From ???@??? Thu Jan 26 10:47:53 1995
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Date: Wed, 25 Jan 1995 18:14 BDB (-0200 C)
From: gomide@fapq.fapesp.br
Subject: YES! I do want to subscribe to Opera-L! Please rush my subscription.
Sender: Alberto Courrege Gomide
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You manifested your desire to be included in the list Opera-L at Fapesp.
Please be warned that this list is *very* active *and* adictive.
Please be warned that you may receive something like 150+ mails per day.
Please be warned that this list does not run in an automatic
listserver, and therefore you may have some delays
to unsubscribe, though I try to do my best.
Please be warned that when you are effectively unsubscribed, there
may be still a great deal of mails to your address that are
already enqueued to be sent; therefore you'll have the feeling
that you were not unsubscribed.
Please be warned that we won't accept complaints later.
Please take all this in consideration. If you accept all terms, and really
want to participate, please reply to this mail.
Virtually,
Alberto Gomide, the list operator.
From ???@??? Fri Jan 27 09:11:25 1995
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From: gomide@fapq.fapesp.br
Subject: Re: subscribe opera-L
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You were included in the list opera-L at Fapesp.
To unsubscribe, please write to the address
opera-L-request@fapesp.br
To contribute to the list you must send to the
address opera-L@merak.fapesp.br. Please note
that you can not use the command "reply"!
Thank you for joining. Please note that this list
is extremelly active *and* adictive. :-)
No, there is no "moderated" nor "digest" option...
------------------------------------------------------
If you find the volume of mail too much, you can try
the service provided by Richard Edwards:
---quote---
Date: Wed, 11 Jan 1995 20:53:04 -0800 (PST)
From: Richard Edwards
Subject: unsubscribe & opera-L FAQ
To: opera-L-request@fpsp.fapesp.br
I was wondering if you could notify people when they unsubscribe
about the digest. I've been sending notes to people when they post
public unsubscribe notices. Since many unsubscribe because they can't
handle the volume they are often happy to get the digest later and keep
in some contact with the list.
The opera-L FAQ might also mention the archive of digest back issues.
That could be a good way for people who are curious about the list to see
what has been going on. Also I will have the archive of bios and
pictures there pretty soon.
The subscription address for the digest is redwards@netcom.com
The digest archive is at http://webcom.com/~redwards/
CHeers, -red
---unquote---
From ???@??? Tue Jan 31 11:03:24 1995
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From: Andy Frakes
To: Multiple recipients of list
Subject: RFD: rec.music.opera
X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
X-Comment: Disc Group for Choral Music
REQUEST FOR DISCUSSION
on the proposed newsgroup
rec.music.opera
(unmoderated)
proposed by T. Andy Frakes (joltman@wariat.org)
on 30 January 1995
=================================================================
This RFD is being distributed to the following groups:
news.announce.newgroups (New Group Announcement Newsgroup)
news.groups (Newsgroup Discussion Newsgroup)
rec.music.classical (Classical Music Newsgroup)
opera-l@merak.fapesp.br (Opera Mailing List)
vocalist@phoenix.oulu.fi (Vocal Singing Mailing List)
choralist@lists.colorado.edu (Choral Singing Mailing List)
All followup messages should be directed to news.groups, a newsgroup
dedicated to the discussion of new newsgroups proposals. They should
not be cross-posted to the rest of the above groups. If a Call for
Votes (CFV) is issued, it will be also be distributed to these groups.
=================================================================
CHARTER:
The proposed unmoderated newsgroup, rec.music.opera, shall be used for
the discussion of issues relating to opera including but not limited
to:
Announcements -- Announcements of opera performances and recitals
including information such as casting, times, dates, places, travel
information, tour packages, ticket availability and pricing, and
contacts for additional information.
Reviews -- Reviews and recommendations of live and recorded opera
performances.
Participation -- Discussions of the elements of opera performance
including singing, acting, directing, composing, set design,
choreography, and operatic orchestral musicianship.
Education and Training -- Discussions regarding techniques for
practice and training in the elements of opera and discussions about
individuals and institutions involved with the teaching of these
elements.
General and Historical -- Discussions relating to contemporary and
historical opera figures (composers, directors, performers,
librettists, proponents, etc.), works, literature, and venues.
=================================================================
INFORMATION:
In a recent two week sample rec.music.classical received 1554
messages. 189 of these (12%) were opera related. The opera mailing
list (opera-l@merak.fapesp.br) recently received 683 messages in a 7
day sample. In addition, opera-l has recently received international
publicity in Opera News creating even more volume problems. This
activity, combined with that of other related newsgroups and mailing
lists, provides a more than ample base of support for a newsgroup
dedicated to opera.
EXPECTED BENEFITS:
Opera-l mailing list members will benefit from a decrease in volume to
a more manageable level due to the expected migration of some readers
from the mailing list to the newsgroup.
Rec.music.classical (r.m.c) readers who are uninterested in opera
articles will no longer be burdened with the extra volume they create.
R.m.c readers who are interested in both operatic and non-operatic
classical music can subscribe to both groups and benefit from the
added level of organization.
R.m.c readers with limited interest in non-opera articles can access
opera discussions much more easily in a dedicated newsgroup without
having to sort through hundreds of non-opera-related articles.
Readers of opera-l (and its digested version) who prefer a more
manageable way to access discussions on opera without the burdens of
excessive mailbox management (organizing various discussion threads,
unsubscribing/resubscribing when leaving town, changing address
headers depending on whether the reply is intended for the list or the
individual, etc.) will have a forum for doing so.
===================================================================
= T. Andy Frakes joltman@wariat.org =
= "The Bill of Rights...Void Where Prohibited by Law" =
===================================================================
From ???@??? Tue Jan 31 11:03:06 1995
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From: allan.jones@genie.geis.com
Subject: Hello!
To: opera-l@merak.fapesp.br
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Seeing as Bill Kasimer discovered that I am lurking here, I thought that it
was time I should be polite and introduce myself.
I have been an opera fan for over twenty years now, so the conversation and
discourse on Opera-L is very enjoyable. I do tend to pick and choose by
subject what to read - I just can't handle the volume, but wish that I could.
I became aware of Opera-L, as did many others, through the Opera News
coverage. I am the assistant sysop in the Music RT on GEnie looking after
the classical music areas and while GEnie was mentioned favorably re.
opera discussion in Opera News, this mailist was clearly "a place to
explore".
And I am copying - selectively - correspondence which I find interesting
to the 'Opera topic in the Music RT of GEnie, for there enjoyment.
As my employment calls for fairly frequent business travel, I will
unsubscribe and resubscribe from time to time, to avoid being in France or
elsewhere for 10 days to return to 1000+ messages to sift through .... unless
anyone has better solutions?
Allan
Allan.Jones@genie.geis.com
From ???@??? Fri Jan 27 09:12:49 1995
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Date: Thu, 26 Jan 1995 13:17:17 +0000
From: D C Hall
Subject: RE: Bruce Ford
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Matt (UDWM029@bay.cc.kcl.ac.uk) wrote on 24 Jan 1995:
>Last night saw Covent Garden's new Cosi
[snip]
>Does anybody out there agree with me that Bruce Ford is THE
>preeminent interpreter of the Rossini/Mozart repertoire today? He is secure
>in every role I have heard him in.
No IMHO; Is anyone pre-eminent at the moment?. I went to Cosi last night
(Wed 25th Jan) and while he was good he fluffed a few bits (didn't help
that he had to do it lying awkwardly on his back, I concede, but...).
Again I don't remember his Mitradate being so astounding as to make him
pre-eminent.
Ford is well worth hearing, but I'd happily hear Raul Gimenez or Francisco
Araiza in Cenerentola or L'Italiana In Algeri, for example.
>Second, what else has Roocroft done?
*Giulietta in I Capuleti e i Montecchi, Oct 1992 at Covent Garden (she
was ace);
*Pamina in Die Zauberflšte, November 1993, Covent Garden (well worth
seeing/hearing);
*Donna Elvira at Glyndebourne 1994 season (I only caught the broadcast of
the Proms concert version);
*Ginevra in Handel's Ariodante, English National Opera, May 1993, also
with Ann Murray - Despina in the new Cosi - as her fiancee, Ariodante; a
very creditable perfomance, she has such a lovely voice. She's due to sing
Romilda (Xerxes) in America (?Chicago) which would be worth hearing, I
believe.
She's certainly tipped as a rising British star....and her name is enough
to make me want to catch a production.
More comments on Cosi posted separately....
Dave
Dave Hall
79 Mycenae Rd, London SE3 7SE, UK
dave-hall@mycenae.demon.co.uk
From ???@??? Sun Jan 29 17:48:43 1995
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From: Greg Keesler
Subject: CD on Enterprise label
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Does anyone know anything about a 2 CD set entitled "Great
Sopranos of the Fifties" (Enterprise 23703 957 2)? I think it
includes Olivero, Cerquetti, and Tebaldi, among others. Are these
studio or live recordings? I'd appreciate any information.
Greg
keeslerg@spt.tec.sc.us
From ???@??? Sun Jan 29 17:49:31 1995
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Date: Fri, 27 Jan 95 12:26:00 EST
From: "Stankiewicz, Warren, NF1J"
Subject: Met Broadcast Jan 21: L'Elisir d'Amore
To: opera-l
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Sorry folks, but it doesn't seem like this one made it the first time...
----------
I don't know about anyone else, but I thought that this broadcast, for a
change, was excellent, and quite a difference from the run of (mostly)
mediocre performances that we've had broadcast to us so far.
I only wish I could have seen a performance, and watched Ruth Ann Swenson
live. Then again, it'd probably keep me up nights afterwards... :-)
Warren (wstankiewi@arrl.org)
From ???@??? Sun Jan 29 17:50:53 1995
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Date: 26-JAN-1995 19:47 (-3)
From: MUELLER@MPS.OHIO-STATE.EDU
Subject: Tickets for Simone Boccanegra
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Does anyone have a pair of tickets or knows how to get one to the MET on
March 11 for the matinee performance of Simone Boccanegra? The performance
is sold out (because of Domingo), but I will be going to NYC and would love
to see the Opera.
Thank you in advance for any generosity!
mueller@mps.ohio-state.edu
From ???@??? Sun Jan 29 17:52:37 1995
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From: BISHOPJ@citadel.edu
Subject: Disliking Scrims
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I gently protest AndYarosh's assumption that people who dislike
scrims want to return to the days of flat backdrops and auto-supplied
singers' costumes. I dunno about sound quality, though that story may
have been started by singers trying to get directors to remove scrims
by hitting them where they are supposed to really live (I read years
ago that Birgit Nilsson or somebody got the Met to remove a scrim by
claiming she couldn't see the conductor through it, which was less
true than expedient).
The statement that singers enclosed in a (theoretically) trans-
parent "fourth wall" are more focussed and directed at one another,
to the benefit of intensity, is relevant to the real objection to
scrims. They do in fact separate the singers from the audience! And
surely what distinguishes a live performance from those in which we
simply passively experience a self-enclosed world-- a recording, a
movie or a telecast in which the theater audience is in the self-
enclosed world and we are not-- is the interaction across the
footlights. I yield to absolutely no one in wanting my opera exper-
ience to be looking in on a story with real people doing and suffering
rather than singers doing a concert to milk our adulation, but a live
performance IS different-- actions produce reactions, laughter or gasps
encourage, singers are spurred on by applause or, as Wayne? just noted,
lukewarmness to do better. I experience this in the classroom; the
difference between showing a video and a good lecture with student
comments punctuating it IS the difference between passivity and
activity, between TV and live theater. And the latter IS a more
intense experience if done right.
A scrim cuts into this interaction precisely by making that
fourth wall, and by giving the audience a sense of isolation from
the players such as they would feel at a movie done in nothing but
long-shots. IF you notice it, that is, and surely you do. I always
feel good when the scenic effect of projections or whatnot is over
and the scrim goes up, since now I am really IN the drama. I say
that rather than being conservative, people who want to preserve
the qualities of a live performance are reacting to the modern
alternatives by wanting to emphasize what is precious about it.
Jane Bishop
From ???@??? Sun Jan 29 17:53:48 1995
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Date: Fri, 27 Jan 1995 01:15:09 -0800 (PST)
From: Richard Edwards
Subject: tinyCOD #162: Are we supposed to clap or what?
To: opera-l
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There (usually) isn't an APPLAUD NOW sign at the opera or in the
recital hall. Its agony when premature applause truncates a beautiful
aria or punctuates every song in a set, but there's no denying applause
is important. The Portland Opera season guide gives advice on when it
is appropriate to clap: "However, opera aficionados are a boisterous
lot, and their exuberance will show itself at appropriate moments."
"Don't worry too much about it, the rest of the audience will let you
know when the moment's right." At an opera preview Speight Jenkins
gave at Microsoft last season he was asked what criteria he uses in his
decision to ask a singer back. He said he goes by what he likes to
hear, but that he does take the level of applause (as measured with a
microphone) into account. With that in mind I clapped my hands raw for
Vinson Cole's Pinkerton last night.
From ???@??? Sun Jan 29 17:57:18 1995
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From: Mikrichter@aol.com
Subject: RE: tinyCOD #161: Tenors who ...
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Richard Edwards asks:
> Can you imagine a "Three Contraltos" extravaganza in Dodger Stadium?
Nope. I can't think of a time when three worthy contraltos were on stage
concurrently - except perhaps for Branzell, Onegin and Matzenauer, but they
weren't all really contraltos. (They're a lot rarer than tenors, you know.)
As I recently discovered and recently posted, we have one at the moment in di
Nissa.
In part because of the scarcity of contraltos, composers don't tend to give
them the meatiest roles. (In part, also, because their most remarkable sounds
don't usually carry as well as the top notes of the great tenors or
sopranos.) So if you get someone who can sing Gaea or do justice to Ulrica,
she will be a superstar among musicians and among knowlegable fans (i.e.,
those on the list), but her name will never make the headlines.
Mike
P.S. - There is a three-sopranos LD. Avoid it like Lando Live! The tattered
remnants of significant voices should be lost to posterity.
Mike