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-5594503385666091522023-11-07T13:54:00.001-08:002023-11-07T13:54:44.742-08:00Recovering the Forgotten Singer, 8: Lois Marshall<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal"><span style="font-size: large;">The international career of Toronto-born Lois Marshall
(1924-1997) began in the early 1950s, subsequent to frequent radio and
television appearances in Canada. Viewers of the CBC saw Marshall in the
demanding roles of Donna Anna (<i>Don Giovanni</i>) and Leonora (<i>Fideliio). </i>Winner
of the prestigious Naumberg Award, she was soon contracted as leading soprano
by Arturo Toscanini for a radio concert of Beethoven’s <i>Missa Solemnis, </i>and
by Sir Thomas Beecham for recordings of Mozart’s <i>Die Entführing aus dem
Serail (The Abduction from the Seraglio)</i> and Handel’s <i>Solomon. </i>The
beauty of her timbre, her excellent musicianship, and remarkable technique won
her these difficult assignments.</span></p>
<p class="MsoNormal"><span style="font-size: large;">Marshall’s concert career, encompassing a wide-ranging
repertoire, lasted for more than three decades. Her stage performances of opera
were regrettably few since her mobility was limited by the polio she had
contracted as a child. On disc and in recital she programmed arias from the
Baroque period to the 20<sup>th</sup> century.</span></p>
<p class="MsoNormal"><span style="font-size: large;">Here is a clip from Beecham’s 1957 recording of <i>Die
Entführung aus dem Serail. </i>Konstanze, a Spanish noblewoman is captive in a
Turkish harem. She answers Pasha Selim’s entreaties for her love with the aria
“Ach, ich liebte, war so glücklich (Alas, I loved, I was so happy),” bemoaning
the separation from her true love, Belmonte. The seamless legato of the opening
adagio section is followed by the challenging embellishments, at the top of the
singer’s range, of the vehement allegro passages. As she spins out the opening
phrases, and attacks the runs and trills with utter confidence, Marshall rises
to Mozart’s disparate demands.</span></p>
<p class="MsoNormal"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-B9B0ObUCic" width="320" youtube-src-id="-B9B0ObUCic"></iframe></div><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: large;">“When I am Laid in Earth” is Dido’s lament in Act III of Henry
Purcell’s <i>Dido and Aeneas.</i> Abandoned by Trojan prince Aeneas, the Queen
of Carthage announces her suicide to her devoted retinue and asks only to be
remembered. Expressing Dido’s deep sadness, Marshall deploys her rich middle
register with utter evenness. In this 1963 clip she is accompanied by a Dutch
chamber ensemble.</span></p>
<p class="MsoNormal"><br /></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AxwFcNhvhFw" width="320" youtube-src-id="AxwFcNhvhFw"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: large;">Although she recorded Italian arias by Bellini, Verdi, and
Puccini, and often sang them in concert, Marshall’s voice was perhaps most
suited to the repertoire of the <i>Jugendlich dramatischer Sopran, </i>the
dramatic lirico spinto. Her rendition of “Leise, leise, fromme Weise! (Softly,
softly, My pure song!)” from Carl Maria von Weber’s <i>Der Freischütz </i>glows
with the warmth of her sound, the long-breathed sureness of her phrasing, and
the ease of her agility. First, Agathe tenderly evokes the sweetness of the
night and her love for Max, then betrays her excitement when she senses his
approach. The clip is from a commercial recording issued in 1958.</span></p><p class="MsoNormal"><span style="font-size: large;"> </span></p><p class="MsoNormal"><span style="font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/sWz6ubdS0uo" width="320" youtube-src-id="sWz6ubdS0uo"></iframe></span></div><span style="font-size: large;"><br /> </span><p></p><span style="font-size: large;">Marshall’s versatility is captured by her many YouTube
selections.</span>
<span style="font-size: large;"><br /></span>
<span style="font-size: large;"><br /></span>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-11646097488816288452023-09-04T09:53:00.000-07:002023-09-04T09:53:14.472-07:00In Memoriam: Renata Scotto (1934-2013)<p><span style="font-size: large;"><span style="font-family: arial;"> <span>The vast repertoire of Renata Scotto encompassed 19<sup>th</sup>
century vocal music, from the Classical Cherubini to the Grand Opera of Meyerbeer,
through the great bel canto composers, Rossini, Bellini, and Donizetti. Although
she often played Verdi’s Violetta, Gilda, Lady Macbeth, Luisa Miller, and Desdemona,
Scotto was perhaps most renowned for her Puccini roles. On the concert or the
operatic stage, and most often on both, she left her mark on nearly all his works,
from <i>Le Villi</i> (Anna) to <i>Turandot </i>(Liù)<i>.</i> From the mid-1960s
through the early 1980s Scotto was one of most widely recorded operatic
sopranos; approximately forty of her complete performances are available on
commercial and pirated CDs and DVDs.</span></span></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: large;"><span style="font-family: arial;">Following her
1952 debut in <i>La Traviata, </i>Scotto was engaged by the major Italian opera
companies. Her breakthrough to international stardom occurred during the visit
of La Scala to the 1957 Edinburgh Festival when she replaced Maria Callas in Bellini’s
<i>La Sonnambula.</i> She first appeared in the U.S. as Mimi in Chicago in 1960
and five years later triumphed as Cio-Cio-San at the Met, the role with which more
than two decades later she bade farewell to the company. <span> </span>She had racked up more than 300 Met
performances in New York and on tour. Fortunately for us, she can continue to be
seen and heard streaming in the 1977 inaugural telecast of PBS Live from the
Met, <i>La Bohème</i>, and eight other titles in the series<i>.</i> And after retiring
from major lyric theatres in the 1990s, well into her sixties, she took on a
new language, German, and new arduous roles, the Marschallin (<i>Der
Rosenkavalier</i>), Kundry (<i>Parsifal</i>), and Klytemnestra (<i>Elektra</i>).</span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: arial;">Scotto was often the object of harsh criticism. Some
found her detailed phrasing overly fussy, her acting mannered, and “over the
top.” Many criticized her for attempting parts that normally fell to
rich-voiced dramatic sopranos—Bellini’s Norma, Ponchielli’s Gioconda, for
instance. There is no denying that she was often unable to produce the requisite
volume with beautiful, rounded tone. But for many there were sufficient
compensations in her refined bel canto technique and her deep insight into the
music and the text. </span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: arial;">I have chosen three clips that illustrate Scotto’s
command of the light-voiced lyric coloratura manner, the more assertive phrasing
demanded by Verdi, and the searing intensity needed for Puccini.</span></span></p><p class="MsoNormal" style="line-height: normal; text-align: left;"><span style="font-family: arial; font-size: large;">At the close of Donizetti’s <i>L’Elisir d’amore, </i>in the
heartfelt “Prendi, per me sei libero (Take this, I have bought back your
freedom)” Adina at last confesses her love for Nemorino as she offers him proof
that she has saved him from his reckless enlistment in the army. This clip is
from a televised 1967 Florence performance conducted by Gianandrea Gavazzeni. Scotto’s
mastery of <i>messa di voce, </i>the gradual crescendo and subsequent decrescendo
of a single note, shapes the aria with the emotions the character is finally
able to express. The Nemorino you see seated next to Adina is Carlo Bergonzi.</span></p>
<p class="sans-medium-small" style="text-align: left;"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/uPCsdakFVsM" width="320" youtube-src-id="uPCsdakFVsM"></iframe></span></div><span style="font-family: arial; font-size: large;"><br /><br /></span><p></p>
<p class="sans-medium-small" style="text-align: left;"><span style="font-family: arial; font-size: large;">Scotto’s Gilda is captured on two commercial recordings. This clip
is drawn from the version conducted by Carlo Maria Giulini. Here, in
“Tutte le feste al tempio (Each holy day in church),” Gilda confesses to
Rigoletto, her distraught father, that she fell in love with a handsome
stranger, the Duke of Mantua disguised as a poor student, and was later
kidnapped by the Duke’s courtiers.</span></p>
<p class="sans-medium-small" style="text-align: left;"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/JmdAjdY1wa8" width="320" youtube-src-id="JmdAjdY1wa8"></iframe></span></div><span style="font-family: arial; font-size: large;"><br /><br /></span><p></p>
<p class="sans-medium-small" style="text-align: left;"><span style="font-family: arial; font-size: large;">As Scotto enacts Cio-Cio-San’s resolve to commit suicide and bids
an agonized farewell to her little son, she summons the tragic stature of the
abandoned wife determined to die with honor. This clip is drawn from a
remarkable 1967 recording conducted by Sir John Barbirolli. At the very end you
will hear the voice of Pinkerton {Carlo Bergonzi) calling out, all too late, the
name of the Japanese wife he has betrayed.</span></p>
<p class="sans-medium-small" style="text-align: left;"><span style="font-family: arial; font-size: large;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: arial; font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Qsa6hMNSdGo" width="320" youtube-src-id="Qsa6hMNSdGo"></iframe></span></div><span style="font-family: arial; font-size: large;"><br /><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span style="font-family: arial;">YouTube offers a profusion of Scotto’s
performances. Particularly recommended are her Violetta (<i>La Traviata</i>),
Elena (<i>I Vespri Siciliani</i>), Cio-Cio-San (<i>Madama Butterfly</i>), and the
DVD of her 1977 Mimì from the Live from the Met telecast.</span></span></p>
<p class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="font-size: large;"><span lang="IT" style="font-family: arial;"><br /></span></span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-60616962640905185812023-07-22T07:41:00.008-07:002023-07-22T08:28:18.038-07:00Mascagni’s L’Amico Fritz and Lodoletta: “commedia lirica” and “dramma lirico”<p><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">With <i>Cavalleria rusticana (</i>1890),<i> </i>his
first opera and the liminal title of Italian verismo, Pietro Mascagni (1863-1945)
was assured a place of privilege in operatic history. In a single act, the
composer distilled the unbridled passion—and jealousy—of a woman betrayed.
Revenge followed, and with it the offstage duel fatal to her guilty lover. So goes
life in a Sicilian village in the late 19<sup>th</sup> century as depicted in
the libretto based on the Giovanni Verga novella (1883). That more than one
reviewer credited the success of the piece to its high drama rankled the composer.</span></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">In response, Mascagni next chose “a simple
libretto, something almost insubstantial, so that the opera will be judged
entirely on its music.” Like <i>Cavalleria</i>, <i>L’Amico Fritz </i>(1891) has
a rural setting, sylvan Alsace. But here, the similarity ends. In <i>Fritz</i>,
a “commedia lirica,” the eponymous hero is a confirmed Jewish bachelor and
wealthy landowner. David, the local rabbi, takes it upon himself to awaken his “friend’s”
love for Suzel, the daughter of one of his tenants. The happy ending promises
the couple an imminent wedding. </span></p>
<p class="MsoNormal"><i><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">L'Amico Fritz </span></i><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">enjoyed enormous acclaim at its Rome premiere, was soon conducted
by none other than Gustav Mahler in Hamburg and was taken up quickly by other European
companies. Yet the work failed at the Met in 1894.<code><span face=""Arial",sans-serif" style="line-height: 107%; mso-ansi-font-size: 12.0pt; mso-ascii-theme-font: minor-bidi; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;"> Since
then, <i>L’Amico Fritz </i>has been heard a mere handful of times in New York,</span></code>
has survived on the margins of the core repertoire in Italy, and is only
occasionally presented elsewhere. Perhaps, bent on an “insubstantial” plot so
as to privilege his music, and as a rebuke to the critics of his first opera<i>,
</i>Mascagni compromised the afterlife of his second. </span></p>
<p class="MsoNormal"><code><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;">If productions are rare, recordings of <i>L’Amico
Fritz </i>are plentiful: we have at least ten editions on CD or DVD, some taken
from live performances, two produced in the studio. The most popular excerpt,
the Act II “Cherry Duet,” is on YouTube in a plethora of versions. Here, drawn
from a 1969 complete studio recording, are Luciano Pavarotti and Mirella Freni
at their peak. Fritz and Suzel, still hesitant to express their feelings for
each other, sing instead the praises of music and Springtime.</span></code></p>
<p class="MsoNormal"><code></code></p><div class="separator" style="clear: both; text-align: center;"><code><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/3DNPZOSCatA" width="320" youtube-src-id="3DNPZOSCatA"></iframe></code></div><code><br /><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;"><br /></span></code><p></p>
<p class="MsoNormal"><code><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;">Earlier, Suzel offers a bouquet of violets to
Fritz along with her Act I “Son pochi fiori (Just a few flowers).” In a clip
from a 1980 studio recording Leona Mitchell lends her rich, well-equalized
timbre to both the aria’s dramatic opening and its expansive conclusion. </span></code></p>
<p class="MsoNormal"><code></code></p><div class="separator" style="clear: both; text-align: center;"><code><br /></code></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/SGPNbSXj4CE" width="320" youtube-src-id="SGPNbSXj4CE"></iframe></div><br /><code><br /><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;"><br /></span></code><p></p>
<p class="MsoNormal"><code><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-bidi;">Between 1890 and 1935 Mascagni published
fifteen operatic scores, many bearing labels that signal their diverse genres—lyric
comedy, tragedy, drama, melodrama, idyll, among others. His 1917 “drama lirico,”
<i>Lodoletta, </i>is based on Ouida’s 1874 novel, <i>Two Little Wooden Shoes. </i></span></code><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">The title character, a Dutch orphan, and Flammen, a French painter
exiled in Holland, are chaste lovers. When Flammen is pardoned, Lodoletta
follows him to Paris in Act III and, mistakenly thinking him unfaithful, dies
in the snow on his doorstep.</span></p>
<p class="MsoNormal"><i><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Lodoletta, </span></i><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">moderately successful at its Rome premiere, was greeted with even less
enthusiasm elsewhere. The Met’s most bankable cast notwithstanding--Geraldine
Farrar, Enrico Caruso, Pasquale Amato--the opera managed to string together
very few repetitions in two seasons. A single aria, Lodoletta’s “Flammen,
perdonami (Flammen, forgive me),” is familiar to contemporary operaphiles in the
excellent renditions of Freni, Renata Tebaldi, Renata Scotto, and Renée Fleming.</span></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">And then there is Mafalda Favero. Favero and
Jussi Björling made their Met debuts in a 1938 <i>La Bohème. </i>The tenor went
on to a long career with the company; the soprano, detained in Italy by World
War II, never again returned to the United States, alas. Favero’s 1941
recording of “Flammen, perdonami” is unforgettable. The exceptional clarity of
her diction captures the crushing pathos of the dying Lodoletta.</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/G36HSpQs2JE" width="320" youtube-src-id="G36HSpQs2JE"></iframe></div><br /><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><br /></span><p></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Accessible on YouTube is a complete recording of
<i>L’Amico Fritz </i>conducted by the composer<i> </i>and<i> </i>starring
Ferruccio Tagliavini and Pia Tassinari. Roberto Alagna and Angela Gheorghiu are
Fritz and Suzel in a more recent album. Strongly recommended is the “Cherry
Duet” sung by Favero and Tito Schipa and also by Tagliavini and Magda Olivero. </span></p>
<p class="MsoNormal"><span face=""Arial",sans-serif" lang="IT" style="font-size: 12pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><br /></span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-14287451610721106382023-07-05T08:48:00.002-07:002023-07-05T10:21:32.305-07:00Recovering the Forgotten Singer, 7: Kurt Moll<p>Kurt Moll (1938-2017) was the preeminent German bass in the
world’s most prestigious opera houses from the 1970s to the 1990s. A favorite of
conductors, among them Herbert von Karajan, Leonard Bernstein, Georg Solti, and
Carlos Kleiber, Moll was sought, again and again, for Gurnemanz (<i>Parsifal</i>)<i>,
</i>Sarastro (<i>Die Zauberflöte</i>)<i>,</i> Rocco<i> </i>(<i>Fidelio</i>)<i>,
</i>the Commendatore (<i>Don Giovanni</i>)<i>—</i>for the stage, of course, as
well as for recordings and DVDs of Strauss, Wagner, and Mozart produced in this
period. His is a magisterial voice, deep, wide-ranging, and exceptionally
sweet. </p>
<p class="MsoNormal">The clip, “La vendetta (Vengeance)” that follows is
excerpted from a 1980 Paris performance of <i>Le Nozze di Figaro.</i> In a mock
<i>opera seria </i>manner<i> </i>Moll declaims Don Bartolo’s fulmination
against Figaro and articulates with precision its witty <i>opera buffa </i>patter.
</p>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoNormal"></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/va6EVm5dZfc" width="320" youtube-src-id="va6EVm5dZfc"></iframe></div> <p></p><p class="MsoNormal">Baron Ochs in Richard Strauss’s <i>Der Rosenkavalier </i>was
one of Moll’s signature roles. We see him here in a clip from a 1984 Salzburg
Festival performance conducted by von Karajan. The lecherous Ochs cheerfully
accepts an invitation to an tryst with the maid “Mariandel,” (his rival,
Octavian, in disguise). Helga Müller-Molinari plays the sly Italian messenger. Executing
the extreme highs and lows with ease, the bass’s warm timbre invests the
character’s most lyrical music with the infectious lilt of the score’s familiar
waltz.<span style="mso-spacerun: yes;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-kW4I0EFYoI" width="320" youtube-src-id="-kW4I0EFYoI"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p class="MsoNormal"></p>
<p class="MsoNormal">The doleful mood of Franz Schubert’s song “Der Wanderer” calls
on Moll’s dark sound to express the despair of the wanderer, homeless, friendless,
loveless, and finally hopeless. The singer subjects his immense instrument to
the intimate dimensions of the German lied.</p>
<div class="separator" style="clear: both; text-align: center;"><br /></div><p class="MsoNormal"></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8p_4Qtg7SEY" width="320" youtube-src-id="8p_4Qtg7SEY"></iframe></div> <p></p><p class="MsoNormal">You will find a profusion of Kurt Moll clips on YouTube.
Especially recommended are Sarastro’s arias from <i>Die Zauberflöte</i> and
Osmin’s arias from <i>Die Entführung aus dem Serail. </i>You will also find
renditions, in German, of Prince Gremin’s aria from <i>Eugene Onegin</i> and
King Philip’s aria from <i>Don Carlo.</i></p>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><br /><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-26130648514407111622023-04-06T15:28:00.008-07:002023-04-06T15:49:57.138-07:00Recovering the Forgotten Singer, 6: Yevgeny Nesterenko<p><span style="font-size: large;">Russian bass Yevgeny Nesterenko (1938-2021) was one of the phenomenal
singers the U.S. discovered in 1975 during the first New York visit of the
Bolshoi Opera. His Boris Godunov was a highlight of a several-week visit that
introduced a generation of Soviet stars, among them Elena Obraztsova, Yuri
Mazurok, and Vladimir Atlantov, many of whom went on to international careers.</span>
</p><p class="MsoNormal"><span style="font-size: large;">Soon after winning a first-place prize in the 1970
Tchaikovsky competition, Nesterenko joined the Bolshoi as its leading bass. The
Moscow company remained his home for three decades. At the Vienna State Opera and
at La Scala he performed the principal roles of the core repertoire written for
his voice type<i>.</i></span></p>
<p class="MsoNormal"><span style="font-size: large;">Nesterenko’s dark, rich timbre, the ease and strength he
commands throughout his range, and the power and subtlety of his acting are fully
deployed, as you will see, in the death scene of Modest Mussorgsky’s <i>Boris
Godunov</i>. The czar’s tender farewell to his son is the inexorable denouement
of this tragic history play. Our clip is drawn from a 1978 Bolshoi performance.</span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: large;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/n_WOOZdVz9Y" width="320" youtube-src-id="n_WOOZdVz9Y"></iframe></span></div><p></p>
<p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: large;">Here is the bass’s lyric interpretation of his Act III aria
from Tchaikovsky’s <i>Eugene Onegin. </i>In this commercial recording the mature
Prince Gremin voices the depth of his love for his young wife, Tatiana.</span></p><br />
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/6zF_MZi5u9E" title="YouTube video player" width="560"></iframe>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoNormal"></p><p class="MsoNormal"><span style="font-size: large;">Nesterenko was one of the leads in La Scala’s 1978 revival
of Verdi’s <i>Don Carlo, </i>conducted by Claudio Abbado. A recording of that production
is excerpted here. The singer’s heartrending delivery of “Ella giammai m’amò
(She Never Loved Me)” conveys the despair of King Philip as, alone on the
stage, he comes to understand that his love for his consort, Elisabeth of Valois,
has never been requited.</span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/HCmxljd5T7M" width="320" youtube-src-id="HCmxljd5T7M"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: large;">After his retirement from the opera stage and the concert hall,
Nesterenko pursued an active teaching and scholarly schedule until his death
from COVID-19.</span></p>
<p class="MsoNormal"><span style="font-size: large;">We encourage readers of this blog who share our enthusiasm
for this very great and largely forgotten artist to access YouTube clips of
Nesterenko in arias by Mozart, Rossini, Borodin, Puccini, and songs by
Mussorgsky, Rachmaninoff, and Shostakovich.<br /></span></p>
<p class="MsoNormal"><br /></p>
<p></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-53189363562244110512023-03-27T14:45:00.001-07:002023-09-04T15:41:11.406-07:00Recovering the Forgotten Singer, 5: Helen Traubel <p><!--[if gte mso 9]><xml>
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<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">When Helen
Traubel (1899-1972) debuted at the Met in 1937, the company had the
extraordinary luxury of alternating the stellar Brünnhildes of Kirsten Flagstad
and Marjorie Lawrence. Traubel’s operatic stage debut, at nearly forty years of
age, was in the Met premiere of a short-lived English-language opera by Walter
Damrosch, <i>The Man Without a Country</i>; two years went by before she was
assigned a Wagner lead, Sieglinde in <i>Die Walküre</i>. And it was not until
1941, when Flagstad returned to her native Norway for the duration of the war
and Lawrence was felled by polio that Traubel became the company’s leading <i>hochdramatischer</i>
soprano. </span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Two decades
as a concert artist had honed Traubel’s voice, voluminous, equalized from top
to bottom, encompassing both lyric and heroic passages with no loss of timbral
purity and clear diction.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Aside from
four performances in the Damrosch opera and a late turn as <i>Der Rosenkavalier</i>’s
Marschallin, Traubel’s 176 Met appearances, over seventeen consecutive seasons,
were devoted exclusively to Wagner. Senta, in <i>Der Fliegende Holländer, </i>was
the sole heroic soprano role in the Wagner canon that she did not undertake. Only
Johanna Gadski, in the early 20<sup>th</sup> century, sang more <i>Walküre </i>Brünnhildes
than Traubel who, herself, is second only to Flagstad in the lineage of the
company’s Isoldes.</span></p>
<p class="MsoListBulletCxSpFirst" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"><span style="font-size: 12pt; line-height: 107%;">Here, in a 1950 commercial recording, the soprano sings both
parts in <i>Walküre</i>’s<i> </i>triumphant scene in which Brünnhilde bestows
Siegmund’s broken sword on Sieglinde, the future mother of the hero, Siegfried.</span></p>
<p class="MsoListBulletCxSpLast" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/5AfG-ByDPxE" width="320" youtube-src-id="5AfG-ByDPxE"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Traubel’s
effulgent “Liebestod” comes from a 1945 recording with the New York
Philharmonic led by Artur Rodzinski.</span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/a6zeCgB-6Fs" width="320" youtube-src-id="a6zeCgB-6Fs"></iframe></div><br /> <p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">By the start
of Rudolf Bing’s tenure as general manager of the Met in 1950, Traubel was
nearing the end of her reign over the Valhalla of Wagnerians. Her top register
receding, she appeared more and more as a cross-over artist in cabarets, and on
television with the likes of comedian Jimmy Durante. Bing, publicly disapproving
of her excursion into pop culture, terminated her contract in 1953. She soon
starred in <i>Pipe Dream </i>(1955), one of the few failures of musical theatre
luminaries Rodgers and Hammerstein, and had featured roles in movies with José
Ferrer and Jerry Lewis. </span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Our final
track is from <i>Deep in My Heart, </i>a 1954 biopic loosely based on the life
of operetta composer Sigmund Romberg. Ferrer and Merle Oberon are prominent in
the clip. Traubel does justice to an old song, “Auf Wiedersehen.”</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/AjhzlNu75iI" width="320" youtube-src-id="AjhzlNu75iI"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">The soprano’s
other extra-musical interests included part ownership of a St. Louis major
league baseball team and authorship of two mystery novels. </span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Met
audiences have heard brilliant Brünnhildes and Isoldes since 1953—Birgit
Nilsson, Hildegard Behrens, Gwyneth Jones immediately come to mind—but none, in
our view, with the rich, warm sound of Helen Traubel at her peak.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p>
<p></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-56415116421801744402023-01-17T09:27:00.014-08:002023-01-17T15:12:56.993-08:00Recovering the Forgotten Singer, 4: Joseph Schmidt<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: normal; margin-bottom: 0in; margin-left: 40px; text-align: left;"><span style="font-size: small;"><span style="font-family: "Times New Roman", serif;">Charles Affron, one of the bloggers of OperaPost, has
recently published <i>Just Off Grand. </i>This opera-themed novel is available
on Amazon and best searched under the name of the author. Modeled on Honoré de
Balzac's <i>Old Goriot</i> (<i>Le Père Goriot</i>), <i>Just Off Grand</i> takes
place in and around New York City between the final days of World War II and
the end of 1945. Our hero is an ambitious young cantor aspiring to a career in
opera. Tracking his progress from a “Borscht Belt” hotel to a dramatic Yom
Kippur Eve service in a prosperous West Side synagogue, the novel also stages a
riotous dress rehearsal at the Metropolitan Opera. The often conflicted, sometimes
destructive interplay among the characters mirrors the ferment of post-War
society. </span></span></p><span style="font-size: small;">
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
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</p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="font-size: medium;">Renow</span><span style="font-size: small;"><span style="font-size: medium;">ned
operatic tenor Joseph Schmidt (1904-1942) was never engaged by an opera company.
Manag</span></span><span style="font-size: medium;">ers </span>considered him too short (just under five feet [1.54 meters]) for the
lyric stage. The sound stage was another matter. The angle of the movie camera
compensated for his stature in nine films, most in German, a few in
English-language remakes. Cinemas, concert halls, and the recording studio were
his domains.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Born in a region
of Romania that is now Ukraine, it was in the synagogue where, like his
American contemporary Jan Peerce and the younger Richard Tucker, that Schmidt
first attracted attention. He sought training in Berlin and was soon cast in
leading roles in radio transmissions of complete operas, among them Meyerbeer’s
<i>L’Africaine, </i>Mozart’s <i>Idomeneo, </i>and Puccini’s <i>La Bohème. </i>His
movie career began in 1931; he achieved star status in 1933 with <i>Ein Lied
geht um die Welt (A Song Goes Round the World). </i>A U.S. tour in 1937 grew his
international reputation. </span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">With
Hitler’s rise to power in 1933, Joseph Schmidt, along with other Jewish
artists, was banned from work in Germany. At the start of the war, the tenor had
secured passage to Cuba when another refugee stole his reservation. Belgium
became his home until the Nazi invasion of 1940. Frail, in fact gravely ill, Schmidt
fled to Switzerland where he was promptly interned in a labor camp. The Swiss
doctors diagnosed his condition as nothing more than “malingering” and shortly thereafter
he was dead of a heart attack.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">His brief
career notwithstanding, Schmidt’s recorded legacy is extensive. In a clip from
the 1934 film <i>Wenn du jung bist, gehört dir die Welt (When You’re Young, the
World Belongs to You) </i>he sings the familiar aria “Ach, so fromm (known
better in Italian translation as “M’apparì [She appeared to me])” from Flotow’s
<i>Martha.</i> A few bars from the even more familiar “The Last Rose of Summer”
precede the aria.<i> </i>Schmidt’s sunny timbre invests the music with the sweetness
that was his calling-card. (Movie fans will note that the clip has been colorized and will recognize character actor S. Z.
“Cuddles” Sakall from his appearance in <i>Casablanca.</i>) </span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 12pt; line-height: 107%;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kWKL9Obg9uI" width="320" youtube-src-id="kWKL9Obg9uI"></iframe></span></div><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Tamino’s
“Dies bildnis ist bezaubernd schön” from <i>Die Zauberflöte </i>documents Schmidt’s
pure Mozartean style.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rDgblUpY9TI" width="320" youtube-src-id="rDgblUpY9TI"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"></span><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Unlike many
of the French and German tenors of the 1930s, Schmidt sang Verdi and Puccini in
the original Italian. His “Nessun dorma” from <i>Turandot </i>is, unusually, at
once passionate and refined.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Q1xypSVZSQw" width="320" youtube-src-id="Q1xypSVZSQw"></iframe></div><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Adolphe
Adam, best known for his score for the ballet <i>Giselle</i>, also composed an
opera, <i>Le Postillon de Lonjumeau </i>(1837), that enjoyed great popularity
in the 19<sup>th</sup> century. The rollicking aria, “Mes amis, écoutez l’histoire
(Friends, hear the story),” sung here in German, is favored to this day by
tenors with a free top register. Schmidt tosses off a high D, a daunting feat.</span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/IqKSTYLrzUA" width="320" youtube-src-id="IqKSTYLrzUA"></iframe></div><br /><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"> </span></p><span style="font-size: 12pt; line-height: 107%;">YouTube
offers a trove of Schmidt’s recordings, including duets with Grace Moore from
his 1937 American concert tour. </span>
<p class="MsoNormal"><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span></p>
<p></p><p>
</p><br /><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-42882048108176410582022-11-30T12:11:00.006-08:002023-01-17T09:04:21.282-08:00Recovering the Forgotten Singer, 3: Hilde Gueden<p><!--[if gte mso 9]><xml>
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</p><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-left: 40px; text-align: left;"><span style="font-family: "Times New Roman",serif; font-size: x-small; line-height: 150%; mso-fareast-font-family: "Times New Roman";">PLEASE NOTE: Charles Affron, one of
the bloggers of OperaPost, has published <i>Just Off Grand. </i>This
opera-themed novel is available on Amazon and best searched under the name of
the author. </span></p><div style="margin-left: 40px; text-align: left;">
</div><p class="MsoNormal" style="line-height: 150%; margin-bottom: 0in; margin-left: 40px; text-align: left;"><span style="font-family: "Times New Roman",serif; font-size: x-small; line-height: 150%; mso-fareast-font-family: "Times New Roman";">Modeled on Honoré de Balzac's <i>Old
Goriot</i> (<i>Le Père Goriot</i>), <i>Just Off Grand</i> takes place in and around
New York City between the final days of World War II and the end of 1945. Our
hero is an ambitious young cantor aspiring to a career in opera. Tracking his
progress from a “Borscht Belt” hotel to a dramatic Yom Kippur Eve service in a prosperous
West Side synagogue, the novel also stages a riotous dress rehearsal at the
Metropolitan Opera. The often conflicted, sometimes destructive interplay among
the characters mirrors the ferment of post-War society. </span></p><div style="margin-left: 40px; text-align: left;"><span style="font-size: x-small;"> </span>
</div><p></p><p class="MsoNormal" style="margin-top: 12pt;">Hilde Gueden (1917-1988), Viennese
born, was a charter member of the fabled post-War Vienna State Opera Mozart
ensemble. The soprano went on to a versatile career on international stages and
recording studios. She made her mark in Donizetti’s <i>L’Elisir d’amore </i>and
<i>Don Pasquale, </i>in Verdi’s <i>Rigoletto, </i>Strauss’s <i>Der Rosenkavalier
</i>and <i>Arabella </i>(as Zdenka), and in her peerless Musetta (Puccini, <i>La
Bohème</i>). A lively actress, she nevertheless avoided the perkiness so irritating
in the conventional demeanor of soubrettes.</p>
<p align="center" class="MsoNormal" style="text-align: center;"></p>
<p class="MsoNormal">Our remembrance of Hilde Gueden begins with Susanna’s seductive
fourth act aria, “Deh vieni, non tardar (<span class="hgkelc"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-weight: bold;">Oh, come, do not delay)”
from Mozart’s <i style="mso-bidi-font-style: normal;">Le Nozze di Figaro. </i>The
clip we have chosen is drawn from a 1964 Paris TV concert led by Lorin Maazel. Conductor
and soprano move forthrightly through a piece that often suffers from excessive
languor and fussy phrasing.</span></span></p>
<p class="MsoNormal"><span class="hgkelc"><span lang="EN" style="mso-ansi-language: EN; mso-bidi-font-weight: bold;"> </span></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/MiEiQDXDvkg" width="320" youtube-src-id="MiEiQDXDvkg"></iframe></div><br /><p></p><p class="MsoNormal"></p>
<p class="MsoNormal">One cornerstone of Gueden’s repertoire was operetta. Two
leading conductors, Clemens Krauss and Herbert von Karajan, called on her for Rosalinde
in their complete recordings of Johann Strauss’s <i>Die Fledermaus.</i> In the
1950 Krauss version, she brings out the character’s longing for her Hungarian
homeland in the <i style="mso-bidi-font-style: normal;">Lassan, the</i> slow
first section, and then revels in the rapid articulation and joy of the second
part, the <i style="mso-bidi-font-style: normal;">Friska.</i></p>
<p class="MsoNormal"><i style="mso-bidi-font-style: normal;"> </i></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/OXVvAcCqSdQ" width="320" youtube-src-id="OXVvAcCqSdQ"></iframe></div><p class="MsoNormal"><br /></p>
<p class="MsoNormal"> Gueden made her 1951 Met debut as Gilda, the role she sang most
often in her nine seasons with the company. The excerpt comes from a 1954
commercial recording of the complete opera conducted by Alberto Erede. Here she
delivers “Caro nome” with the rare combination of warmth and glitter. </p>
<p class="MsoNormal"> </p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jON5dQW9-YY" width="320" youtube-src-id="jON5dQW9-YY"></iframe></div><br />
<p class="MsoNormal"> In acknowledgement of her star status, the Met cast Gueden as
Anne Trulove, the female lead in the prestigious North American premiere of
Igor Stravinsky’s <i>The Rake’s Progress</i>. Early New York reviewers had reservations
about the composer’s neo-Classical score. But at the first performance on
Broadway and 39<sup>th</sup> Street in February 1953, at which I was present,
there was immediate and enormous enthusiasm for Anne’s Act I aria, “No Word
from Tom,” its cabaletta, “I Go, I Go to Him” ending with a prolonged,
triumphant high C. As you will hear, in the original cast recording conducted
by Stravinsky himself, Gueden duplicates the high C she sang at the Met.</p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/lR9KVEI1v6Q" title="YouTube video player" width="560"></iframe><p class="MsoNormal">Hilde Gueden’s superb Sophie, Zdenka, and Daphne, roles in
the operas of Rlchard Strauss, can be found on YouTube, as can her renditions
of the Contessa (<i>Le Nozze di Figaro</i>) and Violetta (Verdi, <i>La Traviata</i>),
parts that she took on as her voice matured.</p>
<p class="MsoNormal"><br /></p>
<p></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-84271875363393843872022-10-22T14:25:00.000-07:002022-10-22T14:25:23.777-07:00 Recovering the Forgotten Singer, 2: Louis Cazette<p><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
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<![endif]--></p><p class="MsoNormal" style="line-height: normal; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><a name="_Hlk109291273"><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Recovering the Forgotten Singer </span></i></a><span style="mso-bookmark: _Hlk109291273;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">is OperaPost’s
series devoted to those artists once much admired and now rarely recalled. Some
were stars in their time; others left their mark all too fleetingly. Their
recorded legacy calls on us to remember them here. </span></span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="margin-bottom: 6.0pt; margin-left: 1.45pt; margin-right: .7pt; margin-top: 6.0pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The French lyric tenor of the late 19<sup>th</sup> and early 20<sup>th
</sup>centuries, his elegant phrasing manifest, was there to serve his
contemporary French composers, whether Délibes, Lalo, Reyer, or the most successful
of all, Jules Massenet. Among the era’s notable interpreters was Louis Cazette.
As you will hear, his full, honeyed sound and affinity for the text succeed in
overcoming the sonic limitations of the acoustic recordings of the time. An
attentive listener will capture the ease with which he encompasses the dynamic
and dramatic ranges of the arias and song linked to this post.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Born in 1887, Cazette graduated from the Paris Conservatoire in
1914. He served in the military for the duration of World War I. Upon his discharge
in 1919 he was engaged by the Opéra-Comique. He soon took on the tenor leads of
<i>Così fan tutte, Madama Butterfly</i>, and of French opera of the core
repertoire—<i>Mignon, Mireille, Lakmé</i>—to much acclaim. Alas, in April 1922,
days after he sang Don Ottavio in <i>Don Giovanni, </i>Cazette died tragically
of tetanus, contracted during a rehearsal: he had been accidently stabbed in
the foot with a rusty trident.<i> </i><span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">A month earlier, Cazette had put his stamp on one of the richest
roles of the canon, le Chevalier Des Grieux in Massenet’s <i>Manon.</i> Many
tenors have performed<i> </i>Des Grieux’s two arias exquisitely but perhaps none
more so than Louis Cazette. In “En fermant les yeux (In shutting my eyes),”
also known as “Le Rêve (The Dream),” Des Grieux recounts that, while walking,
he had dreamt of the couple’s happy future together. Here Cazette unfurls his
exemplary <i>voix mixte</i>, often defined as an amalgam of the closed chest
voice and the open head voice. Tenors who conquer the technique deploy the <i>voix
mixte</i> to avoid the falsetto when singing softly in the upper register.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZGXF4yormAw" width="320" youtube-src-id="ZGXF4yormAw"></iframe></div><br /><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The second aria, “Ah ! fuyez, douce image (Ah ! begone
sweet vision)” makes challenging vocal demands on the singer. Betrayed by the
faithless Manon, Des Grieux is about to take his vows in the church of Saint
Sulpice. With top notes now marked forte, he prays that love be stricken from
his heart. Though primarily a lyric tenor, Cazette is undaunted by the
strenuous climax.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/e8yir8HiO4Y" width="320" youtube-src-id="e8yir8HiO4Y"></iframe></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Concert pianist and composer Enrico Toselli is remembered for his lilting
song, “Serenata,” a favorite of tenors and a congenial vehicle for Cazette.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/hHVp8LNrKfI" width="320" youtube-src-id="hHVp8LNrKfI"></iframe></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNoSpacing">Cazette’s eleven record sides, accessible on Youtube,
document a flourishing career brutally truncated first by war and then by misfortune.</p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoNormal"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<p class="MsoNormal"><span lang="FR" style="mso-ansi-language: FR; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<p></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com1tag:blogger.com,1999:blog-7211323416075256950.post-90827530165677463762022-08-26T09:42:00.005-07:002022-09-04T16:14:47.058-07:00Recovering the Forgotten Singer, 1: Florence Quartararo<p></p><p class="MsoNormal"><span style="mso-bookmark: _Hlk109291273;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></span></p>
<p class="MsoNormal"><span style="mso-bookmark: _Hlk109291273;"><i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Recovering the Forgotten Singer </span></i></span><span style="mso-bookmark: _Hlk109291273;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">is Operapost’s
new series devoted to those artists once much admired and now rarely recalled. Some
were stars in their time; others left their mark all too fleetingly. Their
recorded legacy calls on us to remember them here. </span></span><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">We begin with Florence Quartararo,
born in California in 1922.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5LEWLDMW8YSpAZ9wovO24VRda7HCTUSX7i9aVmRlQ5HSCOUjC9LUtpNk1U6WzXdIFCVwekxfYzxrXnFsiBOT7OWPte2Z7Fz6T7fBl6MhysMOrfINH7roEcnsmM3nAo3vql2GDrlF0CoFcMbqymgvGEkuhigtZ67SnUtceu3W99lqrIH_bLNYdAZN/s144/Quartararo%20image.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="144" data-original-width="117" height="144" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc5LEWLDMW8YSpAZ9wovO24VRda7HCTUSX7i9aVmRlQ5HSCOUjC9LUtpNk1U6WzXdIFCVwekxfYzxrXnFsiBOT7OWPte2Z7Fz6T7fBl6MhysMOrfINH7roEcnsmM3nAo3vql2GDrlF0CoFcMbqymgvGEkuhigtZ67SnUtceu3W99lqrIH_bLNYdAZN/s1600/Quartararo%20image.jpeg" width="117" /></a></span></div><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br />The young Quartararo’s first big break
came in 1945 when Bing Crosby invited her to appear on his Kraft Music Hall
radio program. It was, however, a classical venue, a concert conducted by the
renowned Otto Klemperer, that launched her career. A Metropolitan Opera administrator
who happened to be in the audience was impressed enough to arrange an audition
with Bruno Walter. Walter, in turn, recommended her to Met General Manager
Edward Johnson. </span><p></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">In January 1946, barely a year later, Quartararo
made her debut on Broadway and 39<sup>th</sup> Street. Arturo Toscanini sought
to engage her for his 1947 NBC broadcast of <i>Otello. </i>But the Met refused
to release her from an arduous rehearsal schedule. As a consequence, we have
not Quartararo’s recording of Desdemona but that of the uninspired Herva Nelli.
<span style="mso-spacerun: yes;"> </span></span></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The regard in which the soprano was
held by the era’s leading conductors ought to have been prelude to an important
career. Such was not the case. In four seasons with the company, the
Metropolitan cast her sparingly, that is in a meager thirty-four complete opera
performances, sometimes as replacement for an indisposed artist, or as one of
the anonymous <i>Parsifal</i> Flowermaidens. </span></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span style="font-family: arial;"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Quartararo’s debut as Micaela in <i>Carmen</i>
was relegated to a student performance. The reviewer dispatched by the <i>New
York</i> <i>Times </i>opined “s<code><span face=""Calibri",sans-serif" style="line-height: 107%; mso-ansi-font-size: 12.0pt; mso-ascii-theme-font: minor-latin; mso-bidi-font-size: 12.0pt; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">he
may be the find of the season... She has a voice of size, range and true lyric
quality.” Many of her subsequent notices were equally dithyrambic. On tour in
Chicago, her Contessa in <i>Le Nozze di Figaro </i>earned encomiums from the <i>Tribune’s
</i>famously exigent critic, Claudia Cassidy: “She sang superbly, with serenity
and simplicity and the security that comes from having a wealth of resources in
reserve. If that girl doesn't make opera sit up and take notice, I shall desist
consulting my crystal ball.” </span></code></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code></code></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">The Met did not “sit up and take notice.” It
could afford its indifference. Quartararo’s repertoire was covered by
established company stars Licia Albanese and Bidu Sayão in Verdi and Puccini,
Zinka Milanov and Stella Roman in the heavier Italian parts, and in the Mozart
roles, Eleanor Steber. </span></code></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code></code></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Fortunately, RCA Victor issued disks of arias
and duets that preserve Florence Quartararo’s artistry and sound. Most
cherished even today is her recording of “Care selve” from Handel’s <i>Atalanta.</i>
Prodigious intonation and breath control sustain the love song’s long legato
lines. </span></code></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></code></span></p><span style="font-family: arial;">
</span><p class="MsoNormal"><span style="font-family: arial;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></code></span></p><div class="separator" style="clear: both; text-align: center;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/850XrBPzooY" width="320" youtube-src-id="850XrBPzooY"></iframe></span></code></div><p></p><br /><p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">RCA, clearly interested in promoting Quartararo,
recorded “Tacea la notte” including its cabaletta, from Act I of <i>Il
Trovatore,</i> on a two-sided disk. In this aria Leonora recounts the thrill of
her tryst with Manrico, the troubadour. Quartararo delivers the late bel canto
phrases with lush tone and precision, and executes the cabaletta’s coloratura
embellishments with ease.</span></code></p>
<p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></code></p><div class="separator" style="clear: both; text-align: center;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/ZbryeaOIKog" width="320" youtube-src-id="ZbryeaOIKog"></iframe></span></code></div><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></code><br /><p></p><p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Quartararo recorded the Act I <i>Tosca </i>duet
with Ramón Vinay, another rising star of the mid-1940s. The tenor had just sung
the title role of <i>Otello</i> with the NBC symphony, conducted by Toscanini.
The <i>Tosca </i>excerpt was included in an anthology of great opera duets
later issued by RCA. Here, Quartararo who, alas, never sang the role at the
Met, captures the many moods of the Roman diva, her piety, jealousy,
seductiveness, and passion.</span></code></p>
<p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"></span></code></p><div class="separator" style="clear: both; text-align: center;"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/jdzsO8ruCq8" width="320" youtube-src-id="jdzsO8ruCq8"></iframe></span></code></div><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"><br /> </span></code><p></p><p class="MsoNormal"><code></code></p>
<p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">In Spring 1949, Florence Quartararo’s final appearance
at the Metropolitan Opera House was her one chance to sing “O mio babbino caro”
to Lauretta’s beloved daddy, Gianni Schicchi. That season’s Schicchi was the
company’s star bass, Italo Tajo; he was soon to be Quartararo’s husband. The
birth of a daughter put an end to her career. She later recalled, Tajo “</span></code><span style="font-size: 12pt; line-height: 107%;">believed one singer in the family is
enough.” </span><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;">Florence retired from the stage in 1953, at
the age of just thirty-one. Her recordings, including her Kraft Music Hall
arias and her Nedda in a complete Met performance of <i>Pagliacci,</i> can be
found on Youtube.</span></code></p>
<p class="MsoNormal"><code><span face=""Calibri",sans-serif" style="font-size: 12pt; line-height: 107%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></code></p>
<p class="MsoNormal" style="margin-left: 0in;"><code><span face=""Calibri",sans-serif" lang="IT" style="font-size: 12pt; line-height: 107%; mso-ansi-language: IT; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: Calibri; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></code></p>
<p></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-43223759414346491362022-01-31T21:00:00.004-08:002023-01-27T16:14:18.242-08:00Remembering Renata Tebaldi <p><b><span style="background: white; color: black; font-size: 12pt;">Note to those who receive
new posts via e-mail: You must click on the title of the new post, highlighted
above in blue, in order to access moving images and sound.</span></b></p><p><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><p><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">February 1, 2022 is the hundredth anniversary
of the birth of Renata Tebaldi, a revered interpreter of 19<sup>th</sup>-century
and early 20<sup>th</sup>-century Italian opera. We would not want the
moment to pass without marking the occasion on OperaPost.</span>
</p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Tebaldi was born in Pesaro, a city on Italy’s
Adriatic coast. At the age of seventeen she was encouraged to study voice
and made her debut in 1944 in the provincial opera house of Rovigo. Her
professional career began in earnest in post-War Italy when she was engaged for
leading roles in <i>La Bohème</i>, <i>Otello</i>, and <i>Andrea Chénier</i> by
the theaters of Parma, Trieste, and Bologna. In May 1946, she auditioned
for Arturo Toscanini who tapped her for the prestigious inaugural concert of
the reconstructed La Scala, Milan’s opera house devastated during the
war. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Tebaldi’s career securely launched,
she appeared on Italy's major lyric stages alongside the country’s leading
artists. London and San Francisco audiences heard her in 1950. The legendary rivalry
with Maria Callas, hyped by the media, began in 1951 when they were together on
tour in South America. By the late 1950s, when both had become stars in the United
States, the dueling sopranos were pictured separately on covers of <i>Time</i>,
attesting to the extraordinary publicity their ostensible feud had garnered.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">In 1955, Tebaldi made an unforgettable
Met debut as Desdemona in Verdi’s <i>Otello</i>. From then on, New York would
be her operatic home, in effect leaving the Milanese field to Callas. Renata
Tebaldi’s name promised a sold-out house. But it was not only the voice that
captured the public. The soprano’s warmth radiated across the footlights to
endear her to Met audiences. She charmed her passionate fans for nearly two
decades. In 1973, she said farewell as Desdemona, her debut role. For two years
thereafter she was active as a recitalist. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">We begin with one of Tebaldi’s first commercial
recordings, made in Geneva by Decca/London in November 1949. The amalgam of the
strong and the sweet, uniquely hers, is already on full display. She sings “In
quelle trine morbide (In those soft lace curtains)” from Act II of
Puccini’s <i>Manon Lescaut. </i>The soprano’s sustained legato and
doleful tone carry Manon’s regret as she compares the luxurious abode of her elderly
sugar-daddy to the humble room she had shared with her young lover. The
conductor is Alberto Erede.</span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/n4TR-M57TYE" width="320" youtube-src-id="n4TR-M57TYE"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /></span><p></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">In 1958, at the height of her fame, and at the powers Tebaldi sang <i>La Forza del destino </i>in Naples. In this clip ( "Pace, pace" from the complete performance, available on YouTube) the soprano meets with astonishing, and perhaps unparalled authority the wide
emotional, technical, and dynamic challenges Verdi set for the soprano. </span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/HpZD5iLlA10" width="320" youtube-src-id="HpZD5iLlA10"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The release of the 1952 album of <i>Madama
Butterfly</i>,<i> </i>one of her first complete opera recordings, was
instrumental in promoting Tebaldi’s celebrity. During the initial period of copious
release of complete operas on long-playing records, she was the prima donna
assoluta of Decca/London. Tebaldi’s onstage presence is discernable in this
clip drawn from an installment of the regularly televised Bell Telephone Hour
(1959). We see her in the opera’s final scene. Before taking her own life, the tragic
figure bids farewell to her young son.</span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Lrm3jSrJwCE" width="320" youtube-src-id="Lrm3jSrJwCE"></iframe></div><br /><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /></span><p></p>
<p class="MsoNormal" style="mso-line-height-alt: 11.75pt;"><span style="font-size: 14pt; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">On the opera stage in Italy and elsewhere
Tebaldi never once sang other than in Italian, whether the text was originally in
Italian or not--as was the practice in Italy until the late 1950s. In the
United States, that meant that she performed only the Italian repertoire. Her
Marguerite (Gounod, <i>Faust</i>), Elisabeth, Elsa, and Eva (Wagner, <i>Tannhäuser,
Lohengrin, Die Mesitersinger</i>), and Tatiana (Tchaikovsky, <i>Eugene Onegin</i>),
roles she sang early in her career in Italian for Italian audiences, of course,
are very much worth your search on YouTube.</span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-76456526351327876442022-01-01T12:39:00.003-08:002022-01-02T07:42:41.373-08:00The Met and the Color Line, 2: Marian Anderson<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;">P<span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">lease note: This post is
excerpted from Chapter Seven of our book, <i>Grand Opera: The Story of the Met </i>(University
of California Press, 2014). In that chapter, we trace the tortured responses of
Met management to probing questions concerning the engagement of Black singers
from 1927 to 1955.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">It was Marian Anderson who
breached the Met’s color line at her historic debut on January 7, 1955. The
proposal that Anderson be the first African American to sing a principal role
at the Met had issued from diverse quarters for at least ten years. Before his
death in 1940, Paul Cravath, the Board chair, had pressed the suggestion on
General Manager Edward Johnson. At that point, Anderson, born in 1897, was
forty-three years old. The matter was taken up in 1944 by E. B. Ray of the
Afro-American Newspapers, who inquired bluntly “whether or not the Metropolitan
Opera Company has a written or unwritten law barring colored artists?” Johnson’s
assistant, Edward Ziegler, came up with a feeble dodge. Three years later, he
once again equivocated: “Only recently have Negro artists shown interest in
operatic singing and there is no doubt that eventually one will emerge who is
outstanding in the field of opera alone.” By this time, Anderson was fifty. Newly
named General Manager Rudolf Bing’s initial reaction to those promoting
Anderson varied little from that of Johnson/Ziegler: “Nobody can admire Marian
Anderson more than I do, but I am unaware that she has any operatic experience
and it is indeed difficult for a concert singer even of Miss Anderson’s high
level just to step onto an opera stage.”</span></p>
<p class="MsoNormal" style="line-height: 111%; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">What finally convinced Bing? It was no doubt in large part the
pressure of the times: 1954 was the year of Brown vs. Board of Education, 1955
the year that Rosa Parks refused to relinquish her seat on a Montgomery,
Alabama bus. And Anderson was unquestionably the most renowned and, by many,the
most beloved of all African American artists. It was also the scheduled revival
of <i>Un Ballo in maschera,</i> absent from the Met since 1947, and the
“suitable” role of Ulrica, the fortune teller. (In Verdi’s original version set
in colonial Boston, Ulrica is an “indovina di razza nera” [fortune-teller of
black race]). Crucial also, given the contralto’s by then nearly fifty-eight
years, was the fact that Ulrica appears in only one scene and in that scene she
is the dominant, mostly static figure. </span></p>
<p class="MsoNormal" style="line-height: 111%; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">As Anderson recounts it, on running into her at a party in
September 1954, Bing asked her to join the Met that Spring. She was rightly
apprehensive; the role’s high tessitura presented difficulties so late in her
career. Although the audition for Dimitri Mitropoulos did not go well (as she
said, she had had to “squeeze out” the notes above the staff), the conductor
assented. Bing lost no time in calling Sol Hurok, her agent, to close the
deal—long in coming and now apparently urgent. Her fee of $1,000 per
performance was at the top of the Met scale.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">To
add to the drama of the occasion, the orchestral introduction to Act 1, Scene 2
of <i>Un Ballo in maschera</i> that Friday evening had to be interrupted when
the curtain failed to rise on cue. Mitropoulos reprised the music, the curtain
finally rose, and the ovation was such that the famously composed Anderson was
visibly unsettled. Reviews were respectful, acutely aware of the immense
emotional charge of the moment. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Marian
Anderson’s exceptional interpretive powers lay outside the realm of opera. She had
had invitations to perform from European companies in the 1930s; she declined
them all. Even in her prime, as we know from her recordings, she lacked the
affinity for the operatic canon she demonstrated so remarkably for oratorio,
lieder, and spirituals. We have chosen an example drawn from her rich repertoire
in each of these genres to illustrate the artistry of Marian Anderson, a consummate
concert singer.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Anderson
regularly programmed sacred music in her solo recitals and engagements with
orchestra. Here is an early recording of “He Shall Feed His Flock” from
Handel’s <i>Messiah</i>. The quality of the sound of the instrumental accompaniment
is poor. The voice emerges, nevertheless, with its wonted velvet timbre,
evenness of emission, ease throughout the range. Who can fail to be moved by Anderson’s
reverential delivery of the text?</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/TIRVHzo0uE4" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span class="style-scope">The
Philadelphia-born singer doubtless owed her comfort with lieder to the extended
periods she spent in Germany and Austria, from the late 1920s until the
outbreak of World War II. Anderson renders the drama of Schubert’s “Der Tod und
das Mädchen (Death and the Maiden),” first calling upon her light upper
register as the girl begs to still the hand of Death, then descending to the
lowest notes of the contralto range as Death invites her into a gentle embrace.
In this 1951 recording she is accompanied by Franz Rupp. <br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YDMdNXut8Yc" width="320" youtube-src-id="YDMdNXut8Yc"></iframe></div><br /><span class="style-scope"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span class="style-scope"> The public knew Anderson best for
the spirituals that she reserved for the final grouping of her recitals. Here, accompanied
by Rupp again in 1951, she sings “Sometimes I Feel like a Motherless Child.” Her
deeply felt phrasing is overwhelming.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span class="style-scope"> </span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/kzBobLbK2Uc" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">OperaPost
ends 2021 with Beethoven’s arrangement of “Auld Lang Syne,” sung by Dame </span><span class="style-scope">Felicity Lott (soprano); John Mark Ainsley (tenor); Sir
Thomas Allen (baritone)</span><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">.
Happy New Year to all.</span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/r9V1XmXye2w" width="320" youtube-src-id="r9V1XmXye2w"></iframe></span></div><span style="color: #181717; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /> </span><p></p><br /><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in; tab-stops: 239.4pt;"><span lang="IT" style="color: #181717; mso-ansi-language: IT; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"><br /></span><span lang="IT" style="mso-ansi-language: IT; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-21957962482104675482021-11-19T14:48:00.002-08:002021-11-20T13:45:27.704-08:00 The Met and the Color Line: Dorothy Maynor<span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span>
<p class="MsoNormal" style="line-height: 11.75pt; margin-bottom: 8pt;"><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"> </span></p><p class="MsoNormal"></p><p class="MsoNormal" style="line-height: 11.75pt; margin-bottom: 8pt;"><span style="font-family: arial;">During
the long Covid months of closure, the Metropolitan Opera, in step with so many
other American cultural organizations, announced the measures it would take in
response to the reckoning that followed the death of George Floyd at the hands
of the police. For one, the Met named its first Chief Diversity
Officer. The company announced, too, that it would initiate racial justice
training so as to provide staff with “cultural context” in working with cast
members of color.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.75pt; margin-bottom: 8pt;"><span style="font-family: arial;">But
the conspicuous public relations impact of the Met’s response to the wide reach
of Black Lives Matter and to the criticism of opera companies by Black
artists was achieved through the rescheduling of <i>Fire Shut Up in
My Bones</i> as the opening bill for the reopening of the Met after the
lost season of 2020-2021. Terence Blanchard’s opera had originally been on the
docket not for this year but for a future season. (For commentary of Black
singers on racial bias in opera see the online talk shows hosted by Lawrence
Brownlee, “The Sitdown with LB,” Karen Slack “Kiki Konversations,”and the J’Nai
Bridges panel discussion.) <span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;">In
this post, we introduce those of our readers who have not yet heard her to one
of the extraordinary African-American singers of the past who appeared neither
at the Met nor, in fact, on any operatic stage. Such was the case for
Dorothy Maynor. The closest she came to the company was her appointment to
the Metropolitan Board in 1975. As of July 2020, forty-five years later, only
three of the forty-five managing directors on the Met board were Black.
As of that same date, only one of the ten members of the music staff and two of
the ninety-six members of the orchestra were Black.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;">Dorothy
Maynor (1910-1996) was born in Norfolk, Virginia, the daughter of a
Methodist minister. She graduated from Virginia’s then Hampton Institute,
and then from the Westminster Choir College, Princeton, New Jersey, where she
earned a master’s degree in choral conducting. She then moved to New York
to study voice privately. Her big break came in 1939 at the Berkshire
Music Festival in Tanglewood. There, friends persuaded a reluctant Serge
Koussevitsky, conductor of the resident Boston Symphony Orchestra, to grant
Maynor an audition--upon which he proclaimed her “A musical revelation! The
world must hear her!” Koussevitsky lost no time in arranging that she sing with
his orchestra. In this, her first engagement as soloist with a major
symphony orchestra, she chose a program that demonstrated undisputedly that
hers was the voice of an opera singer, that she had mastered a wide repertoire
and disparate styles: the Baroque “O, Sleep, Why Dost Thou Leave Me”
(Handel, <i>Semele</i>), the Classical “Non mi dir” (Mozart, <i>Don
Giovanni</i>), the late-Romantic “Depuis le jour” (Charpentier, <i>Louise),</i> and
even Brünnhilde’s heroic battle-cry, “Ho-jo-to-ho” (Wagner, <i>Die Walküre</i>). <i>New
York Times </i>critic Noel Straus heaped praise on Maynor for her timbre,
technique, flexibility, musicality, and interpretation.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;">In
1940, the soprano captured the attention of the record-buying public with her
soaring rendition of Louise’s passionate evocation of falling in love. “Depuis
le jour” became one of Maynor’s signature pieces. Here she is in that stunning
recording; the Philadelphia Orchestra is led by Eugene Ormandy.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/QxYn6GBIcZM" width="320" youtube-src-id="QxYn6GBIcZM"></iframe></div><br /><span style="font-family: arial;"><br /><span style="font-size: 12pt;"></span></span><p></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;">Maynor
made her Town Hall debut to a sold-out house and critical raves in November
1939. She was on her way to concert appearances with America’s most prestigious
orchestras. In February 1940, she won the Naumberg Prize for recitalists, under
30, who had given the outstanding performance of the year at Town Hall. In
December 1940, she became the first Black singer to be heard in the
auditorium of the Library of Congress.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;"><span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.75pt; margin-bottom: 8pt;"><span style="font-family: arial;">Louise’s
ecstasy could not be more distant from the outpourings of Leonora in <i>La
Forza del destino</i>. Maynor rises to the emphatic outbursts of Verdi’s
beleaguered heroine, strong throughout the range, generous with tone and
emotion, leaving no doubt of her ability to meet the challenges the composer
set for the dramatic soprano. This is a live recording from a 1950 concert; the
San Francisco Symphony is conducted by Pierre Monteux.<span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 19.1pt; margin-left: 0in; margin-right: 0in; margin-top: 2pt; mso-margin-bottom-alt: auto;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/oaH7UDkkRLg" width="320" youtube-src-id="oaH7UDkkRLg"></iframe></div><br /><span style="font-family: arial;"><span style="font-size: 12pt;"></span></span><p></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: normal; margin-left: 0in; margin-right: 0in; margin-top: 2pt; mso-margin-bottom-alt: auto;"><span style="font-family: arial;"><span style="color: #222222;">At the same San
Francisco concert, Maynor sang, in English translation, the “Song to the Moon”
from Dvořák’s <i>Rusalka. </i>Again, she applies her ravishing timbre
to the aria’s radical shifts of register with the refulgent tone, depth of
feeling, and the musical rectitude that distinguish her.</span><span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 19.1pt; margin-left: 0in; margin-right: 0in; margin-top: 2pt; mso-margin-bottom-alt: auto;"><span style="font-family: arial;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/kLj0lvz0UGg" width="320" youtube-src-id="kLj0lvz0UGg"></iframe></div><br /><span style="color: #222222;"></span><span style="color: #2f5496; font-size: 13pt;"></span><span style="font-size: 12pt;"></span><p></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;"><span style="color: #222222;">Dorothy Maynor pursued a full and successful concert career
until her retirement in 1963. In that same year, </span>she
founded the Harlem School of the Arts where she taught and was Executive
Director until 1979. <span style="font-size: 12pt;"></span></span></p><span style="font-family: arial;">
</span><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><span style="font-family: arial;"><span style="color: #222222;">There is no doubt that hers was one of the foremost operatic
voices of her generation. She regularly programmed arias in her recitals and
her engagements with orchestras, adding demanding excerpts by Spontini and
Weber to the familiar selections from Handel, Mozart, and Verdi. The color line
barred from the opera stage what would have been Maynor’s exceptional Pamina,
Donna Anna, Leonora, and so many other leading roles.</span></span></p>
<p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8pt;"><i><span style="color: #222222; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><br /></span></i><span style="font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-20139321721739596162021-09-26T09:15:00.014-07:002023-02-19T09:15:52.948-08:00The Met Reopens: Terence Blanchard’s Fire Shut Up in My Bones<p><!--[if gte mso 9]><xml>
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<p class="MsoNormal" style="line-height: 115%;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">On
September 27, the Metropolitan will open its 2021-2022 season with a company
premiere, Terence Oliver Blanchard’s <i>Fire Shut Up in My bones,</i> its Music
Director, Yannick Nézet-Séguin conducting. The event has sparked intense
interest and much excitement. The gala evening will mark the first operatic
performance on the Met stage since the theater went dark on March 11, 2020 just
as COVID began to crush New York City. Anticipation of the suspenseful
reopening has been heightened by the rush of articles and interviews that have
poised operaphiles and many new to the genre to receive the first opera
composed by a Black artist in the nearly 140-year history of the Metropolitan.
James Robinson and Camille A. Brown are the co-directors of this production.
Brown and Kasi Lemmons make history as well as the first Black director and
librettist to be engaged for the Met’s mainstage. </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><i><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Fire Shut
Up in My </span></i><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Bones, Blanchard’s second opera (his
first was <i>Champion </i>[2013]) had its world premiere at Opera Theatre of Saint
Louis in 2019. This restaging is a co-production of the Met, the Los
Angeles Opera, and Lyric Opera of Chicago. </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><p class="MsoNormal" style="line-height: 115%; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Librettist,
actress, and film director Lemmons (her most recent movie is <i>Harriet</i>
[2019], the life of Harriet Tubman) has provided a strong dramatic structure
for journalist and opinion writer Charles Blow’s coming-of-age memoir. The
protagonist is enacted by two characters, the adult Charles and his
seven-year-old self, Char’es-Baby. The narrative is framed by the episode in
which the twenty-year-old Charles is driving back to his home in rural
Louisiana after a long absence, hell-bent on murdering Chester, his mother’s
cousin, who had abused him when he was but a boy. The story unfolds in
flashbacks, in scenes of his mother and her fellow chicken-pluckers at work, of
the impending rape, of his religious awakening, and of his escape from the confines
of the rural South thanks to a college scholarship. Disillusioned in love, Charles
telephones his mother and learns that Chester has returned. The opera ends as
it begins, Charles in his car, a gun by his side, ultimately convinced by his
younger self to abandon thoughts of vengeance and to look ahead instead to his
own future. The title, <i>Fire Shut Up in My Bones, </i>is borrowed from the
prophet Jeremiah who vowed not to speak God’s name although “the 'Word' was in my
heart as a burning fire shut up in my bones which wanted vent.” Blow’s memoir,
a bildungsroman of sorts, is the "word" that wanted venting.</span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Blanchard’s score is indebted to his
success as a jazz trumpeter and as a composer of music for the screen. A jazz
quartet will partner with the Met orchestra on an eclectic musical commentary
inflected by gospel, R&B, big-band, and classical instrumentations. We conclude
this post with an excerpt from <i>Fire Shut Up in My Bones</i>. Baritone Justin Austin sings Charles’s
arioso, “Peculiar Grace.” </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_GwuJNweDSU" width="320" youtube-src-id="_GwuJNweDSU"></iframe></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Will Liverman is the Met’s adult Charles.
Sopranos Angel Blue and Latonia Moore assume the principal female roles. The
opening night performance will be heard on the Met’s audio website and on Sirius/XM. The October 23 performance will be seen in the Live in HD series </span><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">and
will be retransmitted as part of the regular Saturday afternoon radio broadcasts on
January 8.</span> </span></p>
<p class="css-axufdj" style="line-height: 115%;"><span face=""Calibri",sans-serif" style="font-size: 11pt; line-height: 115%; mso-ascii-theme-font: minor-latin; mso-bidi-theme-font: minor-latin; mso-hansi-theme-font: minor-latin;"> </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span><br /></p><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-69702644155823913342021-08-24T12:39:00.001-07:002021-11-19T14:39:29.051-08:00The Lost Season, April-May 2021: Il Pirata<p class="MsoNormal"><b><span style="background: white none repeat scroll 0% 0%; color: black;">Note to those who receive new posts v</span></b><b>ia
e-mail: You must click on the title of the new post, highlighted above in blue,
in order to access moving images and sound.</b></p><p></p>
<p class="MsoNormal">In the final two months of the lost season, April and May
2021, audiences were deprived of the company premiere of Jake Heggie’s <i>Dead
Man Walking </i>starring Joyce DiDonato, Susan Graham, Etienne Dupuis, and
Latonia Moore, and three important revivals: Richard Strauss’s <i>Die Frau ohne
Schatten</i> with Nina Stemme, Elza van den Heever, Michael Volle, and Klaus
Florian Vogt; Benjamin Britten’s <i>Billy Budd </i>with Matthew Polenzani and
Joshua Hopkins; and Vincenzo Bellini’s <i>Il Pirata, </i>with Diana Damrau,
Javier Camarena, and Christopher Maltman. For the present post we have chosen
to focus on Bellini’s opera, not heard at the Met since 2002-2003.</p>
<p class="MsoNormal"><i>Il Pirata </i>had its highly successful world premiere at
Milan’s La Scala in 1827, launching Bellini’s career as a major composer for
the lyric stage. Neglected in the early 20<sup>th</sup> century, <i>Il Pirata </i>found
a champion in Maria Callas who first sang Imogene at La Scala in 1958, then in
a New York concert performance in 1959, now available on CD. Imogene became a
congenial role for sopranos, notable among these Montserrat Caballé and Renée
Fleming, with the range and the bel canto technique to meet its virtuosic
demands. The Met’s first <i>Pirata</i> was mounted for Fleming in 2002; Marcello
Giordani was Gualtiero, the pirate, and Dwayne Croft, the husband. Had Covid not
intervened, the 2021 revival would have featured Diana Damrau, Javier Camarena,
and Christopher Maltman.</p>
<p class="MsoNormal"></p>
<p class="MsoNormal">We learn from the back story that, years before,<i> </i>Gualtiero
and Imogene had been in love. Against her will, Imogene had been forced to marry
Ernesto, Duke of Caldora. Thereupon, Gualtiero, the Duke’s rival, took to
piracy. The opera reunites the three protagonists, the distraught wife, the jealous
husband, the disconsolate lover. <br /></p>
<p class="MsoNormal">We have chosen two excerpts that feature Maria Callas. The
first is drawn from the Act II duet, “<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-hansi-font-family: Calibri;">Tu mi apristi in
cor ferita (You opened my wounded heart).”</span> The furious Ernesto exacts
from his wife the confession that she had, indeed, loved Gualtiero who, at this
point, was falsely reported drowned. At the same time, Imogene rejects the
accusation that she had been unfaithful to her husband. Constantino Ego is the
baritone in this live 1959 Carnegie Hall performance. <br /></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/bchIeeV07Kg" width="320" youtube-src-id="bchIeeV07Kg"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal">Imogene’s mad scene is the opera’s conclusion. Delirious,
she has a vision of her husband, now dead, together with their son. She is
shocked by a fanfare announcing Gualtiero’s death sentence. Her frenzy grows as
she imagines the scaffold being readied for his hanging. This excerpt is drawn
from a 1959 concert in Hamburg. We are privileged to hear Callas’s masterful fusion
of Imogene’s state of mind with Bellini’s elegant phrases while we see her face
and hands convey the depth of the character’s anguish. <br /></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4VdQPthU014" width="320" youtube-src-id="4VdQPthU014"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal">Post script: During the florid cabaletta of the final scene Imogene
repeats the phrase “Il palco funesto (the fatal scaffold).” The word “palco”
has a very different meaning in the context of the theater where it signifies a
box. At the 1958 La Scala revival of <i>Il Pirata, </i>Callas, who was feuding
with Antonio Ghiringhelli, the company’s intendant, pointed at Ghiringhelli’s
box as she hurled the words “palco funesto” in his direction.</p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"><br /></p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"> </p>
<p class="MsoNormal"> </p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-13720404921147733052021-08-02T10:27:00.001-07:002021-08-02T10:27:48.422-07:00The Lost Season, March 2021: Nabucco<p><b><span style="background: white none repeat scroll 0% 0%; color: black;">Note to those who receive new posts via
e-mail: You must click on the title of the new post, highlighted above in blue,
in order to access moving images and sound.</span></b></p><p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Unrelated to the
pandemic, in fact more than a year before the rush to closure, the Met
announced that its stage would be dark during all of February 2021. The
winter month had proven to be particularly slow. In compensation, the
season would be extended into June 2021. Covid rendered the matter moot
for the moment. Plans for 2021-2022 adhere to the revised calendar. </span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Despite the
shutdown, the Met was again in the news in March 2021. The death of James
Levine in Palm Springs on March 9 at the age of 77 was widely reported eight
days later. The cause was pronounced to have been cardiopulmonary arrest
with Parkinson’s Disease as a contributing factor. The many obituaries and
articles surrounding Levine’s life and the long-brewing scandal that ended his
illustrious forty-six-year career as the Met’s conductor, music and
artistic director tell the story of the rise and fall of one of the most
powerful and influential actors in the history of the company.</span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">The orchestra Levine developed into one of the
world’s most admired instrumental ensembles over his decades on 39<sup>th</sup>
Street and at Lincoln Center was, it too, in the news in March. Met musicians
had been furloughed without pay since the previous April. A day after word of
Levine’s death reached the readers of the <i>New York Times</i>, the musicians’
union agreed to come to the bargaining table in exchange for partial pay for
its members for eight weeks while negotiations were in progress. That
management would be demanding permanent cuts in orchestra salaries to help
off-set the $150 million loss in earned revenue incurred since the start of the
lock-down was made explicit at the outset. The offer had been on the table
since December. The Met chorus had accepted a similar deal in February. In
fact, the Met orchestra was the last of U.S. major ensembles to consent,
however reluctantly, to partial pay. The cost to the orchestra had been high.
Ten of its ninety-seven members had opted to retire during the pandemic, in stunning
contrast to the two or three who would make their exit in a typical year. Many
had felt obliged to leave New York City for less expensive communities near and
far. A few had sold their instruments in order to pay their bills while on
unemployment. </span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%;">The cancellations in March 2021
included<i> </i>a new production of <i>Don Giovanni </i>(Peter Mattei, Gerard
Finley, Ailyn Pérez, Isabel Leonard), and revivals of <i>Giulio Cesare </i>(Iestyn
Davies, <strong><span style="font-family: "Calibri",sans-serif; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">Kristina Mkhitaryan</span></strong>),
<i>Lulu </i>(Brenda Rae), <i>Rusalka </i>(Sonya Yoncheva, Piotr Beczala), and <i>Nabucco
</i>(<strong><span style="font-family: "Calibri",sans-serif; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;">George Gagnidze, Anna
Netrebko). We have chosen to highlight <i>Nabucco</i>, not heard at the Met
since 2017.</span></strong></p>
<p class="MsoNormal" style="line-height: 115%;"><strong><span style="font-family: "Calibri",sans-serif; font-weight: normal; mso-ascii-theme-font: minor-latin; mso-bidi-font-family: Arial; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-latin;"></span></strong></p>
<p class="MsoNormal" style="line-height: 115%; tab-stops: 27.0pt;">Verdi himself
dated his extraordinary trajectory as a composer not from his first opera but
from his third, <i>Nabucco, </i>premiered in 1842 at La Scala. The title
entered the Met repertoire relatively late, opening night 1960. General Manager
Rudolf Bing’s predilection for Verdi had already accounted for the important
revivals of the long-neglected <i>Don Carlo </i>in 1950 and<i> Ernani</i> in
1956, and the company premiere of <i>Macbeth </i>in 1959<i>. </i>This string of
successes was interrupted by the tepid reception that befell <i>Nabucco. </i>The
work failed to survive its first season. Four decades later, in 2001, with a
spectacular scenic investiture and a competent array of principal singers,
reviewers and public finally embraced Verdi’s early work;<i> </i>the projected
2021 revival would have been its sixth.</p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">Under the stewardship of James
Levine, whose Met career began towards the end of the Bing era, the company
remained strongly committed to Verdi. Levine was on the podium for seventeen of
the composer’s operas including the house premieres of three rarities, <i>I
Lombardi, Stiffelio, </i>and <i>I Vespri Siciliani. </i>And it was Levine who
led <i>Nabucco’</i>s popular new production in 2001. Here he conducts the
orchestra and chorus in the beloved anthem “Va', pensiero, sull'ali dorate (Go,
thoughts, on golden wings).” The Israelites, slaves in Babylon, mourn their
lost homeland. </p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/2VejTwFjwVI" width="320" youtube-src-id="2VejTwFjwVI"></iframe></div><br /><p class="MsoNormal" style="line-height: 115%;"><br /></p>
<p class="MsoNormal" style="line-height: 115%; tab-stops: 27.0pt;">On learning that
she was born a slave and not, as she had thought, the daughter of Nabucco, the
king of Babylon, Abigaille vents her rage in the recitative of her Act II
extended aria. In the lyrical section, “Anch'io dischiuso un giorno (I too once
opened my heart),” she confesses her love for Ismaele, a Jewish nobleman enamored
of Nabucco’s true daughter, Fenena. Finally, in the vehement cabaletta,
"Salgo già del trono aurato (I already ascend the golden throne),"
Abigaille’s anger once again erupts as she claims the crown of Babylon. In this
concert performance, Julia Varady fearlessly navigates the extreme upper and
lower ends of the soprano range and spins out the intervening legato phrases.</p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/mSByUYuSSO0" width="320" youtube-src-id="mSByUYuSSO0"></iframe></div><br /><p class="MsoNormal" style="line-height: 115%;"><br /></p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">The ensemble that closes Act II of <i>Nabucco</i>,
“S'appressan gl'istanti d’un ira fatale (The moment of direst wrath is fast
approaching),” is among the most thrilling of the opera’s many concerted
pieces. Presumed dead, Nabucco returns to reclaim his crown from Abigaille and
to order the death of the Israelites. In this clip, drawn from a 1981 Verona
performance, the principals are headed by Renato Bruson and Ghena Dimitrova. The
Roman Arena is a fitting frame for this Biblical spectacle.</p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/XQVg6mtGmk4" width="320" youtube-src-id="XQVg6mtGmk4"></iframe></div><br /><p class="MsoNormal" style="line-height: 115%;"><br /></p>
<p class="MsoNormal" style="line-height: 115%;"> </p>
<p class="MsoNormal" style="line-height: 115%;"><span lang="IT" style="mso-ansi-language: IT;"><br /></span></p>
<p><b><span style="background: white none repeat scroll 0% 0%; color: black;"> </span></b></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-6388233183587890762021-07-21T10:01:00.005-07:002023-08-02T16:24:21.742-07:00The Lost Season, December 2020-January 2021: Die Zauberflöte<i><!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="35" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
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</i><p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><b><span style="background: white; color: black;">Note to those who receive new posts via
e-mail: You must click on the title of the new post, highlighted above in blue,
in order to access moving images and sound.</span></b><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%; margin-left: 0in;"><i><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></i>New Year’s Eve 2020
promised a gala audience the first night of a new production of <i>Die
Zauberflöte</i> and a celebrated conductor in just his second engagement at the
Met. The very popular Mozart opera was not to be the abridged English-language
version typically offered during the holiday season but the full-length version
in German. The director, making his Met debut, was to be Simon McBurney
whose staging had premiered in Amsterdam. And the conductor, perhaps today’s
most renowned maestro, Gustavo Dudamel, the music and artistic director of the
Los Angeles Philharmonic, and lately announced also as the next music director
of the Paris Opéra. The New Year’s patrons would have enjoyed a
particularly good view of “The Dude,” as McBurney’s design called for a raised
pit.<span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span>Although <i>Die Zauberflöte</i>
stands high in the list of operas most often performed in the Met’s history—20<sup>th</sup>
in rank, just after <i>Tristan und Isolde—</i>the company presented this title
only sporadically between 1900 and 1942 when, foregrounding the appeal to a
young audience and long sections of spoken dialogue, the text was given in
English as <i>The Magic Flute. </i>Conductor Bruno Walter lent his prestige and
his affinity for Mozart to the project. The fairy tale opera has maintained its
place in the Met’s core repertoire since then. Walter led the next new
production in 1956. The original German text, not heard since 1926, returned
with the highly acclaimed Marc Chagall décor first seen in the opening season
at Lincoln Center, 1966-67, conducted by Josef Krips. General manager Joseph
Volpe cancelled the production announced for 1991, pleading insufficient time
for preparation and borrowed instead David Hockney’s sets commissioned by San
Francisco. Audiences and critics adored Julie Taymor’s puppets and masks and
George Tsypin’s kinetic, fantastic world in 2004.</p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">The first <i>Zauberflöte</i>
excerpt in this post is drawn from a 1966 Berlin concert performance. The Tamino,
Fritz Wunderlich, died in a tragic accident just weeks before his scheduled Met
debut that very year. His technical and stylistic perfection, along with an
exceptionally beautiful timbre, positioned Wunderlich as the foremost Mozart
tenor of the post-war generation. In the aria, “Dies Bildnis ist bezaubernd
schön (This Image Is Enchantingly Lovely),” Tamino falls in love with Pamina
while gazing at her portrait.</p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/veeW_hXKLvA" width="320" youtube-src-id="veeW_hXKLvA"></iframe></div><br /><p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">In Act II, the evil Queen of the
Night beseeches her daughter, Pamina, to murder the virtuous high priest, Sarastro,
who presides over a peaceful brotherhood of worshippers. Her daunting aria,
“Der Hölle Rache (Hell’s Vengeance),” demands the agility and extended high
range of the coloratura soprano (four F’s above high C) and the power of a
dramatic soprano. Cristina Deutekom, in a 1971 TV movie, exhibits that rare
combination.</p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YQpTGKXAxqA" width="320" youtube-src-id="YQpTGKXAxqA"></iframe></div><br /><p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">Sarastro voices his benevolence in a
serene hymn to his temple, “O Isis und Osiris (O Isis and Osiris).” The customary province of the deep bass, the basso profundo, René Pape’s
more lyric basso cantante executes the long phrases in an unbroken stream of
sound. This 2006 recording is conducted by Claudio Abbado.</p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9p8VYHKzAMQ" width="320" youtube-src-id="9p8VYHKzAMQ"></iframe></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;"></p>
<p class="MsoNormal" style="line-height: 115%;">The despairing Pamina, believing
that Tamino no longer loves her, contemplates suicide in the doleful “<span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Ach, ich fühl's (Ah, I can feel it).” Here, in
a performance from the 1956 Salzburg festival, Elisabeth Grümmer, a
Mozart-Strauss specialist who sang all too rarely in the United States, spins
out the aria in a seamless legato that plumbs the character’s infinite sadness.</span></p>
<p class="MsoNormal" style="line-height: 115%;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p><p class="MsoNormal" style="line-height: 115%;"><br /></p>
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table.MsoNormalTable
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mso-style-noshow:yes;
mso-style-priority:99;
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mso-pagination:widow-orphan;
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mso-ascii-font-family:Calibri;
mso-ascii-theme-font:minor-latin;
mso-hansi-font-family:Calibri;
mso-hansi-theme-font:minor-latin;
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<![endif]--><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/VBv9Y_whSUA" width="320" youtube-src-id="VBv9Y_whSUA"></iframe></div><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-24474303784332718152021-07-01T10:14:00.001-07:002022-01-30T14:54:17.963-08:00The Lost Season, October-November 2020, Role Debuts: J’Nai Bridges, Russell Thomas, Christine Goerke, Lise Davidsen<p class="MsoNormal" style="line-height: normal; margin-left: 0in;"><b><span style="background: white; color: black; font-size: 12.0pt;">Note to those who receive
new posts via e-mail: You must click on the title of the new post, highlighted
above in blue, in order to access moving images and sound.</span></b><span style="font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;">The
cancellation of the 2020-2021 season deprived audiences of the conducting debut
of Speranza Scappucci. Had the opportunity to conduct <i>La Traviata </i>not fallen
to the wayside on account of the virus, she<i> </i>would have added her name to
the handful of women who have led the Met orchestra in its nearly 140-year
history. The public was also denied the long overdue company premiere of <i>The
Fiery Angel.</i> Prokofiev’s opera had been slated to enter the repertoire at
long last, in a production directed by Barrie Kosky. (It had been performed
under the title <i>The Flaming Angel </i>by the New York City Opera in 1965.) </span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;">Four
singers were to have made house role debuts in 2020-2021: J’Nai Bridges,
Christine Goerke, Russell Thomas, and Lise Davidsen.<i> </i>We hear them in
this post in parts they had been scheduled to sung in productions of <i>Carmen,
Tristan und Isolde, Il Trovatore, and Fidelio</i>. </span></p>
<p class="MsoNormal" style="line-height: normal;"><i><span style="font-size: 12.0pt;"></span></i><span style="font-size: 12.0pt;">Mezzo
J’Nai Bridges was the anticipated Carmen. She had made a successful 2019 Met
debut as Nefertiti in Philip Glass’s <i>Akhnaten, </i>a role she had sung in
Los Angeles in 2016<i>. </i>Days before the Kennedy Center went dark,
Washington Opera heard her first Dalila. Here, in a clip from her 2019 San
Francisco performance in Bizet’s <i>Carmen</i>, Bridges sings the alluring
“Habanera.” </span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: normal;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Dw0NJBxrb9M" width="320" youtube-src-id="Dw0NJBxrb9M"></iframe></div><br /><span style="font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;">Two
years after her 1995 debut in a minor role, and following several extended absences
from the Met, dramatic soprano Christine Goerke came back in 2013 a star, acclaimed
for her Elektra, Brünnhilde, and Turandot. She will be heard as Puccini’s
heroine in New York in Fall 2021. Her first Lincoln Center <i>Tristan und
Isolde</i> was scheduled for the lost season. This excerpt from Act II, drawn
from a 2019 Washington concert with the National Symphony, documents what Met
audiences missed. Gianandrea Noseda conducts; the Brangäne is E<span class="style-scope">katerina Gubanova.</span></span></p>
<p class="MsoNormal" style="line-height: normal;"><span class="style-scope"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KNKOdC-95Js" width="320" youtube-src-id="KNKOdC-95Js"></iframe></div><br /><span style="font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: normal;"><span class="style-scope"><span style="font-size: 12.0pt;">Dramatic tenor Russell Thomas, who made his 2005 Met
debut as the Herald in <i>Don Carlo</i>, has been assigned few major roles in
his sporadic engagements with the company, most recently Rodolfo in <i>La
Bohème</i>. It was not until 2020 that the Met planned to showcase Thomas as
Manrico in <i>Il Trovatore. </i>Here he is in the troubadour’s stirring aria
“Di quella pira (From that pyre)” in a 2019 performance from the Lyric Opera of
Chicago.</span></span></p>
<p class="MsoNormal" style="line-height: normal;"><span class="style-scope"><span style="font-size: 12.0pt;"></span></span></p>
<p class="MsoNormal" style="line-height: normal;"><span class="style-scope"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7FOwKlLlyb8" width="320" youtube-src-id="7FOwKlLlyb8"></iframe></div><br /><span style="font-size: 12.0pt;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: normal;"><span style="font-size: 12.0pt;"></span></p>
<p class="MsoNormal" style="line-height: normal;"><span class="style-scope"><span style="font-size: 12.0pt;">Her international reputation well established through major
roles on European stages, dramatic soprano Lise Davidsen made her Met debut in
2019 as Lise in Tchaikovsky’s <i>The Queen of Spades.</i> <span style="mso-spacerun: yes;"> </span>Not surprisingly, she was received enthusiastically
by critics and public. She was to have sung <i>Fidelio’s</i> Leonore at the Met
in 2020. This excerpt from a 2019 performance at the Royal Opera House increases
our anticipation of hearing her in <i>Fidelio </i>in some future season. Davidsen
takes on the taxing “Komm Hoffnung (Come Hope)” with command of legato,
impeccable passage work, and thrilling high notes. The conductor is Antonio
Pappano. She has been contracted for <i>Ariadne auf Naxos, Elektra </i>(as
Chrysothemis), and <i>Die Meistersinger </i>for the 2021-2022 seasonat the Met.</span></span></p><br /><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/PUGepfvUj5E" width="320" youtube-src-id="PUGepfvUj5E"></iframe></div><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-70984746982305140132021-06-01T14:09:00.005-07:002023-08-02T17:51:24.662-07:00The Met in the Time of Pandemic: The Lost Season, June-September 2020, Aïda<p><b><span style="background: white; color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"></span></b></p><div class="separator" style="clear: both; text-align: center;"><b><span style="background: white; color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><br /></span></b></div><b><span style="background: white; color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";"><br />Note to
those who receive new posts via e-mail: You must click on the title of the new
post, highlighted above in blue, in order to access moving images and sound. </span></b><p></p><p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The summer of 2020 began with the disheartening
announcement that the Met had cancelled the fall season. The company hoped to
reopen on New Year’s Eve, a full seven months away. On September 23, the
pandemic raging unabated, the administration had no choice but to
cancel the spring 2021 season as well. The theater would be dark for
another painful year.</span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Between June 1 and the end of September the
Met continued to make news. Tragically, a second musician, assistant
conductor Joel Revzen, had succumbed to the virus. His orchestra colleagues,
furloughed since the end of March, had had to make major personal adjustments
to compensate for the suspension of their $190K average salary. For its part, management
anticipated a loss of revenue amounting to $100 million by the end of the year.
And, to make matters worse, the Met was ineligible for the government loan
program due to the magnitude of its payroll. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">The success of
the daily streaming of titles from its archive and subsequent donations
from thousands of grateful new contributors on lockdown led to the
launching of a series of digital concerts at the nominal fee of $20
each. Unlike the earlier free recitals and the gala that were shot as amateur
videos (see our post of April 16, 2012, <a href="https://www.blogger.com/blog/post/edit/7211323416075256950/3307619185363703156">https://www.blogger.com/blog/post/edit/7211323416075256950/3307619185363703156</a>), this new series, originating
from sites proximate to the artists’ homes, was professionally recorded. The
first of the seventy-five-minute performances featured Jonas Kaufmann, the
Baroque library of a Bavarian abbey serving as background. He was followed by
Renée Fleming, Anna Netrebko, and nine other Met stars in standard arias from
the operatic repertoire. </span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;">On September 20, one day before the lost
season of 2020-2021 had been scheduled to open with Giuseppe Verdi’s <i>Aïda</i>,
a <i>New York Ti</i>mes headline read, “The Met Opera Fired James Levine Citing
Sexual Misconduct.” According to this report, the company, which had
dismissed Levine in March 2018, settled with its former music director
emeritus for $3.5 million. So ended what the <i>Times</i> called “one of
the highest-profile, messiest feuds in the Met’s nearly 140-year
history.” <span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
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<![endif]--><p><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal">The night of September 21, 2020<i> </i>would have have been
the twelfth time <i>Aïda </i>opened a Met season. And in terms of titles most
often programmed by the Met since its 1883 founding, <i>Aïda</i> ranks second
after <i>La Bohème.</i> Verdi’s grandest opera<i> </i>was to have a new staging
and a renowned cast: Anna Netrebko, Anita Rachvelishvili, Piotr Beczala, and
Ludovic Tézier, conducted by Levine’s successor as music director, Yannick
Nézet-Séguin.</p>
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<p class="MsoNormal">Here are the selections we have chosen for this post, three
magnificent duets, all performed in the 1960s, one of opera’s most fabulous eras.
</p>
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<p class="MsoListBulletCxSpFirst" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;">The first is the Amonasro/Aïda duet.
The claims of patriotism, patriarchy, and paternity come together in the Act
III confrontation between the Ethiopian king and his daughter. Amonasro evokes
their home, accuses Aïda of disloyalty to fatherland and father and, after a struggle,
exacts the promise to betray her beloved Radamès, leader of the Egyptian
troops. In a commercial recording conducted by Herbert von Karajan, Renata
Tebaldi and Cornell MacNeil are brilliant adversaries in this epic conflict
between duty and love.</p>
<p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p>
<p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Pp5CIdUYQiQ" width="320" youtube-src-id="Pp5CIdUYQiQ"></iframe></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Amneris's great scene is Act IV, Scene 1. She pleads for the life of Radames with the unyielding high priest, Ramfis. The power and timbre of Belgian mezzo Rita Gorr are to the measure of the despairing Egyptian princess. In this commercial recording conducted by Georg
Solti, Giorgio Tozzi is Ramfis.</span></p><br />
<p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YXNTkFTgG6Y" width="320" youtube-src-id="YXNTkFTgG6Y"></iframe></div><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">In the opera’s final scene, Radamès
has been condemned to death and Aïda joins him in the tomb that closes in on
their last moments. In the love duet “O terra addio (Farewell, O Earth)” they
look ahead to the Heaven that awaits them and back on the vale of tears they are
leaving behind. In this excerpt, drawn from a live performance, both principals
float ethereal high pianissimi. Verdi specialist Carlo Bergonzi was a frequent
Met Radamès; Aïda is Leyla Gencer whose long international itinerary did not
include a stop at the Metropolitan, alas. Their stock gestures, troublesome on
video, would not have distracted the audience seated in the vast space of
Verona’s Roman arena unduly. At the very end we see and hear mezzo Fiorenza
Cossotto as Amneris.</span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/DowINTVvRi4" width="320" youtube-src-id="DowINTVvRi4"></iframe></div><br /><p class="MsoListBulletCxSpMiddle" style="margin-left: 0in; mso-add-space: auto; mso-list: none; tab-stops: .5in; text-indent: 0in;"><br /></p><p class="MsoNormal" style="margin-left: 0in;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p><br /><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-24483068506597557942021-05-16T16:30:00.001-07:002021-05-16T16:30:57.491-07:00In Memoriam: Rosalind Elias and Gabriel Bacquier<p class="MsoNormal" style="line-height: normal; margin-left: 0in; margin-right: 0in; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;"><b><span style="background: white none repeat scroll 0% 0%; color: black; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Note to
those who receive new posts via e-mail: You must click on the title of the new
post, highlighted above in blue, in order to access moving images and sound. </span></b><span style="font-family: "Times New Roman",serif; font-size: 12pt; mso-fareast-font-family: "Times New Roman";"></span></p>
<p class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin: 0in;">In
our last post (<a href="http://operapost.blogspot.com/2021/04/the-met-in-time-of-pandemic-unfinished_0866050429.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Operapost+%28OperaPost%29">http://operapost.blogspot.com/2021/04/the-met-in-time-of-pandemic-unfinished_0866050429.html?utm_source=feedburner&utm_medium=email&utm_campaign=Feed%3A+Operapost+%28OperaPost%29</a>) we noted that in May 2020 the Met mourned the
passing of two stars of a previous generation. Here, in gratitude for their
many wonderful performances, we remember Rosalind Elias (March 13, 1930-May 3,
2020) and Gabriel Bacquier (May 17, 1924-May 13, 2020).</p>
<p class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><u>Rosalind
Elias</u></p>
<p class="MsoNormal" style="line-height: normal; margin-top: 12pt;">Only the fabled
Louise Homer (1871-1947) sang more often at the Met as a leading mezzo-soprano
than did Rosalind Elias. Thirty-five seasons, fifty roles, and 687 performances
underpin Elias’s place in the company history. She made her 1954 debut as one
of the nearly anonymous warrior maidens in Act III of <i>Die Walküre</i>. During
her first three seasons Elias took her turn as a supporting player, a <i>comprimaria</i>.
Some of the secondary characters assigned to her afforded extended dramatic and
vocal opportunities (Suzuki [<i>Madama Butterfly</i>], Siébel [<i>Faust</i>],
for instance), but most parts were brief (a Peasant Girl [<i>Le Nozze di Figaro</i>],
a Flower Maiden [<i>Parsifal</i>]). It was not until opening night 1957 that Elias
had her big break. She was cast as Tatiana’s sister, Olga, in a new production
of <i>Eugene Onegin. </i>And later in the same season she was tapped for the
pivotal role of Erika in the world premiere of <i>Vanessa. </i>In fact, Samuel
Barber wrote the score’s most memorable aria to suit Elias’s voice--wide-ranging,
with an identifiably dusky timbre, powerful enough to convey the young woman’s
nervous energy and depth of emotion. “Must the Winter Come so Soon” became a
favored audition piece for mezzo-soprano. Here is Elias in the original cast
recording of <i>Vanessa.</i></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/nm4zyDV9yTw" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><br /></p>
<p class="MsoNormal" style="line-height: normal; margin-top: 12pt;">Erika put Elias
on the path to major assignments--opening nights, new productions, world
premieres. <span lang="IT" style="mso-ansi-language: IT;">And core mezzo parts such
as Cherubino (<i>Le Nozze di Figaro</i>), Dorabella (<i>Così fan tutte</i>),
and Laura (<i>La Gioconda</i>) continued to come her way. </span>But she was at
her best in <i>Vanessa </i>and <i>Werther. </i>In this recording of scenes from
Massenet’s opera, the lovelorn Charlotte gives way to the tears she has long
suppressed. The warmth and doleful sound of Elias’s lyric mezzo serves the stifled
ardor of the Goethe/Massenet heroine as it did the neo-Romantic idealism of
Barber’s Erika.</p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Q8qwlb7hcjQ" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal" style="line-height: normal; margin-top: 12pt;"><br /></p>
<p class="MsoNormal" style="line-height: normal;"><u>Gabriel Bacquier</u></p>
<p class="MsoNormal" style="line-height: normal;"><u><span style="text-decoration: none;"></span></u></p>
<p class="MsoNormal" style="line-height: normal;">One of very few post-War French
singers to achieve stardom with international opera companies, Gabriel Bacquier
came to New York in 1964 following engagements in Vienna, Milan, London, and
major European festivals. In eighteen Met seasons he made 123 appearances. It
was no surprise that a leading French baritone would debut as the High Priest
in a new production of <i>Samson et Dalila.</i> But despite his French roots
and early experience on French stages, Bacquier would specialize in the Italian
repertoire, and most often as Tosca’s nemesis. His Scarpia is a subtle hybrid
of delicacy and brutality. His fatal face-off with the Roman diva is laced with
practiced elegance and unbridled lust. We hear Bacquier at his peak, in a live
performance from the Opéra.</p>
<p class="MsoNormal" style="line-height: normal;"></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/UT1HsgVC68s" width="320" youtube-src-id="UT1HsgVC68s"></iframe></div><br /><p class="MsoNormal" style="line-height: normal;"></p>
<p class="MsoNormal" style="line-height: normal;"></p>
<p class="MsoNormal" style="line-height: normal;">Later in his career, Bacquier
found a home in the <i>buffo </i>manner. He was memorable as Donizetti’s Don
Pasquale and he made a star turn out of the irascible Fra Melitone in <i>La
Forza del destino. </i>The aria that follows is excerpted from a role that,
alas, he never sang in New York. The riotous conclusion of Act I, Scene 1 of
Verdi’s <i>Falstaff</i> bristles with the baritone’s physical and tonal energy
as the “fat knight” trumpets his cynical definition of “Onore (Honor).”</p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/yvOznlXoook" width="320" youtube-src-id="yvOznlXoook"></iframe></div><br /><p class="MsoNormal" style="line-height: normal; margin-left: 0in;"><br /></p><p class="MsoNormal" style="line-height: normal; margin-left: 0in;"><span lang="IT" style="mso-ansi-language: IT;"><br /></span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 0in;"><span lang="IT" style="mso-ansi-language: IT;"> </span></p>
<p class="MsoNormal" style="line-height: normal; margin-left: 0in;"><span lang="IT" style="mso-ansi-language: IT;"> </span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-78388371877040541002021-04-30T15:42:00.071-07:002021-05-01T10:40:03.285-07:00The Met in the Time of Pandemic: The unfinished Season, May 2020, Maria Stuarda, Kát’a Kabanová<p><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Note
to those who receive new posts via e-mail: You must click on the title
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<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="color: #002060; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;">COVID-19 continued to rampage through
New York in May 2020. On May 1, the closure of public schools was extended to
the end of the academic year; two weeks later, the Governor ordered the
continuation of the state of emergency, the lock-down of all but essential
services, and strict limitations on gatherings until the middle of June. By the
end of the month, the virus had claimed 100,000 lives in the U.S. alone.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="color: #002060; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;">The Met orchestra and chorus,
along with its stagehands, had gone without pay since the end of March. On May
5, the General Manager announced the furlough of forty-one members of the
administrative staff, a measure the company had earlier thought it could avoid.
And some full-time employees were reduced to part-time status. There were shards
of good news in the midst of so much uncertainty and foreboding. On May 7, the
Met announced that 15,000 new subscribers had signed on to its on-demand video
service; emergency fund-raising was going well, thanks in part to 10,000 new
donors. Nonetheless, the losses were staggering.</span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="color: #002060; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;"> </span></p>
<p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;">In May, too, the Met mourned the passing of two stars of a previous generation, Rosalind Elias and Gabriel Bacquier. We will have profiles of these artists and clips of
their performances in most favored roles in our next post.</span></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">And May saw also the last gasp of the unfinished 2019-2020 season with
the cancellation of Gaetano Donizetti’s <i>Maria Stuarda, </i>scheduled to run
through May 9, and Leoš</span><span face=""Arial",sans-serif" style="font-size: 12pt; line-height: 150%; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Janáček’s <i style="mso-bidi-font-style: normal;">Kát’a
Kabanová,</i> scheduled to open on May 6. The two works shared this thwarted aspiration:
to secure a predictable spot in the company’s repertoire.</span></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span><i><u><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Maria Stuarda</span></u></i></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">In its 2012 Met
premiere and its 2016 revival, <i>Maria Stuarda </i>had shown itself to be a congenial
vehicle first for Joyce DiDonato and then for Sandra Radvanovsky who took on
Donizetti’s two other Tudor queens, Elisabeth in <i>Roberto Devereux </i>and
Anne in <i>Anna Bolena </i></span><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">the same season. (See our post of Feb. 4, 2016, https://www.blogger.com/blog/post/edit/7211323416075256950/77602516158896126) Diana Damrau was to be Maria Stuarda in 2020. <br /></span></p>
<p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span></p>
<p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">In this
ensemble scene from a 1982 English-language performance at London’s English
National Opera, Mary is sung by Janet Baker, Elizabeth by Rosalind Plowright, The
Queen of Scots, prisoner of the Queen of England, is outraged at her cousin’s imperious
contempt. In the presence of a chorus )of horrified principals and anguished
courtiers, Mary hurls insults at Elizabeth—and seals her fate. (Our post of Feb. 4, 2016 includes a clip of Janet Baker in another excerpt from <i>Maria Stuarda.)</i> </span></p>
<p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span></p><p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/zFGFdhPWJp4" width="320" youtube-src-id="zFGFdhPWJp4"></iframe> <br /></span></p>
<p align="right" class="MsoNormal" dir="RTL" style="direction: rtl; line-height: 150%; margin-bottom: 0in; margin-left: .7pt; margin-right: 1.45pt; margin-top: 0in; margin: 0in 1.45pt 0in 0.7pt; text-align: left; unicode-bidi: embed;"><span dir="LTR" face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">In Act III, Donizetti’s tragic queen
faces execution on the block. </span><span face=""Arial",sans-serif" lang="IT" style="mso-ansi-language: IT; mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">The Maria here is
Mariella Devia in a 2008 La Scala performance. </span><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Her intermittent Met
career spanned fifteen seasons. In the clip that follows, at the age of sixty,
her technique astonishing, her voice warm and still fresh, Devia demonstrates
her peerless command of bel canto style. (Our post of Feb. 4, 2016 includes a clip of Mariella Devia in another excerpt from <i>Maria Stuarda.</i>)<br /></span></p>
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<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/P_yAEtF7vRM" width="320" youtube-src-id="P_yAEtF7vRM"></iframe></div><br /><p class="MsoNormal" style="line-height: 150%;"><br /></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></p>
<p class="MsoNormal" style="line-height: 150%;"><i style="mso-bidi-font-style: normal;"><u><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Kát’a Kabanová</span></u></i><u><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></u></p>
<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">Susanna Phillips, slated for the 2020
revival, would have been the Met’s fourth Kát’a </span><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><span style="mso-bidi-font-style: normal;"><u><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">K</span></u><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;">abanová</span></span><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span>. With its first
Met staging in 1991, the opera<i style="mso-bidi-font-style: normal;"> </i>introduced
Czech to the company’s roster of languages.<span style="mso-bidi-font-style: italic;"> </span>The beleaguered heroine, tormented by her provincial existence
and by guilt over her adulterous desire, was Gabriela Beňačková, whose success
in Janáček’s works eased their way into the world’s theatres. The composer’s late
masterpiece is difficult to excerpt. See below<span style="mso-bidi-font-style: italic;"> the link to a 1979 New York concert performance that, despite inferior
sonics, captures </span>Beňačková’s soaring soprano and deeply-felt attachment
to the title role. </span></p><p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-font-style: italic; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"><a href="https://www.youtube.com/watch?v=lxcofi94CKk">Kát’a Kabanová concert performance 1979</a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="ttps://www.youtube.com/watch?v=lxcofi94CKk"><br /></a></div>We will have to await future reprises of <i>Maria Stuarda </i>and <i style="mso-bidi-font-style: normal;">Kát’a Kabanová</i> <span style="mso-bidi-font-style: italic;">to know whether either title has succeeded in drawing a wider public to
its cause.</span> <br /><p></p>
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<p class="MsoNormal" style="line-height: 150%;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"> </span></p>
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Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
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</p><p class="MsoNormal" style="line-height: 150%; margin-bottom: .0001pt; margin: 0in;"><span face=""Arial",sans-serif" style="color: #002060; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;"><br /></span><i style="mso-bidi-font-style: normal;"><span face=""Arial",sans-serif" style="mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-hansi-theme-font: minor-bidi;"></span></i><span face=""Arial",sans-serif" style="color: #002060; mso-ascii-theme-font: minor-bidi; mso-bidi-theme-font: minor-bidi; mso-fareast-font-family: "Times New Roman"; mso-hansi-theme-font: minor-bidi;"></span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-33076191853637031562021-04-16T09:03:00.000-07:002021-04-16T09:03:26.838-07:00The Met in the Time of Pandemic: The Unfinished Season, April 2020, Simon Boccanegra<p><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Note
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</p><p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">We follow our previous post on the Metropolitan’s
unfinished 2019-2020 season (<a href="https://www.blogger.com/blog/post/edit/7211323416075256950/7161019381826796963">https://www.blogger.com/blog/post/edit/7211323416075256950/7161019381826796963</a>) with a backward glance at the month
of April 2020. This was the month, now a full year ago, in which Governor
Andrew Cuomo extended the New York State stay-at-home order and the public-school
and public-space closure edict, including theatres of course, through the
middle of May. That April, the State suffered more COVID-19 infections than any
country, the U.S. aside. The Governor mandated that masks be worn in public and
that New York City subway service be suspended between 1:00 a.m. and 5:00 a.m.
It was clear from the start that the economic fall-out from the lock-down would
be drastic. The arts industry alone was projected to lose tens of billions of
dollars in revenue. As a point of reference, year after year, attendance at
Broadway’s 41 theatres outpaced that of all of the
city’s professional sports teams combined. </span></p>
<p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">The performing arts on both sides of the Atlantic
responded with extraordinary urgency to the human, artistic, and financial catastrophe.
By the middle of March opera companies had developed plans to stream
performances without cost. The Met opened its archive of television and Live in
HD transmissions for daily broadcast. The collections of the Vienna State Opera
and the Paris Opera, to name just two, were made similarly available. </span></p>
<p class="MsoNormal" style="line-height: 11.65pt; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">The most elaborate of all Met initiatives was the
four-hour-long gala concert streamed live on the company website beginning
at 1:00 p.m. on April 25. The total number of views including replays was
expected to reach one million by midnight. Forty Met stars, almost all recorded
at home, participated in the program--Peter Mattei from Sweden, Piotr Beczala from
Poland, René Pape from Germany, Roberto Alagna from France, Renée Fleming from
Virginia, Matthew Polenzani from New York and the rest scattered far and wide. Some
went ahead and accompanied themselves on the piano. The most unusual and
moving accompaniment was that arranged for Joyce DiDonato in Handel’s “Ombra
mai fu.” Each member of the Met’s viola section had recorded his or her part
separately in tribute to Vincent Lionti, a Met violist who had succumbed to COVID
just three weeks earlier. And Yannick Nézet-Séguin conducted the orchestra and
chorus, again recorded individually, in an uplifting rendition of Verdi’s “Va,
pensiero.”</span></p>
<p class="MsoNormal">The Met’s April 20, 2020 revival of the 1995 production of <i>Simon
Boccanegra</i> was, of course, not to be. The opera had been on the boards at
39<sup>th</sup> Street and at Lincoln Center since its company premiere in 1932.
With its complex scenario and dark musical texture, <i>Boccanegra </i>is less
approachable than the familiar Verdi titles that are staples of the world’s
opera houses. A favorite of critics and operaphiles, it remains anchored on the
fringe of the core repertoire. Audiences in 2020 had anticipated the return of
Spanish baritone Carlos Álvarez as Boccanegra, Ailyn Pérez, one of the
company’s leading lyric sopranos, as his daughter Amelia, and spinto tenor
Joseph Calleja as her lover, Gabriele.</p>
<p class="MsoNormal"></p>
<p class="MsoNormal">The 1857 Venice premiere of the opera had been a failure. Verdi
himself thought it too sad, too gloomy, and weighted down by a preponderance of
low male voices. He revised the opera twenty-five years later with the help of
librettist Arrigo Boito, the composer’s soon-to-be collaborator on his final
masterpieces, <i>Otello </i>and <i>Falstaff</i>. The maturity Verdi had developed
in the interim, palpable in <i>Don Carlo</i>, <i>Aïda </i>and other scores<i>, </i>infuses
the work with uncommon gravitas. The revised version was a success at La Scala
in 1881.</p>
<p class="MsoNormal">Paternal love and political intrigue are the dominant themes
of <i>Simon Boccanegra. </i>Early in the opera’s prologue, the patrician Fiesco,
grief-stricken by his daughter’s recent death, expresses the depth of his
sorrow in the bass aria “Il Lacerato spirito (The wounded spirit).” We hear Ezio
Pinza, the Met’s first Fiesco, as he sets a very high standard for his
successors in the role.</p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Y7cwjbO4zaM" width="320" youtube-src-id="Y7cwjbO4zaM"></iframe></div><br /><p class="MsoNormal"></p>
<p class="MsoNormal"></p>
<p class="MsoNormal">Fiesco’s daughter and her lover, Simon Boccanegra, then a
young corsair, had had a child. Twenty-five years later, in Act I, Simon, now
the benevolent Doge of Genoa, quells a rebellion that erupts in the Council
Chamber and inveighs for peace between his city and Venice. His heartfelt plea
dominates the ensemble that includes the voices of Fiesco, Amelia (revealed to
be Simon’s daughter), and the other principals. This excerpt features Lawrence
Tibbett whose Simon was the lynchpin of the Met’s original triumphant
production. </p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1jhRES8P7xo" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal"></p>
<p class="MsoNormal"></p>
<p class="MsoNormal"></p>
<p class="MsoNormal">The Council Chamber Scene, added in the Verdi/Boito revision,
is one of the most memorable pages in the composer’s canon and is undoubtedly
responsible for the opera’s claim to lyric stages everywhere.</p>
<p class="MsoNormal"></p>
<p class="MsoNormal"><span lang="IT" style="mso-ansi-language: IT;"><br /></span></p>
<p class="MsoNormal"><span lang="IT" style="mso-ansi-language: IT;"> </span></p>
Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-71610193818267969632021-03-29T16:14:00.003-07:002021-04-22T10:52:58.019-07:00The Met in the Time of Pandemic: The Unfinished Season, March 2020, Cenerentola, Werther<div style="text-align: left;"><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Note
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<p class="MsoNormal" style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">On March 12,
2020, a little more than a year ago, with COVID-19 on the attack in New
York, the Metropolitan Opera announced the suspension of performances through
the end of the month. Just one week later, the company was obliged to cancel
the remainder of the season. The Met was not alone. Forty and more New
York City cultural institutions took the same turn at approximately the same
time, including all museums, libraries, and theaters, from the Metropolitan
Museum of Art to the New York Public Library, to all of Broadway, and to so
many other indoor and outdoor sporting and entertainment venues. News of the
season’s truncation was accompanied by the statement that past March the orchestra,
chorus, and stagehands would no longer be paid, although they would retain
their health benefits. AGMA (American Guild of Musical Artists) was quoted as
“disappointed, upset, but we understand.” (The conciliatory tone would change over
time.) Peter Gelb, the general manager, would forego his salary and other
administrators would be subject to cuts in pay. The reason given was the
disastrous blow inflicted on company finances by the curtailed season. The
nation’s largest performing arts organization anticipated losses of roughly $60
million, including $8-$12 million in ticket sales through the end of the
month of March alone, and would undertake to make up the huge deficit through
an emergency fundraising campaign. In November 2019, prior to the pandemic, the
Met’s Standard and Poor‘s credit rating had fallen from “A” to “negative,“
signifying a “weak balance sheet metrics.“ On March 26, 2020, Moody’s downgraded
the Met’s credit outlook from “stable” to “negative” due to the closure. </span></p>
<p class="MsoNormal" style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">Less than two
months later, on June 1, 2020, the Met reluctantly informed the press and the public
of a further delay: the house would remain dark until December 30, 2020. And on
September 23, the whole of the 2020-2021 season was pronounced lost.</span></p>
<p class="MsoNormal" style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">OperaPost will
devote this and future entries to the tumultuous events that rocked the
Metropolitan during the last months of the interrupted season and the whole of
the season that coronavirus obliterated. We are also intent on evoking the
new productions and much awaited revivals that were scheduled and then
painfully scrapped as the city and country, and globe, were beset by illness
and death. </span></p>
<p class="MsoNormal" style="line-height: 106%; margin-bottom: 8.0pt; margin-left: 0in; margin-right: 0in; margin-top: 0in; margin: 0in 0in 8pt;"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-font-family: "Times New Roman";">This first post
in the series “The Met in the Time of Pandemic” looks back at the tragic month
of March 2020 and at two much-awaited revivals that were to be staged in those
weeks, Rossini’s <i>La Cenerentola </i>and Massenet’s <i>Werther</i>. </span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The very night the Met shut its doors, <i>La Cenerentola</i> was
due for its first revival in six years (see our post of May 31, 2014,
“Cinderella Come Lately” <a href="https://www.blogger.com/blog/post/edit/7211323416075256950/4651784895668127119">https://www.blogger.com/blog/post/edit/7211323416075256950/4651784895668127119</a>). <span style="mso-spacerun: yes;"> </span>In 2014, Javier
Camarena sang the role of Prince Ramiro. Operaphiles looked forward to the
tenor’s reprise of his astonishing execution of the florid “Dolce speranza
(Sweet hope).” We hear him sing the aria in a January 2020 concert in Malaga.</span></p>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/L17sWG_83xQ" title="YouTube video player" width="560"></iframe>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"></span></p><br /><p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">Camarena’s Met co-star was to be Tara Erraught, an Irish
mezzo-soprano whose previous roles with the company were Humperdinck’s Hänsel
and Offenbach’s Nicklausse (<i>Les Contes d’Hoffmann).</i> Neither demand vocal
acrobatics. The cancellation of Rossini’s opera deprived New York of what would
surely have been a great success for Erraught, as evidenced by this performance
filmed at the Irish National Opera. Here, she exhibits her charm, sensitivity
to text, and command of embellishment, particularly at the top of her range, in
Cenerentola’s challenging “Non più mesta (No longer sad).” </span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/YORIzlvoA1A" width="320" youtube-src-id="YORIzlvoA1A"></iframe></div><br /><p class="MsoNormal"></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> Just four nights later, Joyce DiDonato, a masterful Rossini mezzo,
was to appear in the revival of <i>Werther, </i>with Piotr Beczala in the title
role. On March 15, in immediate response to the lockdown, and on their own
initiative, the singers organized an internet stream of their major scenes from
Massenet’s opera on Facebook and Instagram. Accompanied by piano and harp, this
informal concert emanating from DiDonato’s living room (it began with an appeal
for donations to AGMA’s relief fund) can be accessed on YouTube. Alas, the
quality of the sound does not do justice to the singers. We therefore take our illustrations
from performances in London and Vienna.</span></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">DiDonato’s exemplary coloratura technique has been on frequent
display in the Baroque and Bel Canto repertoire that is her specialty. In
contrast, <i>Werther</i> calls on her for the propulsive declamation of the
late 19<sup>th</sup> century. The wrenching aria in which Charlotte rereads
Werther’s love letters is drawn from a 2016 Royal Opera transmission.</span></p>
<p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NJns_fii4Rk" width="320" youtube-src-id="NJns_fii4Rk"></iframe></div><br /><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"><br /></span><p></p>
<p class="MsoNormal"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">The unhappy Werther expresses his thwarted passion for Charlotte
in the opera’s best-known aria, “Pourquoi me reveiller (Why do you wake me).” Here,
Beczala sings it in a 2010 Vienna concert.</span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fotQfZPuvAY" width="320" youtube-src-id="fotQfZPuvAY"></iframe></div><br /><p class="MsoNormal"></p><br /><p class="MsoNormal"><i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">La Cenerentola </span></i><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;">and <i>Werther </i>are not on the Met’s
2021-22 schedule. Javier Camarena and Piotr Beczala will be back to sing roles
in other operas; Tara Erraught and Joyce DiDonato are, regrettably, absent from
next season’s roster. </span></p>
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<p class="MsoNormal" style="tab-stops: 128.6pt;"><span lang="IT" style="mso-ansi-language: IT; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<p class="MsoNormal" style="tab-stops: 128.6pt;"><span lang="IT" style="mso-ansi-language: IT; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin;"> </span></p>
<div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br />Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0tag:blogger.com,1999:blog-7211323416075256950.post-78850191152714117842021-01-19T10:39:00.000-08:002021-01-19T10:39:56.218-08:00Eileen Farrell, 1920-2020: In Celebration <p><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">Note
to those who receive new posts via e-mail: You must click on the title
of the new post, highlighted above in blue, in order to access moving
images and sound. </span></p><p><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><!--[if gte mso 9]><xml>
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</span></p><p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">We remember Eileen
Farrell on the centenary of her birth as one of a triad (with Lillian Nordica [1857-1914)]
and Helen Traubel [1899-1972]) of the greatest of American-born dramatic
sopranos. To that distinction we add that Farrell was arguably the most
versatile of singers. For decades, she defined “crossover,” moving comfortably
from jazz to pop music and operetta to opera. She sang professionally for six
decades. In this post we focus on the all-too-brief ten-year span she devoted
to the lyric stage.</span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Farrell’s
idiosyncratic career began in the early 1940s when, after a few months as a
member of the CBS Chorus, she was handed a half-hour weekly program of her
own, <i>Eileen Farrell Sings. </i>It had a five-season run<i>. </i>Radio
listeners were accustomed to hearing classically trained singers such as
Farrell in an eclectic repertoire that embraced Berlin ballads, Kern show
music, Schubert lieder, and Verdi arias. The quality and size of Farrell’s
voice soon won her invitations to perform with major symphony orchestras.
Dimitri Mitropoulos chose her for the role of Marie in his 1951 New York
Philharmonic concert performance and recording of Alban Berg’s <i>Wozzeck</i>;
the following year Arturo Toscanini tapped her for Beethoven’s Missa Solemnis
with his NBC Symphony Orchestra.</span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">It was not until
1956 in Tampa, Florida, as Santuzza in Mascagni’s <i>Cavalleria
Rusticana</i>, that Farrell finally ventured onto the opera stage. Four years
later she was at the Metropolitan in a new production of Gluck’s <i>Alceste. </i>Her
career on 39<sup>th</sup> Street spanned no more than five seasons and her
subsequent roles adhered exclusively to the predictable standard Italian
dramatic soprano repertoire, Santuzza, Leonora in<i> La Forza del
Destino, </i>Maddalena in<i> Andrea Chénier, </i>and the title
heroine of<i> La Gioconda.</i> Her affinity for Gioconda, the
lovelorn Italian street singer, is evident in her sumptuous “Suicidio,” with
the New York Philharmonic conducted by Leonard Bernstein (1960).</span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/KuuQ5TvZQ3c" width="320" youtube-src-id="KuuQ5TvZQ3c"></iframe></div><br /> <p></p>
<p class="MsoNormal" style="line-height: 11.75pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">Multiple recordings and concert appearances signaled
again and again that Eileen Farrell was uniquely suited to Wagner’s most
arduous roles. Through YouTube we have access to many of her broadcasts and
live performances. Extended excerpts of <i>Tristan und Isolde, Siegfried, </i>and <i>Götterdämmerung</i> are
testimony to the ease with which her powerful voice swelled above Wagner’s
most massive orchestrations.</span></p>
<p class="MsoNormal" style="line-height: 11.75pt;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">But, alas, she never sang a staged performance of
a Wagner opera. Rumor had it that it was she who refused the opportunity, that
she was reluctant to memorize the long roles. There is, however,
evidence in the Met archives that, at one point, she declared her
willingness to sing Isolde on 39<sup>th</sup> Street. Her strained
relationship with general manager Rudolf Bing may well have quashed that
prospect. For an inkling of what Met audiences missed, here is her 1951 “Liebestod”
with the New York Philharmonic conducted by Victor De Sabata.</span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/CFYw4GD5OVI" width="320" youtube-src-id="CFYw4GD5OVI"></iframe></div><br /> <p></p><p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;">We end this tribute
with a track from a 1958 operatic recital, Thomas Schippers conducting London’s
Philharmonia. Farrell’s “Ernani, Involami” is a brilliant demonstration of her astonishing
technique. She executes the embellishments of Verdi’s aria, the rapid runs, the
trill, with the grace of a light lyric coloratura in total command of these inherently
bel canto gestures.</span></p><p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Ird4qnCdGFU" width="320" youtube-src-id="Ird4qnCdGFU"></iframe></div><br /> <p></p>
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<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><span style="mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /></span></p>
<p class="MsoNormal" style="line-height: 11.75pt; margin-left: 0in;"><i><span lang="IT" style="mso-ansi-language: IT; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"><br /></span></i><span lang="IT" style="mso-ansi-language: IT; mso-ascii-font-family: Calibri; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman"; mso-hansi-font-family: Calibri;"></span></p>
<p><span face=""calibri", sans-serif" style="-webkit-text-stroke-width: 0px; background-color: white; color: black; display: inline; float: none; font-size: 11pt; font-style: normal; font-variant: normal; font-weight: 700; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"> </span></p>Charles Affronhttp://www.blogger.com/profile/04087018048738879149noreply@blogger.com0