title: U.S. EXPELS the JEWS and the MOORS

author: Klaus Heiman [sic]

text:
...so why can't SPAIN do the same?
----------------------------
NO BLOOD protocol FOR the elders of ZION
----------------------------
"In life, democracy.
In art, aristocracy."
--- Arturo Toscanini
----------------------------
On 26 September 2000, the so-called Great Mickey (Mouse) Richter
performed a 'plug in', heroically, on behalf of Klaus Heiman [sic],
the so-called Authority behind ---naXos---:
http://listserv.cuny.edu/Scripts/wa.exe?A2=ind0009D&L=opera-l&P=R10995
Thus spoke the authority:
"Most singers understand that recording opera is extremely expensive,
especially under our perfect studio (not live) conditions and are
happy with our modest flat fees. Look at our Fidelio cast! The bit
about being allowed only two or three takes and no chance of fancy
editing is nonsense ... artists are allowed as many takes as necessary
to get the music right. However, having said that, we expect our
artists to be well prepared unlike many big-name artists who rely on
the producer and editor to produce a good performance."
We ask:
1. Mr. Heiman seems to have contradicted himself by simultaneously
affirming that his artists are indeed allowed "fancy editing...to get
the music right" and ranting against the "many big-name artists who
rely on the producer and editor to produce a good performance." What
exactly is the difference? Isn't fancy editing what earns producers
and editors their bacon, be it at naXos or Lucifer Classics? Or is Mr.
Heiman whining because Lucifer's console is bigger than his?
2. Mr. Heiman seems to have fallen prey to the epidemic virus of
unfounded critical prejudice and the politics of defamation and
character-assassination (the rate of infection appears to be
abnormally high within the familial fraternity of
American/Anglosaxon/Anglophile critical bedfellows). His words can be
easily formulized: "Big Name + Big Label = Little Music (or Falsity)".
No need to state the converse: "Little/No Name + Little Label = Big
Music (or Truth)". Who exactly are these many unprepared big names?
And how, where, and when?
3. A few years back, the authority was also quoted in "The Boston
Globe" - this other 'plug in' courtesy of
CareerFaggot-turned-critic-turned-promoter Richard "local church mice
are world-class people too" Dyer. Lately,
Dyer has been heard advocating for the equal part Charity/Chimpanzee
Acts that are The Three Mo' Tenors, Andrea Bocelli, and Charlotte
Church.
["Maestros of the Pen: A History of Classical Music Criticism in
America", by Mark N. Grant, Northeastern University Press, 1998, ISBN
1-55553-363-9:  n-o-t  o-n-e  f-o-o-t-n-o-t-e  on Dyer --- and this
after a 25+year career behind him dedicated to latter-day
Anglo+Judeo+Homo-centric bitchery, dishonesty, and hypocrisy; and just
as long
dedicated to sobbing after one Lucine Amara.]
But back to the authority:
"The market is shifting away from name artists, and the average music
lover is confused by bins crowded by recordings. What is the
difference between Riccardo Muti, Claudio Abbado and Riccardo Chailly
in a given piece? Whatever the difference is, it doesn't mean anything
to the average music lover who gives up and chooses our recording
because it is more reasonably priced, and the performance is just as
good. It is an absurdity for Plácido Domingo to sing 'The Barber of
Seville'; our recording is a better performance of the opera. If
Cheryl Studer were to come to me and ask to sing some of the operas
she has recorded, I wouldn't let her." {Author: Richard Dyer / Date:
19.01.1994 / Page: 61 / Section: Living Arts}
We comment and ask:
3A. Funny but we bet that the suits at Lucifer Classics swear
t-h-e-i-r  barber gives a better haircut. Not that some of us (not
nearly enough) give a damn about Sire Domingo, at least not since his
early 90s (and thereafter) publicity and musical circus prostitutions.
3B. Let us cut to the chase: we propose that one big reason for
the present-day crisis is that the ever-so-important anecdotal
lore and narrative of the live stage experiences  a-n-d  documented
legacies of certain important big-names (those immediately preceding
the generation of today's so-called "A List") literally fell through a
 g-e-n-e-r-a-t-i-o-n-a-l  c-r-a-c-k.  In the realm of opera, this
previous generation came "too soon" after the Marias and the Renatas
and the Joans and the Montserrats and the Vickys and the Mirellas and
the Regines and the whoevers....and "too late" for today's democratic
free-for-all (think of the deregulation of the airline industry in the
U.S.A. - surely it is cheaper to fly and with more options but the
experience is ghastly) in deadly mix with the quick fixes and
seductions of Hyper Public
Relations, Hyper Text, and Cyberspace. Few artists can survive without
some form of critical and popular encouragement. It became fashionable
sport (nah, Mob Rule - nah, Olympics) for too influential but equally
ignorant, tin-eared and incredibly, corrosively partial critics and
their bedroom partners to dismiss these artists' work faster than they
could say Compact Disc (and worse: to fully ignore too - consider the
phenomenon that is the Phenomenally Perverse Eclipsing by the press of
a certain
v-e-t-e-r-a-n  soprano whose stage appearances are pre-judged to be
just that: Appearances: Phantom Ships In The Night, when noticed ----
or to fully  d-e-n-y  the usual "critical analysis" - is that what it
is? - accorded minor lights ("Monsieur G could not sustain pitch
b-u-t  the Sicilian
understanding" [the same understanding which, according to the
experts, eludes fellow Southerner Riccardo Muti] - "Madame F [no other
soprano before or during Renée is known to have ever "taken
chances"] shrieked unnaturally, flatting two high A
naturals and her overall intonation was insecure too  b-u-t  the
gowns" - "Hausfrau V was in customary squally voice again last night
and her top sounded tired, though no fault of her own,  b-u-t  her
sofa scene was comfortably moving" - "Irish-American AFL-CIO Heroine F
[who, by the by, tries, and is carded, to "sing" "everything"] [no
other soprano before or during Lauren is known to have ever "taken
chances"] could not sing Reiza's music [she replaced
DeVoid, who had also cancelled all engagements in Vienna, and for the
2nd season in a row - not a bad thing when you try to remember those
Scheiße AIDAs at the MET where Crayola connected them dots and none of
the music - not to mention the brutal stupor that were
Pavarotti and the ever-accomodating Levine]  b-u-t  the visceral
collision") - "Madame Shout squalled an Elektra consistently below
pitch (that's about 75% of your evening) but no matter: the visceral
excitement of some level or other of on-pitch faithfulness to and by
die Juden and a few silent-movie camp gestures secured her
an unqualified triumph...and an onstage kiss from Jimmy Boy the
Paedophile (or rather, Jimmy the boy-paedophile - ladies and gents,
you too can have it all: from orchestras in Munich, Boston, and
naturally New York to standing Os to gushing
press coverage to state-sanctioned murder to Presidential Pardons (see
"Rich, Jonathan" - see "The Hassidic Four [that's right, not one not
two not three but four)" - see "Hillary 'some of my relatives are
Jews' Clinton" and the race for the NY State Senate]....provided you
are "one of us" or "with us") --- but for how much longer? --- stay
tuned
---....well, all that plus Gaby is getting better and better and
better, yes?" - "Madame Attila spreads her
top like butter on warm bread but her cool, Nordic, blonde looks
carried the night" - "Debbie 'Crayola Opera Program' Void's French is
for and about pigeons [let alone a sour and rusty tone reminiscent of
soiled underwear and as dull as laundrywater] but her 'major'
contributions to Culture are 'consistent.' --- or is it the other way
'round?" - "The consensus that Madame Shorties could not really sing
Konstanze is questionable and, in the end, unfair for she is a gifted
singer......but more importantly, her name is not Cheryl Studer" -
"Monsieur Hiccup proved once more that you can crack loud
and wide before a Manhattan audience of tourists as long as your name
is not Cheryl Studer; but more importantly, the loss of 95-plus
pounds, in cocktail with a widely broadcast the-dog-ate-the-homework
medication Sob Story, are sufficient to satisfy the most
discriminating demands
of the-below-IQ-of-47.5(that's-50%-of-something-or-other-to-you)-and-minus
set and anyday's coverage of the Arts in the Jew York Times" -
"Maestrisssssimo of Legend, Gilbert "Lego Blocks" Kaplan, swears he
can conduct but one piece of music and one piece of music alone but,
as one of "our own", full coverage by the Jew York Times is fully
warranted - all that plus a recording under the
syphillitic Deutsche Grammophon" ---you know the skit--- why yes,
ladies and gents, even  these acts of levitation are denied Midland,
Michigan's Prodigal Daughter --- But then, taking into account the
desperate [in vain] efforts toward reconstruction, toward opening new
markets (undue over-exposure in Arts journalism - over who counts -
over what counts - and when and
where -being the final vestige of their former Imperial selves), what
is the increasingly brilliant, independent-minded, impartial,
cultured,
mature, and sympathetic ---right?--- Anglocentric Universe to do with
a creature who refuses categorization? - of what value or use is the
lady? - of what value or use is the artist? - who is neither English
(nor pretender)
n-o-r  r-e-s-i-d-e-n-t  n-o-r  c-i-t-i-z-e-n  n-o-r  D-a-m-e  nor
Faerie
Queene nor Greek (nor pretender) nor black-and-blue (nor pretender)
nor German (nor pretender) nor Austrian (nor pretender) nor
Kammersängerin nor French (nor pretender) nor Cinema Paradiso Italian
(nor pretender) nor Eastern European (nor pretender) nor
Spaniard/Latin American bombshell (they are the flavor of the moment)
nor Argentinian Tango nor East Coast Yiddishbbuk nor Anonymous 4 nor
Asian nor Canadian nor Aussie --- nor, most importantly, deemed
sufficiently  A-m-e-r-i-c-a-n  --- n-o-r  r-e-s-i-d-e-n-t  nor
MET-centric nor Manhattan/Queens/Brooklyn-ette nor Broadway belcher
nor Saint Francis-can nor Angelena nor Chicagoan nor Texan nor New
Mexican nor
Washingtonian nor Saint Louis Gal nor panderer nor tall nor thin nor
heroine-overdose chic nor blonde nor Blonde Ambition nor grotesque nor
grotesquely zaftig nor power hungry nor faghag nor lesbian nor cherub
nor hairy chested nor fashion rag nor glamour puss nor aspirant nor
aspirate nor potential nor promise (what you hear is what you get) nor
apology nor preserved museum mummy nor soccer mum nor sucker nor trend
nor hip nor H.I.P. nor barefeet at Carnegie Hall nor castrata nor
contralto nor countertenor nor counterculture nor lyric mezzo nor
soprano on the verge of a mezzo
breakdown nor vice versa nor chanteuse nor soubrette nor starlet nor
coquette nor canary nor woodbird nor nightingale nor tic toc tic toc
tic toc nor geriatric nor vanity record label owner nor
transposer-conductor-intendant-voicecompetitor-crossover-moviemogul-realestatemagnate-restaurateur-sexsymbol-jetsetter
(all in one and one for all and all in a night) nor lazy nor shrinking
violet nor daddy's lil' lass nor mystic nor minimalist nor hyperbole
nor Überfeminist nor Konzept nor dreams and fables nor metaphysics nor
philosopher ("Philosophier' Er nicht, Herr Schatz...") nor scholar
(nor pretender) nor didact nor pedant nor peasant nor composer (you
know, like Callas, who wrote all them masterpieces now falsely
ascribed to one Bellini, one Donizetti, and one other Verdi) nor
paladin of the glorious avant-garde nor rarity rat nor rat tat tat nor
archaeologist nor room temperature nor Sponsored By Talbots nor
Anglican Service nor Vivaldi postcard nor Handel MBA [opera's answer
to the 80s business phenomenon - everyone has one] nor Britten MD nor
Janácek Nobel Prize nor cliché nor stunt nor parody nor caricature nor
Disney nor Ozzie & Harriett nor Will & Grace nor smiley face nor
horseface nor humor monger (in any event, not the shtick you grew up
with) nor camp nor marketing-promo tramp nor trademark nor
image-chaser nor
sensation-seeker nor Eurogarbage nor ez-listenin' nor pleasure ride
nor automatic cruise control nor sentiment-al nor cripple nor married
to one nor victim nor tearjerker nor nostalgia trip nor tourist trap
nor good-cause nor fund-raiser (so to speak) nor social worker nor
Katie Couric nor Walk For A Cure nor We Are The World nor Sound Of
Music nor Under nor Over The Rainbow nor Rainbow Coalition nor
Summertime nor Supper Time (nice tunes....if you can) nor fruit salad
nor cotton candy nor peaches in double cream nor café au lait nor dark
chocolate nor civil/human rights centerfold nor gulag survivor nor
married to one nor refugee nor married to one nor UN Ambassador nor
married to one nor member of any one precious special interest group
(you know who you are)  n-o-r  m-a-r-r-i-e-d  t-o
o-n-e  n-o-r  s-t-r-a-t-e-g-i-c-a-l-l-y  w-e-d-d-e-d  nor politician
nor married to one nor inter-national political crisis parasite nor
ad-minister of propaganda nor grassroots peace activist (you do know,
don't you, that them ancient favourite warhorses of yours composed by
Beethoven and Brahms and Wagner and Liszt were inspired by the
Israeli-Palestinian conflict --- ask Mehta and Señor Honorario und
Tolerant Barenboim --- by the
by, in a recent Chicago program of Hugo Wolf's Lieder, the "Great
Jewish Musician" [and we thought it un-Klezmer to allude to this
musician's other career] in harmony with his German/Christian
sub-ordinates - a "physically handicapped baritone" and an "underpitch
soprano" (see "Kubiak, David") - were heard "r-e-c-l-a-i-m-i-n-g  the
true meaning of the 'heilge Deutsches Kunst'" --- again, see "Kubiak,
David" --- please note that no one else before GJM had accomplished
nearly as much, and in a mere evening - of course, we know now that
Wolf wrote his songs inspired by populations everywhere holding hands
- to promote future handholding) nor married to one nor Adler Fella
nor Crayola Opera Program alumna nor
Cardiff-VeraRosza-Domingo-GeorgeLondon-RichieTucker-BelleSilverman-Albanese-Horne-Scotto-vonStade-Heggie
groupie nor traveler along the Anglo Silk Road --- the
LandOfOz-BerlinStaatsoperUDL-LaMonnaie-ENO-Glyndebourne-NYCO-Glimmerglass-StLouis-SantaFe-SanDiego-DallasO-HoustonGO-FloridaGO-n-such
workshop ghettoes.
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
[Imagine, if you dare.]
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
E-N-V-Y = D-E-S-T-R-U-C-T-I-O-N
but
S-I-L-E-N-C-E = D-E-A-T-H
Enter into the equation the contemptibly stupid (discerning,
discerning) audiences who (wanted to and still do) believe everything
they read...and voilà, the science gives the (false)
i-m-p-r-e-s-s-i-o-n  of yielding the expected (forced) hubris. Then
add the ones who stayed away from attending these artists'
performances because they were simply told to do so (in so many
words). Never mind the  c-o-w-a-r-d-s  who  n-e-v-e-r  attended but
who later saw fit to publish obituaries passing for legitimate
eyewitness reports (again, check out "Maestros of the Pen: A History
of Classical Music Criticism in America", 1998, by Mark N. Grant, and
see if you can spot "Dyer, Richard"). Never mind the
h-y-p-o-c-r-i-t-e-s  who, in addition to prematurely and irresponsibly
issuing death certificates (see "Davis, Peter G."), years later were
caught with their pants down performing auto-erotica
to the tune of "Returns Triumphantly!" (see "Davis, Peter G."). Little
wonder many ceased listening --- and begin listening with others' ears
they did.  But leave it to the bloodless (and if you don't have blood
you don't need a heart and if you don't have blood you will find
yourself thirsty, very thirsty, guaranteed) - it is in fact their
exclusive province - to accomplish such feats.
No, they were/are not Maria or Renata or Joan or Leonie or Gwyneth and
why should they be? --- Take the particularly complex case of a
fascinatingly complex, yet elemental, yet thoroughly modern, and yet
not, artist (and most private woman), Cheryl Studer --- was/is the
backlash really for l-a-c-k  o-f  q-u-a-l-i-t-y  or  l-a-c-k  o-f
a-r-t-i-s-t-i-c  w-o-r-t-h?
A decade or so later there's a
perceptible sense of panic and fatigue among critics, industry folk,
and fans alike, most
shockingly noticeable within the gated communities of the old and the
jaded, who can be heard loudly cheerleading anyone (and we mean
anyone)....
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[....as long as their names are  n-o-t  Cheryl Studer.]
[God Willing.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[And yet more Enchantment courtesy of the Panacea/Schadenfreude of
Cheryl Studer-free zones/ground zeroes.]
[God Willing.]
[Young Ones - Do not be duped by the hollow enthusiasms of the age ---
ever seen a sad clown?]
[But now, oh today....Music and Art....or rather, what passes for
it....and every new product or stage appearance tossed our way by the
Star System we hate to love (certainly a system long preceding but
fatally ran to the ground by the prissiness of political correctness
and the Gestapo tactics of the instinct/thought-control police, in
concert with the 'World Music Congress' - the Rudases, the Sire
Jonases,
the Mehtas, the Holenders (whose Semitic nose is
long and arrogant enough to sniff all the way to Berlin), the Levines,
the Maazels, the Heymanns, the Previns, the self-professed rap-music
fans of the world (see "von Dohnányi, Christoph" --- uncle
must be spinning in his ashes --- ladies and gentlemen, more often
than
we are led to believe, death CAN be in vain), The Three or Four or
Five or Six or Seven Whores
- we are losing count -, Best Friends & Co. Inc. Ltd. S.A. GmbH - the
Ozawas and the Gergievs too are major shareholders (and puppets) in
this "Juderei" - that's right, jUdErEi - we repeat: all this JuDeReI)
- i.e., by
the Star System of Bocelli, of course, or Hampson (now a pretty much
undisputed by-the-book Straussian, Wagnerian  a-n-d ...hear
hear...Verdian...of Stature, don't you know) or the Alagnas (a
f-a-k-e recording of Verdi's -Trovatore- for Sire Tony/EMI --- Grecian
Approximation No. XXV - we have lost count - has not sung Leonora
where it counts, on the stage) or the other Bocelli comrade,
Fleming....well, all of it  h-a-s  sudden Meaning and Necessity, so
the public relationists tell us....the Magic courtesy,  n-o-t  because
of
especially great voices or exceptional interpretive forces or
personalities or even of remotely acceptable  n-e-w  music, but
because:
NUMBER 1:  their names are  n-o-t  Cheryl Studer
and
NUMBER 2:  ...*in good portion and out of
proportion* the promo op-catchpenny that has become 9.11 --- a
monstrous crime monstrously debased by the Infernal Spinning Wheel of
commerce and avarice and revenge and murder (widely disguised as
justice) --- a tragedy now symbiotically hijacked to peddle everything
from Arms Races to Far Right-ism (see "Sharon, Ariel" --- how come we
don't hear strings of consistently shrill High Cs crying for  h-i-s
removal? --- this time, however, we applaud Barenboim for being
practically the only one publicly playing fiddle
on the roof of the problem) to Nationalism to Requiems to
Anglo-Zionist Terrorism --- the latter conducted both musically and
extra-curricularly, most prominently with (critical mass-destruction)
heavy-metal made in the squeaky clean U.S. of A. and paid for with
y-o-u-r  humble American tax dollar (as if you had a choice) and the
blood of  y-o-u-r  sons and daughters. --- So why won't Israel and its
Business/Washington lobbyists fight their next door neighbors, which
includes Iraq, all by themselves and with  t-h-e-i-r  o-w-n  currency
and leave us all  a-l-o-n-e  a-n-d  i-n  p-e-a-c-e?]
[Consequently, would that  t-h-e  o-t-h-e-r  terrorists went home
too.]
[In other words, and in order of appearance...
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOE LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISCHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
]
[Discuss, if you dare.]
[About the new studio-product (this is what we call them fakery, no?)
from EMI
---Idomeneo---, we are beginning to read puff like "a recording that
n-e-e-d-e-d  to be made." --- after all, it
contains the antipodean missionary of all things English, Sire
Charles; British Will o' Wisp Bostridge; Bocelli collaborator
Frittoli; and, to top it all, the New (Age) Callas - the
organically-grown, FDA approved, anodyne, pastel, drab as
damp cardboard, and dull as fishwater LetItRain Hunt(hyphen - I
married a techie with composer pretensions + I too have a Sob Story to
tell - mine is Breast Cancer - what is yours?) Lieberson.  But do not
for a second believe the ad-men....for this product is yet more of the
ho-hum variety.]
[And oh yes, LetItRain is an  "a-r-t-i-s-t", sensitive and musical -
albeit a very very very part-time one at that - but please please
please notice
that very very very few others are as musical, let alone sensitive and
artistic].
[About the new DECCA ---Cocksucker Blues---, we are already reading
fluff like "A New  F-i-r-s-t  L-a-d-y  of Bel Canto - Renée Fleming
very nearly manages to shake the insistent ghost of Maria Callas."
(see "
www.andante.com
") --- But we (not enough of us) are neither deaf
nor naïve nor stupid. You see, n-e-v-e-r  e-v-e-r  f-o-r-g-e-t  that
sopranos of the calibre of Cheryl and Maria, bruised of voice and
heart or not, n-e-v-e-r  e-v-e-r  s-t-o-o-p-e-d  this low (below the
navel) in the style department. But, after all, the new product
(scooped up 3 years ago) is being sold under a neon sign that reads
"Bel Canto", complete with
a $2 rebate incentive  b-e-l-o-w  its reduced repo artistic sale
value. You know, in the manner of the stereo-typical toupéed and
polyester-clad used-car salesman - insincere, cajoling, slimy,
slippery, sleazy, sticky -- and that's the singing -- a raw deal.]
Blitzkrieg-style Public Relations, Marketing, and now
Blue-Collar/Working-Class Cheap Labor (and the aesthetics, or lack of,
of - see "Flanigan, Lauren" - see "Radvanovsky, Sondra" - "see Goerke,
Christine" - see "Slavs" – see "the little touring companies that
could") have been summoned to the cause of salvaging
something or other from the debris of these self-appointed arbiters of
taste and self-avowed "opera/music lovers'" own making. And so the
armies of
businessmen have landed triumphantly with portfolios chock-full with
the truly untriumphant, the amateurs, the pedigree-less, the
unaccomplished, the homogeneous, the vocally faceless, the emaciated,
the pretty, the photogenic, the grotesque too, the church rodents, the
H.I.P.-voiced, the H.I.P.-mannered, the pedigree-less, the correct,
the obedient, the mega amplified, the firefighters, the policemen, the
construction workers, the factory slaves, the custodians, the
industrial quality, the white trash, the divas next door; the divas
next door with the cute children as gimmicks; the divas next door who
are so nice and behave so well and who must reassure us about it; the
divas next door who seek psychotherapy and then have the distaste to
announce it; the divas next door who relax to the Dixie Chicks; the
vedettes next door who love all that jazz and then scat and squat
through  e-v-e-r-y-t-h-i-n-g  that is European  a-n-d  Classical (and
not) --- but then, in music that requires precisely that, the phlegm
gets in the way of that thang called swing; the divas next door who
thrive on wrestling, meatloaf, and fish n' chips --- and show it; the
divas next
door who marry well, transgenderly; the divas next door who, although
already in their 40s and beyond, must appease us by "taking baby steps
to protect their voices" and who swear that that's why they will still
be in their prime in extreme old age; the divas next door who swear we
will want to hear them then; the optically challenged, the physically
handicapped, the sob stories, more sob stories, the pedigree-less, the
pedigree-less, the pedigree-less, and yet more of that. And some more
sob stories. And not to be missed: the Teddy Bears (think of - well
not really, since you can't - the cancellations, the vocal troubles,
the gross embarrassments of stunt-ed live programs - everything from
Beg Your Indulgences to Public Regrets to Tosti to Walkouts - by, for
instance, Juan Dieguito Flórez, Domingo, Terfel and Heppner - no
matter - the insulted audiences correspond to their cheating with
tears and Standing Os --- but no surprise here, for it is nothing but
another perversion of our desensitized, demoralized, diseased,
frivolous, diluted, and vulgar days --- f-u-c-k, even Joseito
"Leukemia Sob Story" Carreras became the object of one of these
demonstrations - and this in the enlightened and improved and newly
innocent and important again (so it
goes) Salzburg of the summer of two-thousand-and-two-after-christ).
And thus today's so-called "A-List" (really, nothing but a paid
announcement transmitted by the "Ass-ociated Press"), the P®ops, the
Pops, the Popp Clones, the Grümmer Clones, the Callas Clones, the
Tebaldi Clones, the Steber Clones, the Schwarzkopf Clones, the Price
Clones, the Cut n' Paste Composites, the Fischer-Dieskau Clones, the
Furtwängler Clones --- poor, pitiful facsimiles  a-l-l ---, the
Little Names, the Wannabes, the Crossover Hustlers, the Bubblegum, the
New Age Mongrels, the
Postmoderns, the Postmortems, the Multiculturalists, the Community
Outreachers, the Soundbites, the Marketing Love Couples/Traumpaars,
the Divine, the Fabulous, the Delicious, and the Little Labels That
Could all have it relatively easy in comparison to that preceding
generation. And the critical standards --- what standards? - whose?
--- have reformed, or rather, have doubled and tripled and....But
injury is often prone to insult. Hell, standards have liquified and
then evaporated vis a vis the new generation. It is no longer Sound
Music Criticism or Analysis but Lowest-Common-Denominator Public
Relations Spin [and worse: the fixation with that elusive something
known as
---technique--- technique and organization and perfection as ends in
themselves: music-making as athletic match: missing the forest for the
trees --- but this is another angle for another day]. So much so that
it has become strangely and suddenly  K-o-s-h-e-r  once more (Jesus!,
how many more times are we going to hear about market
over-saturation?) to make records (remember when you and I were
advised to please r-e-j-e-c-t, swiftly AND wholesale, them records [or
anything containing Cheryl Studer --- or, for that matter, any, and we
mean any, open discourse on her art? – do you not remember the
p-r-e-v-e-n-t-i-o-n  measures taken by the taste/censorship police in
these forums year after year after year in order to curtail all
possibility of even the minutest measure hinting of favourable
discourse on her art?] --- oh, you know the story --- something about
digital and illusion and un-necessary and in-competent and
im-personal and contrived and in-experienced and un-felt and
perfect and dull and null and this and that and that and this -
beautiful even - artistic even - you know, the toxic byproduct of
uncontained
Kapitalismus - the same Kapitalismus that gave us such goodies as
Meyerbeer, penicillin, opera glasses, the megaphone, the horn, the
microphone,
the photograph, the ("fideistic") Mapleson cylinders, the phonograph,
the light bulb, animated pictures, the telegraph, the typewriter,
carbon paper, the telephone, the clock, the metronome, the radio, the
television, faster trains, the automobile, the jet plane, robots,
rockets, missiles, bombs, Star Wars, weapons of mass destruction,
frying bacon, monaural sound,
analog tech, reel-to-reels, 8-tracks, the cassette, the LP, stereo
sound, surround sound, faxes, overnight mail, the (unfortunate and
devastating to the testimonials of a vast majority of contemporary
artists) digital tech, the PC, laptops, lapdogs, the CD, the walkman,
the minidisc, the CD-ROM, the famous (pitch re-engineered) Richter
CD-ROMs, the (disgracefully influential,
sound-engineering-bag-of-tricks-wise) DECCA/Solti Ring, naXos,
andante.com
, 12,000 other music websites, the pirates, special
effects, the VHS, HTML, the WWW, Apples, TV dinners, Windows, the cell
phone, the LD, the DVD, MP3s, Opera In The Original (that's English to
you,
naturally and perennially), CNN operas, Vilar titles, Vilar
entitlements, multitasking, micromanaging, acoustically enhanced opera
houses and concert halls, euphemisms, virtual reality, cloning,
artificial intelligence, Callas martyrs, Caruso, Ponselle, Callas,
more Callas, Flagstad, Nilsson, more EMI Callas
re-re-re-re-re-releases, yet more Sony Glenn Gould
re-re-re-re-re-compilations, etc. - and of course, the same
Kapitalismus that has transmitted the Oh So Long Anticipated, Oh So
Extensive, Oh So Very Important --- and, at last!, Oh So Necessary ---
eternal recorded statements from, for example and randomly, Danny Boy
Barenboim,
Zubin, Edita, Ozawa, Renée, Aprile [these days reduced - or is it
enhanced? -
To croon, pathetically and below the note, opposite Danny Boy The 9.11
NYPD Singin' Cop],
Alessandra, "Marilyn Monroe Purr" Debbie (see "Ross, Alex") - (a
f-a-k-e  recording of R. Strauss' -Friedenstag- for Sinopoli/DGG ---
"...Deborah Voigt's Maria [which was in fact dubbed in after the
recording was completed, after
the original soprano had dropped out]...." -'Fanfare', Sep/Oct 2002,
p. 214), Cathy, Kathy, Jane, Ruthie Ann, "Veteran Wagnerian" Karita
(see CareerFaggot-turned-critic-turned-promoter
"Tommasini, Anthony") - (a  f-a-k-e  recording of Schoenberg's
-Gurrelieder- for Sire Simon/EMI -
http://andante.com/magazine/article.cfm?id=17979
), Violeta, Waltraud -
and much much more) ----- for naXos, Rare Opera,
Mom & Pop, even for Lucifer Classics.  No matter.
[But......we are afraid it's  t-o-o  l-a-t-e  --- because the
registers, they ain't ringin' (and all too often, we regret to
announce, not just the cash ones).]
3C. How exactly is naXos alleviating the crisis of overcrowding and
confusion among consumers? In opera titles alone, they have recorded
yet  a-n-e-w:  Boheme, Fidelio, Butterfly, Tosca, Flying Dutchman,
Barber of
Seville, Aida, Rigoletto, Magic Flute, and on and on and on. Correct
us if we are wrong but these bread and butter works were not lacking
in existing documentation, whether historical or not, hysterical or
not, distinguished or not, low end or not. And the combined sad
efforts from naXos simply do not measure up. Why pay less, then, when
you can get better and more for twice the price?
3D. "Oh but it does mean something, it does", we say. So the "average
music lover" has become the barometer of quality and relevance? Indeed
they don't deserve Muti, Abbado, or Chailly (however much they deserve
the three-minute-aria-cum-top-ten-hit). And is the Hulun Hu Tympany
Orchestra really better than Amsterdam, Dresden, Berlin or Vienna?
(although, truth be told, too many of us have heard the Vienna, for
one, play and sound like a colony of monkeys under the stick shift of
a colonized but loyal to the crown, and thus celebrated, Indian
cabbie).
3E. And Cheryl Studer, she's not one of the unwashed, is she? Were
they her contemporaries, would Mr. Heiman have singled out Callas,
Tebaldi, Sutherland, or Caballé, to name but a few, in this manner?
After all, they were/are *Daughters Of Lucifer*, to our benefit.
Presumably naXos treats its "illustrious" roster with more dignity,
respect, and vocal support. Speaking of vocal support, perhaps the
crafty (and reptilian) Mr. Heiman is unaware that *his own* Floria
Tosca (Madame Nelly Miri-a-e-i-o-u --- "más sabe el burro que tú")
reportedly bombed in the same role in Orange, France in the year 2000
a-n-d  as Norma at the ROH, London, also in 2000. However, the Tosca
and Norma catastrophes strangely failed to make a dent in the armory
of the "cognoscenti" and their media spokespeople. And it is not so
widely known that Madame M has encountered more stage catastrophes
since then. For those not "in the know", Madame M is said to be the
Bastard Child of the Incestuous Union of the Twins Callas and Heiman,
now all grown and matured into a very 'Rare Opera' singer complete
with numerous fancifully edited recordings to her name. No matter.
4. Many of us have heard naXos' Caruso edition (not that the
long-deceased tenor is remotely a Heiman discovery/original). We
wonder what Mr. Heiman's authoritative producers and editors (and his
Public Relationists) would have made of the great man today for
violating at least a couple of standards of sound conduct:
throat-clearing smack in the middle of a take and a glaring false
entry at the beginning of another? And what of the poor pianist?
Good God.
----------------------------
Considering the Grand Meltdown (not lacking the "Grand
Manner" you like) of new opera recordings on Compact Disc from the
Universal
Classics family of labels (DGG, DECCA, Philips)....and now apparently
EMI Classics too....let us take a long and hard (just as you like it,
in fact) look at the following
inventory ---
* Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
Marin, Lucifer Classics
* Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
Gardiner, Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado,
Lucifer Classics
* Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado,
Lucifer Classics VHS
* Title role in Rossini's Semiramide, rec 7/92, London SO, Marin,
Lucifer Classics
* Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of Europe,
Abbado, Lucifer Classics
* Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
Sinopoli, Lucifer Classics
* Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine,
Lucifer Classics
* Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
Levine, Lucifer Classics
* Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung,
Lucifer Classics
* Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli,
Lucifer Classics
* Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli,
Lucifer Classics
* Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
Berlin, Sinopoli, Lucifer Classics
* Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
Levine, Lucifer Classics
* Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano,
Lucifer Classics
* Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson, Lucifer
Classics
* Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson,
Lucifer Classics
* Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti,
Lucifer Classics
* Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
Symphony, Weil, Lucifer Classics
* Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
Marriner, Lucifer Classics
* Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
Staatskapelle, Tate, Lucifer Classics
* Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
Abbado, Lucifer Classics
* Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht,
Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
Sawallisch, Lucifer Classics
* Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado,
Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
RSO, Sawallisch, Lucifer Classics
* Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
Solti, Lucifer Classics
* Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes,
Lucifer Classics
* Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti, Lucifer
Classics
* Odabella in Verdi's Attila, rec 6/90, La Scala, Muti, Lucifer
Classics Video
* Elena in Verdi's Vespri Siciliani, rec 12/89-1/90, La Scala, Muti,
Lucifer Classics (also on VHS & DVD)
* Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch,
Lucifer Classics
* Elsa in Wagner's Lohengrin (from Bayreuth), rec 6/90, Bayreuth,
Schneider, Lucifer Classics (also on VHS)
* Elsa in Wagner's Lohengrin (from Vienna), rec '90, Vienna PO,
Abbado, Lucifer Classics VHS & DVD
* Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
Sawallisch, Lucifer Classics
* Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
Janowski, Lucifer Classics
* Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink,
Lucifer Classics
* Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
Albrecht, Lucifer Classics
* Coloratura Arias by Bellini (Sonnambula/Norma), Verdi
(Traviata/Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini
(Barbiere/Semiramide), rec 4/89, Munich RSO, Ferro, Lucifer Classics
* Mozart Arias
(Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/Clemenza/Cosi), rec
9/89, ASMF, Marriner, Lucifer Classics
* R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli, Lucifer
Classics
* Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate, Lucifer Classics
* Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec 12/93,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado,
Lucifer Classics HS & DVD
* Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
Garden, Barker, Lucifer Classics
* Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/Poulenc/Bernstein/Bruch),
rec 3/91, London SO, Marin, Lucifer Classics
* Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
Quartet,
Lucifer Classics
* Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine, Lucifer
Classics
* Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
Berlin PO, Abbado, Lucifer Classics (also on VHS)
* Brahms' German Requiem, rec 10/92, Berlin PO, Abbado, Lucifer
Classics
* Schubert Lieder, rec 1/90, Gage, Lucifer Classics
* Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage,
Lucifer Classics
* Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli, Lucifer
Classics
* Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado, Lucifer
Classics
* Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli,
Lucifer Classics
* Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado, Lucifer
Classics
* Verdi's Requiem, rec 6/87, La Scala, Muti, Lucifer Classics
* Verdi's Requiem, rec 11/91, Vienna PO, Abbado, Lucifer Classics
* Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti,
Lucifer Classics
* Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
Society, Oliver, Lucifer Classics
* Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez, Lucifer
Classics
* von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht,
Lucifer Classics
* R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
Creed, Lucifer Classics
"L-A  Ú-L-T-I-M-A..........que ríe, ríe mejor."
Bravissima Cheryl Studer, verlorene Tochter.  Very beautifully and
exquisitely done.  A most wonderful, exemplary, and unforgettable
legacy, a legacy of  e-x-c-e-p-t-i-o-n-a-l  q-u-a-l-i-t-y  a-n-d
d-i-s-t-i-n-c-t-i-o-n --- the work of a consummate artist.  Thank you.
Thank you for Dedication, Seriousness, and Integrity.  Thank you for
remaining True to your self, to the artform, and to  m-u-s-i-c.  Good
Music.  Thank you for a Universe of Sound and Texture and Expression
a-l-l  o-f  y-o-u-r  o-w-n.  Thank you for  g-e-n-e-r-o-s-i-t-y.
Thank you for  H-i-g-h  I-n-d-i-v-i-d-u-a-l-i-t-y.
And thank you too, Universal, EMI and Sony, for having had the
foreskin (er, foresight) to recognize and capture genius in our midst
(now that these dinosaurs' [delusional] populist causes, causes
palatable to the
Anglocentric and their Axes (oh irony!) Of Love, have caused them to
trim....ouch....their future....for that squeaky clean look and
sound....and potent-ial self-extinction).
----------------------------
And now, a little something to ponder about ---
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
A HARPSICHORD GLISTENS AND TRIUMPHS
You and I, we know the climate is profoundly  d-e-g-e-n-e-r-a-t-e
 when a nobody of a harpsichordist and her twinklin' little instrument
command more respect and accolades and analysis from 'the chosen
people' (The Rake's Progress --
http://www.operajaponica.org/reviews/dvd/rake96dvd.htm
) than those
ass-igned a certain veteran soprano. Consider this shibboleth ---
http://www.operajaponica.org/reviews/dvd/aidaroh94dvd.htm
Verdi: AIDA
Reviewed by Michael Richter, 27 May 2002
Cast: Cheryl Studer (Aida), Luciana d'Intino (Amneris), Dennis O'Neill
(Radames), Alexandru Agache (Amonasro), Robert Lloyd (Ramfis), Mark
Beesley (Il Re), John Marsden (Messenger), Yvonne Barclay
(Sacerdotta), Chorus & Orchestra of the Royal Opera House, Covent
Garden, Sir Edward Downes (conductor). Elijah Moshinsky (director)
Thus spoke our Mickey Mouse hero:
{{One can now prove that it is possible to make a performance of Aida
dull. Singing and conducting are altogether competent, but the only
elements of this release which enliven the work are those of the
production - and they are more often confusing or distracting than
constructive. Lloyd infuses some life into his character, but Beesley
is both vocally and dramatically subpar. D'Intino has some moments of
expression but they are not those most needed; the opening scene of
Act IV, for example, is flaccid. Studer, O'Neill and Agache sing all
the notes and none of the music. Many points in the score are marked
'a piacere', but the pleasure of the artists appears to be to do
nothing at all. The effect is altogether colorless - a grey and
pointless recitation of one of the most vibrant scores in opera.}}
"Things got pretty rough at the last Philharmonic concert. A bitter
battle broke out over Liszt's 'Mephisto Waltz.' It was the standees
and a part of the gallery, resolved to give their all, against the
parterre, the mountain against the marsh. On the one side we had
youth, intelligence, idealism, good judgement, enthusiasm and
conviction; on the other dullness, frivolity, debility, ignorance,
arrogance, materialism. Such were the contending forces.
There was a lot of applause, but a lot of hissing, too. Since, as we
all know, these Semitic hissing sounds traditionally served the
'chosen people' as shibboleth in combat with their neighbors, it was
not hard to determine who it was that so emphatically proclaimed both
their dissent and their identity. Indeed, these 'chosen people'
habitually make a great show of their exquisite taste. They are always
ready to recognize in Beethoven a good composer. And yet there are
those who see nothing heroic in the courage of such convictions. What,
then, can we call courageous? Let it pass. These excellent and
generous souls will surely enrich the National Guard with a doughty
legion of tailors, and thus be of service to the state. You can take
an oath on that.
To take seriously the ludicrous behavior of these worthy parterre
subscribers toward the works of a genius such as Liszt would be like
punishing children's bad manners with the rack. We are not so cruel.
But it is well to look for what it is that causes the public to behave
like an ill-mannered child and to think like a well-groomed cad. How
is it, we ask, that Liszt's compositions are rejected by the majority
of our degenerate public? The answer is made uncommonly easy for me,
since it is contained in the question. But then why, someone could
object, do Beethoven, Mozart, Haydn, etc., appeal to this same
degenerate public? The objection is so banal, the answer so obvious,
that any blockhead could handle it easily. But should someone choose
to ask me what I mean by degenerate public, I accept the challenge
gladly, and am ready with the answer: a degenerate public is one that
is content to be the ward of a degenerate press.
It is a public of newspaper readers. That is the source of all other
evils. That is the source of the thoughtlessness, frivolity,
dependence, distraction, insensibility and, above all, the bias
against those works condemned to death by the press. If this were an
ingenuous public, it would not tolerate for another day the shameful
chains it now fastens to itself voluntarily. But the habit of
cud-chewing has already become too delightful to permit the slightest
effort to use one's own teeth. Thus, this public receives its
impression of a work of art not directly, but from the review in the
newspaper, to be had in concrete form for a patent. Go then to the
apothecary, and buy yourselves some nux vomica or some other purgative
if you want to have an impression. The effect remains essentially the
same, and you spare yourselves the price of the ticket. And so a
public, the despicable tool of a despicable press, will pass judgement
on the works of a genius! A sluggardly mob that enters the concert
hall as if it were a toy store, reduces the noblest possessions of
mankind to idle diversions, and then, if that is not satisfactory,
arrogantly turns its back on the work of art and ceremoniously
hisses...fie, fie, and once again fie!!!
Given such circumstances, it is hardly surprising that Liszt's
original compositions have excited a lively 'for' and 'against'
whenever they have been played in Vienna. This time the applause from
the standees was still far from constituting a demonstration when a
few hot headed Philistines signalled, stupidly enough, the shibboleth.
That was pouring oil on fire. The applause grew louder, and rightly
so, since it was directed no less at the splendid accomplishment of
the orchestra and its conductor, Hans Richter, than at the work
itself. And did not the wonderful performance of this Lisztian
composition merit the most extravagant praise? What did Liszt's
admirers do to excite the drowsy parterre to a counter-demonstration?
They were simply giving due honor to service rendered."
Hugo Wolf
Vienna, 25 April 1886
----------------------------
M-U-S-I-C OF THE FUTURE
Berg, Alban / Wozzeck / Marie
Cajkovskij, Pëtr Il'ic / Evgenij Onegin / Tatjana
Mozart, Wolfgang Amadeus / Così fan tutte / Fiordiligi
Mozart, Wolfgang Amadeus / Don Giovanni / Donna Elvira
Puccini, Giacomo / Manon Lescaut / Manon Lescaut
Puccini, Giacomo / Tosca / Tosca
Strauss, Richard / Capriccio / Gräfin
Strauss, Richard / Salome / Salome
Verdi, Giuseppe / Ballo in Maschera, Un / Amelia
Verdi, Giuseppe / Don Carlo / Elisabetta
MORE M-U-S-I-C....REDIVIVUS
Beethoven, Ludwig van / Fidelio / Leonore
Lehár, Franz / Lustige Witwe, Die / Hanna Glawari
Mozart, Wolfgang Amadeus / Idomeneo / Elettra
Mozart, Wolfgang Amadeus / Nozze di Figaro, Le / Contessa d'Almaviva
Strauss, Richard / Elektra / Chrysothemis
Verdi, Giuseppe / Aida / Aida
Verdi, Giuseppe / Otello / Desdemona
Wagner, Richard / Meistersinger von Nürnberg / Eva
AND YET MORE M-U-S-I-C
Strauss, Richard / Arabella / Arabella
Strauss, Richard / Ariadne auf Naxos / Primadonna/Ariadne
Strauss, Richard / Frau ohne Schatten, Die / Kaiserin
Strauss, Richard / Rosenkavalier, Der / Marschallin
Wagner, Richard / fliegende Holländer, Der / Senta
Wagner, Richard / Lohengrin / Elsa von Brabant
Wagner, Richard / Tannhäuser / Elisabeth
Wagner, Richard / Walküre, Die / Sieglinde
----------------------------
"The dangers of life
are infinite
And safety is among them."
--- Goethe


title: U.S. EXPELS the JEWS and the MOORS

author: Skip

text:
<
cherrystr...@yahoo.com
> wrote:
<visit my site please, I am deperate for K9 and other farm animals.
<listen to my recordings of the boring cherry strudel, watch how she has sex
<with Rabbi's during the high holy days.
<my site is
http://profiles.yahoo.com/pineiro_gabriel
<Aida with Cherry Strudel is the worst recording of this opera, boring as
<hell, cherry doesn't have a clue as to what is going on...


title: U.S. EXPELS the JEWS and the MOORS

author: Valfer

text:
Spain did, in 1492.  A little more than a century later, it had gone
from being Europe's richest and most powerful country to one of the
poorest.
BTW, I take pleasure in deleting your posts.
Valfer


title: Paganini in salsa Shoji

author: sunbather

text:
Qualcuno ha visto il concerto per violino n. 1 di Paganini,
stanotte? (sob!). La violinista, Sayaka Shoji, mi è parsa
bravissima, voi che ne dite? Orchestra di S. Cecilia diretta da
Pappano.
.
.
.
.
.
.
.
.
--
Postato da Alice Newsgroup: lo usi da web ma con le funzioni del newsreader
http://newsgroup.alice.it
Gerarchie it, italia, it-alt, tin, it.binari. Unico!


title: Paganini in salsa Shoji

author: EmilimE

text:
"sunbather" <
sunb...@virgilio.it
> ha scritto nel messaggio
news:5760231.1184336390293.JavaMail.newsgroup@sc-ng-1...
> Qualcuno ha visto il concerto per violino n. 1 di Paganini,
> stanotte? (sob!). La violinista, Sayaka Shoji, mi è parsa
> bravissima, voi che ne dite? Orchestra di S. Cecilia diretta da
> Pappano.
Non ho visto il concerto di stanotte, ma mi ricordo un concerto della Sohji
un po' di anni fa (a seguito della sua vittoria al Paganini). Era in duo, e
oltre a cose da virtuosa violinista virtuosa mi ricordo che mi era parsa
particolarmente matura come interprete e intelligentemente "cameristica" in
due sonate di Beethoven e Brahms.



title: Paganini in salsa Shoji

author: Il Moro

text:
sunbather ha scritto:
> voi che ne dite?
Impressionante! al di là del virtuosismo richiesto della partitura, e
che lei profondeva con naturalezza, lasciavano sbalorditi la musicalità,
la qualità del suono, la nobiltà dei fraseggi... Come se non bastasse è
anche una bellissima ragazza, minuta e graziosa... Il violino in mano
sua sembrava una viola... :-)
Ciao,
Il Moro


title: Paganini in salsa Shoji

text:
Il Moro ha scritto:
> il virtuosismo richiesto della partitura, e
> che lei profondeva con naturalezza
Infatti, anche a me ha colpito con piacere la tranquillità
divertita con la quale suonava.



title: Abbado torna alla Scala!

author: Erewhon

text:
`·.¸¸.·´¯`·.¸.·´¯`·...¸><((((º>
:-)
Ciao,
Fabio
--
http://stage.vitaminic.it/fabio_rizza


title: Abbado torna alla Scala!

author: Andrea Solari

text:
Certo, ne sono sicuro :-)
E Muti ne diventa l'assistente...
                                Andrea
-----= Posted via Newsfeeds.Com, Uncensored Usenet News =-----
http://www.newsfeeds.com
 - The #1 Newsgroup Service in the World!
-----==  Over 80,000 Newsgroups - 16 Different Servers! =-----


title: Abbado torna alla Scala!

author: Hegel

text:
"Erewhon" <
ere...@inwind.it
> ha scritto nel messaggio
news:a89r2e$ra8$1...@lacerta.tiscalinet.it...
>
>
>
> `·.¸¸.·´¯`·.¸.·´¯`·...¸><((((º>
>
>
Lo ammetto,
mi hai fatto venire un colpo.
E non solo a me!
Ciao :-)
Hegel


title: Abbado torna alla Scala!

author: Ale Redfiddler

text:
"Erewhon" <
ere...@inwind.it
> ha scritto nel messaggio
news:a89r2e$ra8$1...@lacerta.tiscalinet.it...
>
>
>
> `·.¸¸.·´¯`·.¸.·´¯`·...¸><((((º>
evviva!


title: piaciuto il concerto?

author: fathermckenzie

text:
A me il Bolero ababstanza, e anche la forza del destino (ho aperto
tardi). Oren lo ricordavo giovane e più secco (l'avevo visto venti e
passa anni fa a Napoli) ma abbastanza in palla. Come vi pare l'orch del
teatro Verdi di SA? - anche quella sentita ai tempi dei tompi, con altri
esecutori
--
Oudépote anégnote en taîs grafaîs, líthon hòn apedokímasan hoi
oikodomoûntes hoûtos egenéthe eis kefalèn gonías: parà Kuríou egéneto
haúte, kaì éstin thaumastè en ofthalmoîs hemôn? (Mt 21:42)


title: piaciuto il concerto?

text:
On 18 Dic, 13:24, fathermckenzie <
james.leopard_da0@meno_infinito.it
>
wrote:
> A me il Bolero ababstanza, e anche la forza del destino (ho aperto
> tardi).

Io invece ho impostato male la registrazione e sono rimasto col Bolero
a metà, che non è una bella cosa a prescindere dal livello
dell'esecuzione.

Volevo piuttosto far notare l'allucinante mancanza di sincronismo tra
la presentazione (?) di Baudo e le musiche, il cui inizio mi pare sia
stato sempre coperto dalle parole, o viceversa (alla fine però col
Bolero ce l'ha fatta).
Saluti,

Mauro


title: Monteverdi integrale madrigali Longhini Naxos

text:
Chi ha già sentito i primi dischi?
Come vi sembrano con Longhini e Delitae Musicae?
Alla FNAC di Verona non sono arrivati ma (dicono) arriveranno, gli altri
posti (Ricordi e Dischi Volanti in via Fama) sono troppo affamati o
completamente sforniti (Naxos non sanno cos'è).
Visti i strepitosi precedenti di questa compagine, prevedo bellissime
esecuzioni...   O.O


title: per comprare un biglietto del Tristano...

author: Fürsten Saurau

text:
...a prezzo modico, max 70 euri, che bisogna fare??
saurau


author: Erg Frast

text:
"Fürsten Saurau" <
Hochgo...@bernhard.at
> ha scritto nel messaggio
news:477acdfc$0$17943$4faf...@reader1.news.tin.it...
> ...a prezzo modico, max 70 euri, che bisogna fare??
>
> saurau
>
>
Uccidere re Marke
EF


author: dimitri

text:
Oh, gente, avete letto cosa ha scritto Fürsten Saurau?
> ...a prezzo modico, max 70 euri, che bisogna fare??
>
> saurau
comprare il cd che almeno dura per sempre...
D.


author: Giampaolo Lomi

text:
Il Sat, 5 Jan 2008 08:37:38 +0100, "dimitri" <
da...@gnhjio.it
> ha
scritto:
>Oh, gente, avete letto cosa ha scritto Fürsten Saurau?
>> ...a prezzo modico, max 70 euri, che bisogna fare??
Chiamarli "EURO", come si deve fare in lingua italiana e come si
insegna fin dalla terza elementare. Così...ti sembrano meno e li
spendi più volentieri


title: L'OPERETTA : QUESTA SCONOSCIUTA

author: Cesare Simonetti

text:
Non si parla mai di Operetta.
Io, che di Opera mastico ben poco ( sigh !) ne conosco dei brani
sparsi, qua e la', e solo una volta, mille anni fa, vidi La Vedova
Allegra.
E mi piacque.
Come va considerata l'Operetta, una degenerazione dell'Opera oppure ha
una sua valenza specifica ?
Vale la pena parlarne o lasciamo perdere ?
Cesare Simonetti
GENOVA PROFONDA


title: L'OPERETTA : QUESTA SCONOSCIUTA

text:
In article <
394d3af4...@news.split.it
>,

hal...@split.it
 (Cesare Simonetti ) wrote:
>Non si parla mai di Operetta.
Va' a dormire!
F.to
Epaminonda
Sent via Deja.com
http://www.deja.com/
Before you buy.


title: L'OPERETTA : QUESTA SCONOSCIUTA

author: Pietro Puca

text:
Cesare Simonetti <
hal...@split.it
> wrote in message
394d3af4...@news.split.it...
>
>
> Non si parla mai di Operetta.
>
> Io, che di Opera mastico ben poco ( sigh !) ne conosco dei brani
> sparsi, qua e la', e solo una volta, mille anni fa, vidi La Vedova
> Allegra.
Ma tu non hai 114 anni?
Per il resto, quale degenerzione dell'opera, l'operetta è un genere autonomo
nato dagli influssi della "farsa" e dell'opera comique" che poi ebbe vita
separata e diede luce a capolavori immensi.
Hai ragione non se ne parla poco.
Ma figurati.
Vai a parlare bene di Muti che dirige la serissima Messa in si minore e
tutti i corvacci con le cappe nere, peggio dei preti dell'inquisizione ti
danno addosso, e tu vuoi parlare di operetta?
Sei pazzo.
Ad ogni modo sappi che la mia preferiuta è l'Orfeo all'Inferno di Offenbach,
non me ne vergogno e se qualcuno ne vuole parlare...a disposizione.
Pietro.


title: L'OPERETTA : QUESTA SCONOSCIUTA

author: dr. Albert d'O***

text:
Cesare Simonetti wrote:
> Non si parla mai di Operetta.
E neppure di Musical !
> Io, che di Opera mastico ben poco ( sigh !)
Buu !!!
E poi dici che sei Haendeliano...
TSK!!!
> ne conosco dei brani
> sparsi, qua e la', e solo una volta, mille anni fa, vidi La Vedova
> Allegra.
Gasp ! Vuol dire che non hai mai visto "al cavallino bianco" o "acqua
cheta" ?????
GASP
!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
> E mi piacque.
E ci mankava altro !
> Come va considerata l'Operetta, una degenerazione dell'Opera oppure ha
> una sua valenza specifica ?
Una deliziosa figliuola dell'opera buffa :)
> Vale la pena parlarne o lasciamo perdere ?
VALE !!!!
> Cesare Simonetti
> GENOVA PROFONDA
Alberto d'Onofrio
OPERA (MI) DA OPERETTA...


title: L'OPERETTA : QUESTA SCONOSCIUTA

text:
On Mon, 19 Jun 2000 05:58:53 GMT, "Pietro Puca" <
pu...@iol.it
> wrote:
>Ma tu non hai 114 anni?
Si, e qualche volta nutro ancora delle illusioni.
>
>Vai a parlare bene di Muti che dirige la serissima Messa in si minore e
>tutti i corvacci con le cappe nere, peggio dei preti dell'inquisizione ti
>danno addosso, e tu vuoi parlare di operetta?
E ' giusto : Muti e' il Berlusconi della musica, e va strenuamente
combattuto.
Comunque e a prescindere.
>Sei pazzo.
No.
Solo politicamente ( e musicalmente ) scorretto.
Figurati che abitualmente ascolto l'Op.6 di Haendel diretta da quel
pagliaccio di Karajan
Cesare Simonetti
GENOVA SENZA ILLUSIONI
>
>Pietro.
>
>
>
>


title: L'OPERETTA : QUESTA SCONOSCIUTA

text:
Cesare Simonetti <
hal...@split.it
> wrote in message
394dcc4...@news.split.it...
> On Mon, 19 Jun 2000 05:58:53 GMT, "Pietro Puca" <
pu...@iol.it
> wrote:
>
> E ' giusto : Muti e' il Berlusconi della musica, e va strenuamente
> combattuto.
Sante parole, in questa epoca di povertŕ di spirito e non solo di quello,
tutto ciň che rappresenta "opulenza" fosse solo in fatto di generositŕ nella
prospettazione di una esecuzione va combattuto.
Poi, sulla estetica in concreto di Muti, ovviamente, si puň sempre
discutere, come di ogni cosa.
Ma questo pregiudizio che aleggia come la puzza stagnante č assolutamente -
lasciamelo dire - vomitevole.
Pietro Puca
W l'operetta, a parte il fatto che anche Karajan ha egregiamente diretto le
operette.
Kakadu, La Genevieve de Brabant, La belle Elena etc...


title: L'OPERETTA : QUESTA SCONOSCIUTA

author: Pippo Aroffo

text:
Il Mon, 19 Jun 2000 05:58:53 GMT, in un eccesso di ebefrenia "Pietro
Puca" <
pu...@iol.it
> ha scritto:
>Sei pazzo.
>Ad ogni modo sappi che la mia preferiuta č l'Orfeo all'Inferno di Offenbach,
>non me ne vergogno e se qualcuno ne vuole parlare...a disposizione.
č l'unica che conosco ma la trovo stupenda, divertentissima ( e
ringrazio il cielo che sia in francese cosě posso seguirla senza
traduzione a fronte... purtroppo ne ho solo una copia su cassetta
(mamma mia quanto fruscio..:-(... in commercio ne ho visto solo una
(mi pare che sia con Terfel) quella della Deutsch...
Purtroppo non č bellissimo ascoltarla con tutto quel fruscio,
altrimenti ora la riascolterei (...cazzarola sono anche senza
libreto...mo' lo cerco!)
Tu che versione hai???
Ciao ciao Pippo
ICQ#:35469747
"Oh my God!!!They killed Kenny!!!" "You bastards!!!"


title: L'OPERETTA : QUESTA SCONOSCIUTA

text:
Pippo Aroffo <
far...@tiscalinet.it
> wrote in message
bp0tkss8nbmv78g3p...@4ax.com...
> è l'unica che conosco ma la trovo stupenda, divertentissima ( e
> ringrazio il cielo che sia in francese così posso seguirla senza
> traduzione a fronte... purtroppo ne ho solo una copia su cassetta
> (mamma mia quanto fruscio..:-(... in commercio ne ho visto solo una
IO la vidi esattamente 11 anni fa al San Carlo, cantava, tra gli altri un
giovane e simpatico baritono che poi ho avuto il piacere di conoscere a casa
Lomi: Armando Ariostini, che impersonava Zeus, con un costume pieno di
muscolacci.
La scena, poi della mosca che seduce Euridice è un vero e proprio colpo
teatrale segioto poi dalla danza dei caabroni sguinzagliati da Plutone che
frattanto si è innamorato di Euridice e se l'è portato all'inferno.
La musica è ricca, viva piena, meravigliosa, stupenda.
Il secondo atto termina con una marcia capace di risvegliare i morti, tanto
è bella e frizzante.
Un'operetta che dietro quei ritmi e quell'aria apparentemente scanzonata
mette alla berlina il mondo di Napoleone III, e la Francia dell'epoca.
Il can can, poi, è una pagina geniale, sensazionale, quelle ballerine che
ondeggiano tenendo su le frange delle loro gonne, quanto dovevano essere
esplosive all'epoca.
Oggi noi che non ci stupiamo più di tanto di tutti i nudi che in modo
grossolano ci vengono sbattuti sotto gli occhi.
All'epoca...alla vista di Napoleone III: che potenza che doveva avere questo
omino: Offenbach, di cui oggi tutti i nasi arricciati ne bistrattano la
meravigliosa musica.
IO consiglio la meravigliosa edizione con la Dessay: libera, graziosa,
frizzante e graffiante.
UN necessario e lecito stacco tra l'austerità dei più temibili Bach diretti
dai più intransigenti maestri.
Ciao Ciao.
pietro Puca


title: L'OPERETTA : QUESTA SCONOSCIUTA

author: Fabrizio Miletto

text:
"Cesare Simonetti" <
hal...@split.it
> ha scritto nel messaggio
news:394d3af4...@news.split.it...
>
>
> Non si parla mai di Operetta.
>
> Io, che di Opera mastico ben poco ( sigh !) ne conosco dei brani
> sparsi, qua e la', e solo una volta, mille anni fa, vidi La Vedova
> Allegra.
>
> E mi piacque.
>
> Come va considerata l'Operetta, una degenerazione dell'Opera oppure ha
> una sua valenza specifica ?
>
> Vale la pena parlarne o lasciamo perdere ?
non ti preoccupare Nonnone.
io praticamente non conosco l'opera
e non mi hanno ancora fatto fuori.
Visto che hai 114 anni, io ne ho ancora
davanti 78...
Tissaferne


title: TELLURIDE JAZZ CELEBRATION '97!!!

author: Michael Carr

text:
Do you want to experience 'magical jazz' in the 'festival capital of the
Rockies' this Summer?
A place that Dizzy Gilespie says: "If this ain't paradise, then Heaven can
wait!"
Then, please visit the Telluride Jazz Celebration's web site at:
http://infozone.telluride.co.us/TellJazz.html
for a mystical adventure into the world of jazz!
Coming this Summer of 1997 (in August) on Planet Telluride!


title: Delusione Jpc.de

author: seamaster

text:
Salve a tutti,
dopo aver deciso cosa acquistare (grazie ai preziosi consigli di Vaz
Rodrigo) ho deciso di suddividere l'ordine in 2 parti in base al prezzo
ed alla disponibilità. Ho comprato, quindi, 5 cd su
ibs.it
 e 6 su
jpc.de
. Quelli di ibs dopa 4 giorni erano a casa mentre con jpc è
iniziato il calvario.
Il tutto ha inizio i primi di gennaio. Inizialmente ho preso 5 cd di
cui 2 non disponibili, immediatamente hanno scalato l'importo dal
credito disponibile della postepay anche se la transazione
(correttamente) non è avvenuta. In pratica avevo come saldo contabile
la cifra corretta mentre dal saldo disponibile mancava l'importo dei
cd. Dopo una settimana, visto che i cd non arrivavano ho deciso di
aggiungerne un altro. A questo punto mi sarei aspettato che avessero
impegnato solo il costo del sesto cd mentre, invece, hanno addebitato,
di nuovo, l'intero importo.
Visto che la carta è ricaricabile non ho così tanto credito, infatti
l'ho caricata per l'occasione, e jpc mi ha congelato l'ordine per
inadempienza. Ho mandato una mail per spiegare la situazione dicendo
che il primo impegno del credito si sarebbe annullato automaticamente
15 giorni dopo l'emissione quindi solo dopo una settimana.... li
pregavo quindi di aspettare tale tempo per effettuare il nuovo impegno
di spesa.
Effettivamente è avvenuto così però poi ho scoperto che nel frattempo
si erano venduti i cd che prima erano disponibili ed ora, nella
dettaglio visualizzavo che sarebbero stati disponibili in circa 2-3
settimane.
Dopo qualche giorno, senza che io lo richiedessi, vedo che mi hanno
spedito i 4 cd disponibili e mi hanno lasciato i 2 restanti in
backorder!
Partendo dal presupposto che tale comportamento mi risulta scorretto in
quanto mi fa pagare 2 spedizioni, dal mio punto di vista, per colpa
loro. E' vero che io ho aggiunto un cd al primo ordine ma loro si sono
venduti i cd che prima erano disponibili....
Comunque il 2 febbraio mi hanno inviato la prima parte dell'ordine che
a tutt'oggi ancora non si è vista. Quando dovrei iniziare a
preoccuparmi?
In realta già ho iniziato da lunedì scorso infatti giovedì gli ho
mandato una mail chiedendo info sul corriere utilizzato ed in quale
ordine di tempo venivano evase le loro spedizioni verso l'Italia ma non
mi hanno dato nemmeno uno straccio di risposta!
Da notare che il 2 febbraio, al momento della spedizione mi hanno
addebitato l'importo.
Ad oggi, uno dei 2 cd della seconda parte dell'ordine, risulta ancora
in "backorder".
Sarei tentato di annullare tutto.... di sicuro non riordinerò più nulla
da questo sito.
Voi che esperienze avete con loro? Sono sfigato o è la norma?
Mi devo preoccupare? E' normale così tanto tempo per una spedizione
dalla "Crucchia" oppure sono già stato ciulato e non me ne sono
accorto?
In questo caso cosa posso fare?
Scusate per la confusione ma non saprei come altro spiegare il tutto se
non con la cronaca degli eventi.... se vi siete persi non fa niente.
lol
Ciao a tutti
--
Seamaster


title: Delusione Jpc.de

author: Vaz Rodrigo

text:
On 16 Feb, 17:20, seamaster <distagon35TOGL...@LEVAMIgmail.com> wrote:
> Salve a tutti,
> dopo aver deciso cosa acquistare (grazie ai preziosi consigli di Vaz
> Rodrigo)
Ahio.
Sono co-colpevole. :)
> Comunque il 2 febbraio mi hanno inviato la prima parte dell'ordine che
> a tutt'oggi ancora non si è vista. Quando dovrei iniziare a
> preoccuparmi?
> In realta già ho iniziato da lunedì scorso infatti giovedì gli ho
> mandato una mail chiedendo info sul corriere utilizzato ed in quale
> ordine di tempo venivano evase le loro spedizioni verso l'Italia ma non
> mi hanno dato nemmeno uno straccio di risposta!
Arrivano per posta, normalissima posta.
> Da notare che il 2 febbraio, al momento della spedizione mi hanno
> addebitato l'importo.
> Ad oggi, uno dei 2 cd della seconda parte dell'ordine, risulta ancora
> in "backorder".
> Sarei tentato di annullare tutto.... di sicuro non riordinerò più nulla
> da questo sito.
> Voi che esperienze avete con loro? Sono sfigato o è la norma?
La prima che hai detto, direi.
La cosa più "grossa" che finora mi abbiano fatto è stata la spedizione
di un cofanetto al posto di un altro.
In quel caso, non ho detto nulla perché comunque si trattava di un
prodotto che comunque mi interessava, nonché per il fatto che mi è
stato fatto pagare come quello che avevo ordinato, mentre in realtà
sarebbe costato di più... :))
No, a parte questo non so che dirti, visto che apparentemente hai
fatto tutto il fattibile.
Una volta che avevo dubbi sulla spedizione io ho scritto loro una mail
con il loro form, citando precisamente il mio numero d'ordine e i
relativi numeri di catalogo degli articoli che avevo richiesto. La
risposta l'ho ricevuta dopo qualche ora, ed era di rassicurazioni.
Infatti poi mi arrivò tutto. A parte un ordine fatto sotto Natale,
nulla ha aspettato più di 5 giorni al massimo prima di entrare nelle
mie grinfie. C'è anche da dire che non ho mai ordinato insieme dischi
"in stock" e dischi non disponibili subito. Mi avevano detto, e te
l'avevo anche riferito, che jpc aveva qualche macchinosità a gestire
questo tipo di ordini, e ne ho avuto la conferma dal tuo racconto. Se
mai mi capiterà di ordinare roba "da aspettare", non lo farò "in
compagnia" di articoli "am lager".
Inoltre io, pur avendo una vecchia postepay, non l'ho mai usata qui: è
un mezzo di pagamento che considero inaffidabile e macchinoso,
soprattutto se dentro non ci sono abbastanza soldi. Con la postepay
non faccio acquisti dal 2006, e non la rimpiango per nulla. Uso la mia
normale cartasì, che ha pure un programma di protezione per i
malfidenti. Mai subito una sola truffa.


title: Delusione Jpc.de

text:
Ciao
> Ahio.
> Sono co-colpevole. :)
ma ci mancherebbe altro..... ad averne di persone così gentili e
disponibili
> Arrivano per posta, normalissima posta.
come temevo :'(
> La prima che hai detto, direi.
come sempre ...
> La cosa più "grossa" che finora mi abbiano fatto è stata la spedizione
> di un cofanetto al posto di un altro.
> In quel caso, non ho detto nulla perché comunque si trattava di un
> prodotto che comunque mi interessava, nonché per il fatto che mi è
> stato fatto pagare come quello che avevo ordinato, mentre in realtà
> sarebbe costato di più... :))
si, questa storia la lessi tempo fa quando successe!
> No, a parte questo non so che dirti, visto che apparentemente hai
> fatto tutto il fattibile.
> Una volta che avevo dubbi sulla spedizione io ho scritto loro una mail
> con il loro form, citando precisamente il mio numero d'ordine e i
> relativi numeri di catalogo degli articoli che avevo richiesto. La
> risposta l'ho ricevuta dopo qualche ora, ed era di rassicurazioni.
> Infatti poi mi arrivò tutto. A parte un ordine fatto sotto Natale,
> nulla ha aspettato più di 5 giorni al massimo prima di entrare nelle
> mie grinfie.
quindi le mie preoccupazione si infittiscono sempre di più! stasera
riscriverò di nuovo ma cosa posso chiedergli oltre a quando hanno
spedito? Nelle condizioni (che ancora non ho letto) ci sarà sicuramente
scritto che il pacco viaggia a mio rischio e pericolo, vero?
> C'è anche da dire che non ho mai ordinato insieme dischi
> "in stock" e dischi non disponibili subito. Mi avevano detto, e te
> l'avevo anche riferito, che jpc aveva qualche macchinosità a gestire
> questo tipo di ordini, e ne ho avuto la conferma dal tuo racconto. Se
> mai mi capiterà di ordinare roba "da aspettare", non lo farò "in
> compagnia" di articoli "am lager".
Vero! Non avendo fretta mi sono detto: risparmio ed anche se aspetto 3
settimane non mi interessa ma..... ad oggi ho aspettato quasi 2 mesi,
non ho un cd ed in più mi hanno preso anche i soldi!
> Inoltre io, pur avendo una vecchia postepay, non l'ho mai usata qui: è
> un mezzo di pagamento che considero inaffidabile e macchinoso,
> soprattutto se dentro non ci sono abbastanza soldi. Con la postepay
> non faccio acquisti dal 2006, e non la rimpiango per nulla. Uso la mia
> normale cartasì, che ha pure un programma di protezione per i
> malfidenti. Mai subito una sola truffa.
Io la uso da molto tempo e non ho mai avuto il minimo problema...
secondo me il problema è la macchinosità di jpc. Se avessi fatto un
ordine secco non avrei avuto nessun intoppo.
Cmq tutto fa esperienza, speriamo che finisca tutto per il meglio.
Ciao e grazie
--
Seamaster


title: Delusione Jpc.de

text:
> Vero! Non avendo fretta mi sono detto: risparmio ed anche se aspetto 3
> settimane non mi interessa ma..... ad oggi ho aspettato quasi 2 mesi,
> non ho un cd ed in più mi hanno preso anche i soldi!
A me stanno arrivando in questi giorni cd ordinati da Play.com a
ottobre dell'anno scorso...
Saluti,
Mauro


title: Delusione Jpc.de

text:
Aggiornamento della situazione!
Ci sono note positive e negative.
Ieri sera sono arrivato a casa ed ho trovato il pacchetto nella
cassetta delle lettere. Finalmente! Dalla Germania all'Italia 15
giorni.... lo davo per disperso.
A questo proposito viene la nota negativa. Dando per perso il plico
lunedì sera ho mandato la seconda mail chiedendo spiegazioni e, se non
che per educazione, almeno rispondessero. Ebbene non mi hanno degnato
nemmeno stavolta!
Aprendo il pacco, invece, ho avuto la buona notizia. Come dicevo nei
post precedenti, l'ordine mi era stato spezzato arbitrariamente da loro
e sulla fattura c'è una piccola nota dove mi informano che il residuo
dell'ordine verrà evaso senza addebitarmi ulteriori spese di
spedizione.
Alla fine dei conti potrò tirare una somma del servizio che mi hanno
offerto: per ora so che non rispondono alle mail, hanno dei buoni
prezzi, sono lunghissimi con le spedizioni ma costano meno della
concorrenza..... vedremo con il resto dell'ordine!
Piccola nota sul contenuto.
Ancora devo ascoltare tutto ma, ieri sera, ho visto un assaggino del
blueray del Rigoletto di Nucci: splendido! qualità video ed audio
STRATOSFERICA! E' una gioia vedere un Rigoletto così. Dalla parte
artistica posso dire, avendone visto solo alcuni piccoli tratti, che
Nucci E' Rigoletto! Grande interpretazione!
Sono stato piacevolmente colpito anche dagli interpreti di Gilda e dal
Duca che non conoscevo (ora non ricordo i nomi).
Un saluto a tutti
--
Seamaster


title: Delusione Jpc.de

text:
On 18 Feb, 07:19, seamaster <distagon35TOGL...@LEVAMIgmail.com> wrote:
> Aggiornamento della situazione!
> Ci sono note positive e negative.
> Ieri sera sono arrivato a casa ed ho trovato il pacchetto nella
> cassetta delle lettere. Finalmente! Dalla Germania all'Italia 15
> giorni.... lo davo per disperso.
> A questo proposito viene la nota negativa. Dando per perso il plico
> lunedì sera ho mandato la seconda mail chiedendo spiegazioni e, se non
> che per educazione, almeno rispondessero. Ebbene non mi hanno degnato
> nemmeno stavolta!
> Aprendo il pacco, invece, ho avuto la buona notizia. Come dicevo nei
> post precedenti, l'ordine mi era stato spezzato arbitrariamente da loro
> e sulla fattura c'è una piccola nota dove mi informano che il residuo
> dell'ordine verrà evaso senza addebitarmi ulteriori spese di
> spedizione.
Ecco, la risposta te l'hanno data qui.
Mai dare le cose per scontate!
Mai e poi mai ti avrebbero lasciato senza nessuna risposta.
> Alla fine dei conti potrò tirare una somma del servizio che mi hanno
> offerto: per ora so che non rispondono alle mail, hanno dei buoni
> prezzi, sono lunghissimi con le spedizioni ma costano meno della
> concorrenza..... vedremo con il resto dell'ordine!
Come ti dico, la mia esperienza è che alla mia email hanno risposto e
che tutto arriva subito... :)
Sui prezzi hai già detto tutto tu.
> Piccola nota sul contenuto.
Mi fai un sunto delle cose che hai preso, sia qui che su ibs?
Non mi ricordo più, mi sembra ci fosse la Sonnambula e il Rigoletto.


title: Delusione Jpc.de

text:
Scriveva Vaz Rodrigo mercoledì, 18/02/2009:
> Ecco, la risposta te l'hanno data qui.
> Mai dare le cose per scontate!
Vero, i presupposti, però, non erano dei migliori!
> Mai e poi mai ti avrebbero lasciato senza nessuna risposta.
Forse non mi sono spegato bene.... la risposta ancora non me l'hanno
data! Se come risposta intendi il fatto che il pacco sia arrivato non
mi trovi d'accordo. Quello è il loro dovere: io pagare e loro
spedire... il servizio lo valuto a partire da quello che ruota intorno
all'acquisto e rispondere alle mail che invio le reputo PROPRIO IL
MINIMO!
> Come ti dico, la mia esperienza è che alla mia email hanno risposto e
> che tutto arriva subito... :)
> Sui prezzi hai già detto tutto tu.
Sarò sfigato, che dire...
>> Piccola nota sul contenuto.
>
> Mi fai un sunto delle cose che hai preso, sia qui che su ibs?
> Non mi ricordo più, mi sembra ci fosse la Sonnambula e il Rigoletto.
ok. su ibs ho preso
http://www.ibs.it/disco/0028947756088/giuseppe-verdi-br-orchestra-del-teatro/rigoletto.html
http://www.ibs.it/disco/0028941426925/giuseppe-verdi-br-london-symphony-orchestra-/rigoletto.html
http://www.ibs.it/disco/0886973410226/giacomo-puccini-br-orchestra-dell-accademia-di/suor-angelica.html
http://www.ibs.it/disco/0028947765585/wolfgang-amadeus-mozart-br-wiener-philharmoniker-/le-nozze-di-figaro.html
http://www.ibs.it/disco/0028947810841/vincenzo-bellini-br-alessandro-de-marchi/la-sonnambula.html
su
jpc.de
 ho preso
https://www.jpc.de/jpcng/classic/detail/-/art/Gioacchino%20Rossini:%20Der%20Barbier%20von%20Sevilla/hnum/6829814
https://www.jpc.de/jpcng/classic/detail/-/art/Giuseppe%20Verdi:%20Rigoletto%20(Blu-ray)/hnum/8764869
https://www.jpc.de/jpcng/classic/detail/-/art/Pietro%20Mascagni:%20Cavalleria%20Rusticana/hnum/7845943
https://www.jpc.de/jpcng/classic/detail/-/art/Giacomo%20Puccini:%20La%20Boheme%20(Deluxe%20Edition)/hnum/7941011
mentre sto aspettando
https://www.jpc.de/jpcng/classic/detail/-/art/Giacomo%20Puccini:%20Tosca/hnum/5889891
https://www.jpc.de/jpcng/classic/detail/-/art/Wolfgang%20Amadeus%20Mozart:%20Die%20Hochzeit%20des%20Figaro/hnum/1037904
commenti?
ciao
--
Seamaster


title: Delusione Jpc.de

text:
On 18 Feb, 17:14, seamaster <distagon35TOGL...@LEVAMIgmail.com> wrote:
>
> commenti?
Solo a vedere i nomi dei cantanti che fiancheggiano Nucci nel
Rigoletto mi vengono i Brividi.
Polgar già vent'anni fa era pessimo, chissà come sarà adesso.


title: Delusione Jpc.de

text:
Ciao
> Solo a vedere i nomi dei cantanti che fiancheggiano Nucci nel
> Rigoletto mi vengono i Brividi.
> Polgar già vent'anni fa era pessimo, chissà come sarà adesso.
infatti non ne coscono nessuno ma, per quel poco che ho visto ieri
sera, non sono affatto male anzi....
Pogar interpreta Sparafucile.
Più che gli interpreti non mi è piaciuto molto Her Director e la Sua
orchestra....
--
Seamaster