title: NO BLOOD for a SANDBOX

author: CharlesHandelman

text:
"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 and dishonesty; 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
experience 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 whoever....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 but her contributions to Culture are
'consistent.'" - "The consensus that Madame Shorties could not really
sing Konstanze is questionable 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 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 (see "Maestros of the Pen: A History of Classical
Music Criticism in
America", 1998, by Mark N. Grant, and look up "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 nose of Middle Eastern provenance 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
fan von
Dohnanyis of the world (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 JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR A MERE SANDBOX
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
NO BLOOD FOR THE JOEY LIEBERMANS
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
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 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") 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, wholesale, them records [or
anything containing Cheryl Studer --- or, for that matter, any, and we
mean any, open 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, 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 ---
recorded statements from, for example and randomly, Danny Boy
Barenboim,
Zubin, Ozawa, Renée, Aprile [these days reduced - or is it enhanced? -
to
croon, pathetically, 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 so called "Grand
Manner") 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: Davide Cabassi in live streaming da Lugano

author: abc

text:
Venerdì 20 marzo, ore 20:30, Auditorio Stelio Molo RSI, Lugano

ORCHESTRA DELLA SVIZZERA ITALIANA

DIRETTORE
PHILIPPE BACH

SOLISTA
DAVIDE CABASSI PIANOFORTE

HANS HUBER 1852–1921
- Eine Lustspielouverture op. 50 (1878)

FERRUCCIO BUSONI 1866–1924
- Fantasia indiana per pianoforte e orchestra op. 44 B (1915)

JEAN SIBELIUS 1865–1957
- Sinfonia n. 3 in do maggiore op. 52 (1907)

Riprese video live:
http://www.rsi.ch/live-streaming/cultura/

Solo audio:
http://www.rsi.ch/live-radio/rete-due/


author: luzy reloaded

text:
Il giorno venerdì 20 marzo 2015 08:16:21 UTC+1, abc ha scritto:

>
> FERRUCCIO BUSONI 1866-1924
> - Fantasia indiana per pianoforte e orchestra op. 44 B (1915)
>

Cabassi dice (intervista) che è un gran pezzo. A me stanca, anche se lui suona bene e Busoni era un genio, e aveva la più bella mano da piano della storia.

A tutto Busoni preferisco Canope di Debussy
https://www.youtube.com/watch?v=YHbasmikaoc


title: Un motivo sconosciuto

author: Red Scharlach

text:
Ho sentito un motivo straordinariamente carino che non riesco a
identificare: qualcuno mi può dare un mano?
p'-do'>re'>mi'/ >fa'<mi">fa"<mi'<re'/ <do'<si">do"<si'<la'/
<sol'>la">si">do'>re">mi"/ >fa'>la'>re^/ p'<do'>re'>mi'/
>fa'<mi"<re">fa'<mi'/ ...
In questa notazione:
p stà per Pausa;
gli apici definiscono la durata:
" stà per 1 Sedicesimo;
' stà per 1 Ottavo;
^ stà per 1 Quarto;
 > indica che la nota sale rispetto alla precedente;
 < indica che la nota scende rispetto alla precedente;
/ è la stanghetta di battuta.
Inevitabilmente un sistema di notazione la cui spiegazione è lunga il
triplo del messaggio da decifrare suona un po' buffo... per la
prossima volta cercherò di congegnare qualcosa di meno astruso (i
suggerimenti sono bene accetti).
grazie


title: Poste italiane, topi di cassetta, perfida Albione ed encomiabile servizio clienti di Musicroom

author: daniel (Pennac, ovvio)

text:
Ciao a tutti (ma proprio a tutti),
faccio un po' di spamming al sito inglese in oggetto (Musicroom),
perchè se lo merita! L'undici giugno avevano spedito l'ordine che
avevo fatto presso di loro, ed ancora oggi non c'è traccia del pacco
(in genere gli ordini arrivano in una settimana), avvisati
telefonicamente hanno provveduto a rispedirmelo (senza alcun addebito)
scusandosi per l'inconveniente (di cui non sono colpevoli), pregandomi
solo di avvisarli dell'arrivo nuovo pacco e nel caso in cui arrivi il
disperso di farglielo riavere indietro.
Credete possibile che qualcuno si possa essere appropriato (dato che
il plico viaggia con posta erea e viene messo nella cassetta delle
lettere) dei seguenti spartiti:
Beethoven: Symphony No.6 In F Major, Op.68 'pastorale' (Dover
miniatures); P.I. Tchaikovsky: The Seasons And Other Works For Solo
Piano; Operatic Anthology Volume I: Soprano; The Oratorio Anthology -
Soprano? A me sembra un'ipotesi piuttosto remota!!!!
Emanuele (figlio) e Chiara (mamma)
Dato che è lui Il padrone del computer...
ed il puzzone (Jocker)


author: Marco Marcelli

text:
Il 02 Lug 2004, 13:03, "daniel (Pennac, ovvio)"
<m_ra...@NOSPAMhotmail.com> ha scritto:
> Credete possibile che qualcuno si possa essere appropriato (dato che
> il plico viaggia con posta erea e viene messo nella cassetta delle
> lettere) dei seguenti spartiti:
Perche' no?
Prima di accorgersi che si tratta di cartaccia (per loro) hanno ben dovuto
rubare il plico!
M
--------------------------------
Inviato via
http://arianna.libero.it/usenet/


author: Filosseno di Leucade

text:
"daniel (Pennac, ovvio)" <m_ra...@NOSPAMhotmail.com> ha scritto nel
messaggio
> Credete possibile che qualcuno si possa essere appropriato (dato che
> il plico viaggia con posta erea e viene messo nella cassetta delle
> lettere) dei seguenti spartiti:
> Beethoven: Symphony No.6 In F Major, Op.68 'pastorale' (Dover
> miniatures); P.I. Tchaikovsky: The Seasons And Other Works For Solo
> Piano; Operatic Anthology Volume I: Soprano; The Oratorio Anthology -
> Soprano? A me sembra un'ipotesi piuttosto remota!!!!
Non c'č da stupirsi di niente.
FdL


text:


 Invece c'č da stupirsi del fatto che il pacco č arrivato oggi  :
)))))) (da notare che era stao spedito il 10 giugno)!!!!probabilmente
ci sono stati dei problemi in relazione al peso!! Sono proprio
felice!!!!!
Emanuele (figlio) e Chiara (mamma)
Dato che č lui Il padrone del computer...
ed il puzzone (Jocker)


text:
On Fri, 02 Jul 2004 12:23:19 GMT,
marco_m...@ELIMINAMI.libero.it
(Marco Marcelli) wrote:
>Il 02 Lug 2004, 13:03, "daniel (Pennac, ovvio)"
><m_ra...@NOSPAMhotmail.com> ha scritto:
>
>
>> Credete possibile che qualcuno si possa essere appropriato (dato che
>> il plico viaggia con posta erea e viene messo nella cassetta delle
>> lettere) dei seguenti spartiti:
>
>
>
>Perche' no?
>Prima di accorgersi che si tratta di cartaccia (per loro) hanno ben dovuto
>rubare il plico!
>
>M
Pensa oggi mi è arrivato il pacco!!!!! probabilmente ha avuto problemi
perchè troppo pesante per viaggiare con la posta ordinaria qui in
Italia!



title: Haydn a chi piace?

author: p 7 d d NaObScPdA@meeyahoo.it pp7dd

text: Cosa ne pensate di Haydn giovane?.l.?


title: Haydn a chi piace?

author: Veronica Medina

text:
"pp7dd" <p p 7 d d NaObScPdA@MeE y a h o o . i t> ha scritto nel messaggio
news:31ruqnF3...@individual.net...
> Cosa ne pensate di Haydn giovane?.l.?
A me, solo che volevo strozzarti quando ti sei messo a fare quei paragoni
con Mozart.....    grrrrrrr!!
:)
V


title: Haydn a chi piace?

author: Belial

text:
On Thu, 9 Dec 2004 18:45:20 +0100, "pp7dd" <p p 7 d d NaObScPdA@MeE y
a h o o . i t> wrote:
>Cosa ne pensate di Haydn giovane?.l.?
che poi per fortuna è cresciuto


title: Haydn a chi piace?

author: Danny Rose

text:
Belial <
bel...@musician.org
> wrote in message
smihr05qrucml9mts...@4ax.com...
> che poi per fortuna č cresciuto
Questa te la passo.
dR


title: Haydn a chi piace?

text:
"Belial" <
bel...@musician.org
> ha scritto nel messaggio
news:smihr05qrucml9mts...@4ax.com...
> "pp7dd"
> >Cosa ne pensate di Haydn giovane?.l.?
> che poi per fortuna č cresciuto
Le sinfonie giovanili sono proprio belle e diverse da quelle londinesi, qui
e la un pochetto esagerate.l.e


title: Haydn a chi piace?

text:
"Veronica Medina" <
v.medina...@tin.it
> ha scritto nel messaggio
news:AP3ud.274601$b5.13...@news3.tin.it...
> "pp7dd"
> > Cosa ne pensate di Haydn giovane?.l.?
> A me, solo che volevo strozzarti quando ti sei messo a fare quei paragoni
> con Mozart.....    grrrrrrr!!
Comunque Haydn ma anche tanti altri altri hanno un non so che di umanitŕ in
piů per me, non saprei spiegare cosa e come tanto bene, ecco sono piů
affabili e meno astratti, mi sembrano piů terreni.l.i
P.S. il Requiem di Mozart, la n.40 la Linz, le Nozze di Figaro, le
cassazioni, e varie altre serenate, di Mozart non me le tocca nessuno
(troppo belle), certo altre cose non le digerisco tanto bene, Mozart per me
č un po' come Bach e talvolta Vivaldi, tanto entusiasmo e altre cose proprio
no


title: Haydn a chi piace?

author: Giuseppe

text:
"pp7dd" <p p 7 d d NaObScPdA@MeE y a h o o . i t> ha scritto nel
messaggio news:31ruqnF3...@individual.net...
> Cosa ne pensate di Haydn giovane?.l.?
>
>
A me non piace molto, nè da giovane nè da vecchio:-))
G.


title: Haydn a chi piace?

text:
"pp7dd" <p p 7 d d NaObScPdA@MeE y a h o o . i t> ha scritto nel messaggio
> Cosa ne pensate di Haydn giovane?.l.?
E' fra i massimi, da giovane, nella maturità e da vecchio.
Filoxenus scripsit.
FdL


title: Haydn a chi piace?

author: <Levar>

text:
"pp7dd" <p p 7 d d NaObScPdA@MeE y a h o o . i t> ha scritto nel messaggio
news:31ruqnF3...@individual.net...
> Cosa ne pensate di Haydn giovane?.l.?
Più o meno la stessa cosa che penso di quello anziano :-)
Ciao


title: Haydn a chi piace?

author: dimitri

text:
nooooooo, ma è proprio pp7dd che ha scritto
> Cosa ne pensate di Haydn giovane?.l.?
beh... ora come ora non saprei dirti proprio proprio su haydn giovane, anche
perchè le sue opere, per quel che ne so, spesso sono di non facile
datazione; comunque se vogliamo parlare di Haydn prima di Londra (o prima di
Estheraza?) allora devo dire che a me piace parecchio (ma mi piace tutto
Haydn), certo che però quello della maturità (per intenderci delle Stagione
e della Creazione) è uno squarcio sul futuro; comunque lo trovo in tutte le
sue fasi meglio costruito, più elaborato rispetto a Mozart che sicuramente è
più di impatto, ma poi dopoun po' mi stufa; invece Haydn forse di primo
acchito può piacere un po' meno, ma se uno ci sta un po' attento ci trova un
mondo musicale strepitoso e vastissimo.
D.


title: il nuovo Luchesi

author: Ciccio Durante

text:
http://www.cbsnews.com/stories/2004/11/24/60minutes/main657713.shtml
ciao,
DonCiccio.


title: Equiem di verdi

author: no

text:
Rispetto alla prestazione precedente con Karaja, cosa notate di differenza?
http://www.youtube.com/watch?v=4JGwcXKCdYs


title: Equiem di verdi

author: insulaparva

text:
On Thu, 19 Jun 2008 16:26:14 +0200, "no" <
n...@norgilio.it
> wrote:
>Rispetto alla prestazione precedente con Karaja, cosa notate di differenza?
La perdita di una R


title: Equiem di verdi

text:
"insulaparva" <
insul...@email.it
> ha scritto nel messaggio
news:2ntk549ecgdhu1vha...@4ax.com...

Eh! Cosě poco?


title: Equiem di verdi

author: piero

text:
"insulaparva" <
insul...@email.it
> ha scritto nel messaggio
news:2ntk549ecgdhu1vha...@4ax.com...

E della n :-)


title: Equiem di verdi

author: Andrea N.

text:
"no" <
n...@norgilio.it
> ha scritto nel messaggio
news:485a6c84$0$35954$4faf...@reader2.news.tin.it...
> Rispetto alla prestazione precedente con Karaja, cosa notate di
> differenza?
>
http://www.youtube.com/watch?v=4JGwcXKCdYs
la tonalità?


title: Equiem di verdi

text:
"piero" <
pi...@piero.com
> ha scritto nel messaggio
news:485aa098$0$40304$4faf...@reader5.news.tin.it...

In Requiem non c'è la enne...
Ma veramente non trovate differenze?
>
>
>


title: Equiem di verdi

text:
"no" <
n...@norgilio.it
> ha scritto nel messaggio
news:485acfa4$0$18147$4faf...@reader3.news.tin.it...

Ma c'è con la k :-)


title: Equiem di verdi

text:
"Andrea N." <
conteandrea...@libero.it
> ha scritto nel messaggio
news:6bvtpvF...@mid.individual.net...

C'è un do diesis, mentre nell'altro fa un do naturale.
Ma probabilmente è questione di intonazione dell'audio?
Ma ci sono infinite differenze. Non credete?


title: Occorre essere dei capolavori

author: luziferszorn


title: Occorre essere dei capolavori

text:
On 4 Dic, 14:31, luziferszorn <
pan25...@gmail.com
> wrote:
>
http://www.youtube.com/watch?v=fAKsP5qcYWo
http://www.youtube.com/watch?v=_uCTYDrX5Rw#t=2m12s


title: OT (ma nemmeno poi tanto eh) - COMPLEANNO

author: Gian Luigi Zampieri .'.

text:
Dopo mesi di letargo, causati anche dal malfunzionamento della mia
connessione, me ne esco con questo messaggio:
Archeopteryx oggi compie gli anni!!!
Inizio io la giostra di auguri perchč gli voglio un gran bene ed č uno di
quei personaggi dei quali qui (ed altrove) non si potrebbe e non si deve
fare a meno.
Buon Compleanno!
Gigi


author: Simone Stella

text:
azz AUGURONIIII!!!!!
:-)
S
"Gian Luigi Zampieri .'." <
gianluig...@occupato.it
> ha scritto nel
messaggio news:MM0Oj.292306$%k.40...@twister2.libero.it...
> Dopo mesi di letargo, causati anche dal malfunzionamento della mia
> connessione, me ne esco con questo messaggio:
> Archeopteryx oggi compie gli anni!!!
> Inizio io la giostra di auguri perchè gli voglio un gran bene ed è uno di



text:
"Simone Stella" <
simone...@alicenelpaesedellemeraviglie.it
> ha scritto
nel messaggio news:48089c00$0$40217$4faf...@reader5.news.tin.it...
> azz AUGURONIIII!!!!!
>
> :-)
> S
EPPY BERDAI TU  IUUUUUUUUUUUUU!!!!!!!!
:)
V.


author: Marco Marcelli

text:
Gian Luigi Zampieri .'. ha scritto:
> Dopo mesi di letargo, causati anche dal malfunzionamento della mia
> connessione, me ne esco con questo messaggio:
> Archeopteryx oggi compie gli anni!!!
Auguri al pennuto preistorico!!!!!!!!!!
PS - Gigi, non ti sono fischiate tremendamente le orecchie, in queste
ultime settimane??????
M
--
questo articolo e` stato inviato via web dal servizio gratuito
http://www.newsland.it/news
 segnala gli abusi ad
ab...@newsland.it


text:
"Veronica Medina" <
v.me...@tin.it
> ha scritto nel messaggio
news:4808a2f6$0$35963$4faf...@reader2.news.tin.it...

cazzarola pensavo di essere io qua il più cane con l'inglese :-/
S


author: Gippe

text:
"Gian Luigi Zampieri .'." <
gianluig...@occupato.it
> ha scritto nel
messaggio news:MM0Oj.292306$%k.40...@twister2.libero.it...
> Dopo mesi di letargo, causati anche dal malfunzionamento della mia
> connessione, me ne esco con questo messaggio:
> Archeopteryx oggi compie gli anni!!!
> Inizio io la giostra di auguri perchè gli voglio un gran bene ed è uno di
> quei personaggi dei quali qui (ed altrove) non si potrebbe e non si deve
> fare a meno.
> Buon Compleanno!
> Gigi
Buon compleanno Archeopteryx, AUGURIIIII
Gippe


author: Fantasmina

text:
Simone Stella ha scritto:
> > EPPY BERDAI TU  IUUUUUUUUUUUUU!!!!!!!!
> > :)
> cazzarola pensavo di essere io qua il più cane
> con l'inglese :-/
ciaoooo simon star! ;)
Mi ritrovo un vecchio corso ad audiocassette
della De Agostini, se ti interessa te lo mando
aggratis (o free) ;)



author: mario r.p.

text:
> Archeopteryx oggi compie gli anni!!!
> Inizio io la giostra di auguri perchè gli voglio un gran bene ed è uno di
> quei personaggi dei quali qui (ed altrove) non si potrebbe e non si deve
> fare a meno.
> Buon Compleanno!
> Gigi
Auguri Auguri! :-)
m.
Ehi!! Letto al contrario sembra il nume di una tribu' amazzonica:
Irugua :-))


text:
"Fantasmina" <
fanta...@corallo.it
> ha scritto nel messaggio
news:fuaibp$9l8$1...@news.newsland.it...
>
>> cazzarola pensavo di essere io qua il più cane
>> con l'inglese :-/
>
> ciaoooo simon star! ;)
> Mi ritrovo un vecchio corso ad audiocassette
> della De Agostini, se ti interessa te lo mando
> aggratis (o free) ;)
ciaoooo "simpaticissimaaaaa" ce l'ho quel corso, ma non funziona sono
proprio io a essere tardone me-hè-he ;)
S


text:
"Gian Luigi Zampieri .'." <
gianluig...@occupato.it
> ha scritto nel
messaggio news:MM0Oj.292306$%k.40...@twister2.libero.it...
> Buon Compleanno!
Auguroni!!
E ben tornato anche tu!
dR


author: Mr Duffy

text:
Gian Luigi Zampieri .'.

auguroni! :)))
ciao     Mr Duffy


author: Giuseppe Sottotetti

text:
In data Fri, 18 Apr 2008 18:49:37 +0200, mario r.p.
<
mario...@gmail.com
> ha scritto:
> Auguri Auguri!
Mi associo.
--
Giuseppe Sottotetti
gso...@alice.it
http://SottotettiGiuseppe.ilcannocchiale.it


text:
"Jonas Willard (AKA "Archeopteryx")"
<cor.bonukFANCULOSPAM@libero_NOMAIL_.it> ha scritto nel messaggio
news:4809b37c$0$35958$4faf...@reader2.news.tin.it...
> Archeopteryx oggi compie gli anni!!!
Grazie infinite a te e a quelli che si sono accodati. E'
stato qualcosa di assolutamente inatteso che come tale mi
ha decuplicato la gioia della sorpresa e non so proprio
che dire, sennò divento retorico. Chi mi conosce sa quanto
abbia apprezzato; grazie a tutto il thread, davvero.
C.
DISCORSO DISCORSO DISCORSO!!!!


title: stagioni concertistiche

author: dasemenz

text:
dove posso leggere i programmi opera/concerto dei maggiori teatri del mondo
?


title: Nozze di Figaro - Kleiber

author: Martin

text:
Grazie a tuti quelli che mi hanno consigliato questo gioiello!
Da quattro giorni ormai nel mio lettore CD non gira altro... :-)))
Martin
FIRENZE OSSEQUIOSA


title: Nozze di Figaro - Kleiber

author: MrAlfi

text:
E' stato, credimi, un grande piacere....
Ciao,
Alfonso Antoniozzi
MrA...@aol.com
http://members.aol.com/mralfi/index.html


title: Nozze di Figaro - Kleiber

author: gpc

text:
Son contento ! Per di più èun gioiello che da anni (almeno 20 anni) è in
collezione economica! C'è l'avevo già in LP economico. Guarda, ascolta Erich
Kleiber (Cavalliere della Rosa, Vespri Siciliani (A Firenze, con Callas!!),
sono dei capolavori, per non parlare del Tristano di Buenos Aires...
Buon ascolto!
Martin <
nospam...@katamail.com
> wrote in message
37eb7e4e...@news.mclink.it...



title: OT Adriana Zarri

author: turdusmerula

text:
E' morta una mia amica, o meglio "maestra", data l'et�.
http://www.rainews24.rai.it/it/news.php?newsid=147551
--
--------------------
turdusmerula
--------------------


title: OT Adriana Zarri

author: Der Gottheit dunkler Schein ist so das Licht des Nichts

text:
On 20 Nov, 13:46, "turdusmerula" <
merfratur...@fastwebnet.it
> wrote:
> E' morta una mia amica, o meglio "maestra", data l'et .
http://www.rainews24.rai.it/it/news.php?newsid=147551
R.I.P.


title: The blues brothers

author: Don Bartolo

text:
Su Italia 1 stanno trasmettento questo indimenticabile film. Tutto
perfetto!!!!!!!!!!!!!!!
Perdonatemi ma per me non è un argomento OT.


title: The blues brothers

text:
Don Bartolo wrote:

L'anno scorso finalmente riuscii a vederlo.
Mi aspettavo un capolavoro.
Invece mi annoiai non poco, a parte qualche gag qua e la.....
Sono grave?????
(ps - "Everybody needs somebody" è un piccolo gioiello)
--
====================================
Marco Marcelli - Genova
E-mail:
marco_m...@libero.it
http://digilander.iol.it/mm55ge
====================================


title: The blues brothers

author: Edoardo Carminati

text:
"Marco Marcelli" <marco_m...@NOSPAMlibero.it> ha scritto nel messaggio
news:p2vS9.88993$Ou4.2...@twister2.libero.it...
> L'anno scorso finalmente riuscii a vederlo.
> Mi aspettavo un capolavoro.
> Invece mi annoiai non poco, a parte qualche gag qua e la.....
>
> Sono grave?????
E' si che sei grave!   ; )))))) Io lo conosco quasi a memoria, è uno di quei
film che ami senza sapere quasi perchè ( musiche a parte ovviamente, io ho
la colonna sonora ed è veramente bella, ti consiglio di prenderla) . BB2k
invece a parte un cast di musicicsti d'eccezione ( meriterebbe solo per
quello, come il primo del resto) non mi ha appasssionato più di tanto, anche
perchè è un pò una ripetizione del primo.
> (ps - "Everybody needs somebody" è un piccolo gioiello)
E non solo quella......
Ciao
--
Edoardo Carminati
===================================
Il mondo si divide in 10 categorie di persone:
chi capisce il binario e chi no
===================================


title: The blues brothers

author: Erewhon

text:
"Don Bartolo" ha scritto nel messaggio
> Su Italia 1 stanno trasmettento questo indimenticabile film. Tutto
> perfetto!!!!!!!!!!!!!!!
"Ti prego, ti prego, non ci uccidere. Ti prego baby, lo sai che ti amo. Non
avrei mai voluto lasciarti, non č stata colpa mia. Davvero, sono sincero.
Quel giorno fině la benzina. Si bucň un pneumatico. Non avevo i soldi per il
taxi! Il mio smoking non era arrivato in tempo dalla tintoria! Era venuto a
trovarmi da lontano un amico che non vedevo da anni! Qualcuno mi rubň la
macchina! Ci fu un terremoto! Una tremenda inondazione! Un'invasione di
cavallette!"
Ciao,
Fabio
--
http://stage.vitaminic.it/fabio_rizza
=================================================
- Fatti una vita...
- In che senso? Come "Fatti una birra"? Hai delle vite nel tuo frigorifero?
Non te ne fare troppe.
=================================================


title: The blues brothers

text:
"Erewhon" <
ere...@inwind.it
> wrote in
news:ZIwS9.69771$
Q%4.21...@news1.tin.it
:
>
> "Don Bartolo" ha scritto nel messaggio
>
>> Su Italia 1 stanno trasmettento questo indimenticabile film. Tutto
>> perfetto!!!!!!!!!!!!!!!
>
>
> "Ti prego, ti prego, non ci uccidere"
(cut)
What kind of music do you usually have here?
Oh, we got both kinds. We got country and western.
> Ciao,
> Fabio
Stefano


title: The blues brothers

author: . k l A u s .

text:
On 7 Jan 2003 10:02:41 GMT, kink64 <
stefan...@hotmail.com
> wrote:
>What kind of music do you usually have here?
>Oh, we got both kinds. We got country and western.
ROTFL
Questa mi era sfuggita, ma ho registrato poi vado a sentire.
Credo che l'italiano l'abbia resa male, altrimenti l'avrei colta (spero).
_________________________________
. a l l E g r i !
Claudio Chiani
_________________________________
La musica, sotto qualsivoglia suono
o struttura si presenti, non è altro
che rumore senza significato finché
non raggiunge una mente capace a riceverla.
Hindemith


title: The blues brothers

text:
On Tue, 07 Jan 2003 07:09:09 GMT, Marco Marcelli
<marco_m...@NOSPAMlibero.it> wrote:
>L'anno scorso finalmente riuscii a vederlo.
>Mi aspettavo un capolavoro.
>Invece mi annoiai non poco, a parte qualche gag qua e la.....
credo che sia impossibile per te riconoscerti in qualche personaggio del film,
forse l'unico potrebbe essere quel signore che vuol cambiare tavolo, se non
fosse troppo magro :-)



title: The blues brothers

text:
Il 07 Gen 2003, 15:52,
clk...@libero.it
 (. k l A u s .) ha scritto:
> credo che sia impossibile per te riconoscerti in qualche personaggio del
film,
> forse l'unico potrebbe essere quel signore che vuol cambiare tavolo, se
non
> fosse troppo magro :-)
Klaussino klaussino, te l'ho gia' detto: non scherzare col fuoco!
Altrimenti pubblico una fotografia che dimostra che ADESSO sei piu' grosso
tu!
I 24 Kg che ho perso li hai chiaramente presi tu! :-)))
Su, dai! :-)))
MM
--------------------------------
Inviato via
http://usenet.libero.it


title: The blues brothers

author: Marta

text:
"GL" <
marco_TOGLI...@libero.it
> ha scritto nel messaggio
>
> I 24 Kg che ho perso li hai chiaramente presi tu! :-)))
>
neanche i tuoi chili ne vogliono più sapere, di avere a che fare con te...
MartaDelVolo


title: The blues brothers

text:
"GL" <
clk...@libero.it
> ha scritto nel messaggio
> >What kind of music do you usually have here?
> >Oh, we got both kinds. We got country and western.
>
> ROTFL
> Questa mi era sfuggita, ma ho registrato poi vado a sentire.
> Credo che l'italiano l'abbia resa male, altrimenti l'avrei colta (spero).
>
infatti, in italiano non rende per nulla, peccato.
non è stato tradotto "both", credo. ma si può, dico io?
ma chi le fa 'ste traduzioni?
MartaDelVolo.


title: The blues brothers

text:
"Marta" <ww...@wwwww.www> wrote in
news:GsCS9.90791$
TC5.2...@twister1.libero.it
:
>
> infatti, in italiano non rende per nulla, peccato.
> non è stato tradotto "both", credo. ma si può, dico io?
> ma chi le fa 'ste traduzioni?
Ma invece a capodanno su Rete 4 (mi pare) hanno dato Frankenstein Junior
che in traduzione è quasi più divertente che in originale.

> MartaDelVolo.
>
Stefano


title: The blues brothers

text:
"GL" <
stefan...@hotmail.com
> ha scritto nel messaggio
>
> >
> > infatti, in italiano non rende per nulla, peccato.
> > non è stato tradotto "both", credo. ma si può, dico io?
> > ma chi le fa 'ste traduzioni?
>
> Ma invece a capodanno su Rete 4 (mi pare) hanno dato Frankenstein Junior
> che in traduzione è quasi più divertente che in originale.
>
dipende,
se a te fa ridere "lupo ululì, lupo ululà", allora sì...
a me questa frase non ha mai fatto ridere, nemmeno quando l'ho sentita la
prima volta, a tredici anni.
e dire che per molti è questo il simbolo umoristico di quel film, mah...
 MartaDelVolo.


title: The blues brothers

text:
"Marta" <ww...@wwwww.www> wrote in
news:RZCS9.90879$
TC5.2...@twister1.libero.it
:
>
> dipende,
> se a te fa ridere "lupo ululì, lupo ululà", allora sì...
> a me questa frase non ha mai fatto ridere, nemmeno quando l'ho sentita la
> prima volta, a tredici anni.
mi fa ridere almeno tanto quanto:
Werewolf!
Werewolf?
There. There wolf.
>  MartaDelVolo.
>
Stefano


title: The blues brothers

author: Marco Marcelli

text:
Il 07 Gen 2003, 16:26, "Marta" <ww...@wwwww.www> ha scritto:
> neanche i tuoi chili ne vogliono più sapere, di avere a che fare con te...
Ma ti fai i c@@@i tuoi?
Oltre che cretino/a sei pure vile, presentandoti solo con un nickname.



title: The blues brothers

author: Vertigo

text:
"kink64" ha scritto nel messaggio
> Ma invece a capodanno su Rete 4 (mi pare) hanno dato Frankenstein Junior
> che in traduzione è quasi più divertente che in originale.
Eh eh eh...
http://www.intermed.it/shuttle/box1028/
:-)
Baciccia


title: The blues brothers

author: Daniele Zini

text:
"Marco Marcelli" <
marco_TOGLI...@libero.it
> ha scritto nel messaggio
news:213Z156Z53Z163Y...@usenet.libero.it...
>
> Ma ti fai i c@@@i tuoi?
> Oltre che cretino/a sei pure vile, presentandoti solo con un nickname.
Invece una volta ha fatto nome e cognome. Se son veri ho anche trovato una
sua foto, forse se non č di un omonimo. Tra l'altro ha un omonimo liutaio a
Bologna.
Ho detto.
Augh.
Daniele


title: The blues brothers

author: Marco Vianello

text:
Marco Marcelli <
marco_TOGLI...@libero.it
> wrote
> I 24 Kg che ho perso li hai chiaramente presi tu! :-)))
Beh, complimenti davvero.
Il MENO č fatto: adesso perň bisogna cercare di non riprenderli piů. ;-))
Ciao
M.


title: The blues brothers

text:
"Daniele Zini" <
kakabuk...@libero.it
> ha scritto nel messaggio
news:bTFS9.91707$TC5.2...@twister1.libero.it...

verissimi.
confermo l'omonimo liutaio a Bologna (che č anche un discreto violinista,
m'hanno detto).
invece l'altra foto? puoi dirmi di piů? gliela la mandi in privato?
meeeerci.
MartaDelVolo (conto terzi)


title: The blues brothers

text:
"Marta" <ww...@wwwww.www> ha scritto nel messaggio
news:%6GS9.91791$TC5.2...@twister1.libero.it...
>
>
> verissimi.
> confermo l'omonimo liutaio a Bologna (che č anche un discreto violinista,
> m'hanno detto).
> invece l'altra foto? puoi dirmi di piů? gliela la mandi in privato?
http://www.franzcampi.it/baldazar.htm
E' lui?
Daniele


title: The blues brothers

text:
"GL" <
kakabuk...@libero.it
> ha scritto nel messaggio

ma quello č il liutaio!!!
non si tratta di due persone diverse, Daniele.
quindi  non č lui. (c'č una certa somiglianza, ma il Maestro č decisamente
piů affascinante, credimi).
MartaDelVolo


title: The blues brothers

author: Vox

text:
In HnnS9.68712$
Q%4.21...@news1.tin.it
, Don Bartolo,
donba...@tiscali.it
,


Hai fatto caso a chi è l'attore che interpreta l'ultimo personaggio che
compare nel film, cioè l'addetto al pagamento delle tasse della contea?
Quando lo danno per televisione non fanno scorrere i credits fino in fondo,
l'ho scoperto di recente in videocassetta :)
E' Steven Spielberg!!!
Ciao a tutti,
Mario b. (versione 2003)


title: The blues brothers

text:
 kink64,
stefan...@hotmail.com
, il 7-01-2003 16:38 ha scritto:
> Ma invece a capodanno su Rete 4 (mi pare) hanno dato Frankenstein Junior
> che in traduzione è quasi più divertente che in originale.
Non sono mai riuscito a vederlo in lingua originale. Mi chiedo cosa canti la
"divina" al suo primo incontro carnale col mostro, al posto della rima
"sempre libera degg'io
folleggiare di gioja in gioja.
Com'è bello fare la... la... la...
Mah...
Ciao,
Mario b.


title: The blues brothers

text:
"Vox" ha scritto nel messaggio
> Non sono mai riuscito a vederlo in lingua originale. Mi chiedo cosa canti
la
> "divina" al suo primo incontro carnale col mostro, al posto della rima
Ho cercato qui
http://www.screenplay.com/downloads/scripts/youngfrankenstein.pdf
... ma senza successo...



title: The blues brothers

text:
On Tue, 07 Jan 2003 14:56:59 GMT,
marco_TOGLI...@libero.it
 (Marco
Marcelli) wrote:
>Klaussino klaussino, te l'ho gia' detto: non scherzare col fuoco!
>Altrimenti pubblico una fotografia che dimostra che ADESSO sei piu' grosso
>tu!
>I 24 Kg che ho perso li hai chiaramente presi tu! :-)))
>Su, dai! :-)))
ma io sono un amico: tu hai sudato tanto ma non sei riuscito a ritrovarli, ora
mi metto a dieta e farò in modo di perderli, ma che a ritrovarli sia proprio tu
:-)
comunque non mi riferivo al peso, mi riferivo al fatto che dei due mondi
visibili in TBB tu appartieni sicuramente all'altro -  quello che viene
sberleffato - per almeno il 99%, mentre io mi ci riconosco credo solo per un
50%, buon peso.



title: The blues brothers

author: Peltio

text:
"Don Bartolo" ha scritto
>Su Italia 1 stanno trasmettento questo indimenticabile film.
"It's a 106 miles to Chicago. We've got a full tank of gas, half a pack of
cigarettes, it's dark, and we're wearing sunglasses."
"Hit it."
L'intero script con i testi delle canzoni si trova qui.
http://www.nederpoparchief.nl/bluesbrothers/
ci sono anche alcuni file wav delle battute più importanti.
Compresa quella su entrambi i tipi di musica.
http://www.nederpoparchief.nl/bluesbrothers/bothkind.wav
saluti,
Peltio


title: The blues brothers

text:
Marco Vianello wrote:
>>I 24 Kg che ho perso li hai chiaramente presi tu! :-)))
>
>
> Beh, complimenti davvero.
> Il MENO č fatto: adesso perň bisogna cercare di non riprenderli piů. ;-))
Lo so, accidenti! :-))
Come so anche che dovrei perderne almeno altri 10........;-((((
Che vita infame....
...o meglio: IN - FAME !!! :-)))



title: The blues brothers

text:
Vox wrote:
> E' Steven Spielberg!!!
Esatto.
Era amico personale di Belushi, pare.



title: The blues brothers

text:
>
> Lo so, accidenti! :-))
> Come so anche che dovrei perderne almeno altri 10........;-((((
>
> Che vita infame....
> ...o meglio: IN - FAME !!! :-)))
>
Comunque sei stato veramente molto tenace. Io negli ultimi 5 anni ho preso
circa 25 chili ed è una sensazione tremenda.
don Bartolo


title: The blues brothers

text:
On Tue, 07 Jan 2003 22:51:58 GMT, "Don Bartolo" <
donba...@tiscali.it
> wrote:
>Comunque sei stato veramente molto tenace. Io negli ultimi 5 anni ho preso
>circa 25 chili ed è una sensazione tremenda.
ragazzi, parlate in percentuale perché se non si sa quanto pesate è
perfettamente inutile parlare di chili: nel mio caso 20 kg in più corrispondono
al 33% in più, quindi sono un'enormità che va prontamente smaltita (spero)



title: The blues brothers

text:
. k l A u s . wrote:
> ragazzi, parlate in percentuale perché se non si sa quanto pesate č
> perfettamente inutile parlare di chili: nel mio caso 20 kg in piů corrispondono
> al 33% in piů
AHAHAHAHAHAHAHAHAHAHHA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
:-)



title: The blues brothers

text:
"Marco Marcelli" ha scritto nel messaggio
> Era amico personale di Belushi, pare.
Che infatti ha recitato nel film di Spielberg "1941 Allarme a Hollywood".



title: The blues brothers

text:
Il 08 Gen 2003, 08:41, "Erewhon" <
ere...@inwind.it
> ha scritto:
> > Era amico personale di Belushi, pare.
>
>
> Che infatti ha recitato nel film di Spielberg "1941 Allarme a Hollywood".
Film, questo, che sto cercando di vedere.
L'ho registrato, ma non riesco ad andare avanti.
Mi sembra una palla unica.
Mah..........
Eppure film come "L'aereo piu' pazzo del mondo" o "Una pallottola spuntata"
sono per me dei CAPOLAVORI ! :-))))
MM



title: The blues brothers

text:
marco_TOGLI...@libero.it
 (Marco Marcelli) wrote in
news:213Z156Z53Z163Y...@usenet.libero.it
:
>>
>> Che infatti ha recitato nel film di Spielberg "1941 Allarme a
>> Hollywood".
>
>
> Film, questo, che sto cercando di vedere.
> L'ho registrato, ma non riesco ad andare avanti.
> Mi sembra una palla unica.
> Mah..........
>
Non sembra, č. E fu una catastrofe produttiva e commerciale.

Stefano


title: The blues brothers

text:
>> ragazzi, parlate in percentuale perché se non si sa quanto pesate è
>> perfettamente inutile parlare di chili: nel mio caso 20 kg in più corrispondono
>> al 33% in più
On Wed, 08 Jan 2003 07:02:31 GMT, Marco Marcelli
<marco_m...@NOSPAMlibero.it> wrote:
>AHAHAHAHAHAHAHAHAHAHHA !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
>:-)
ehi, non prendere le cose alla leggera
btw saresti anche OT
e poi io non sarei così pesantemente ilare al posto tuo:
1) ho informazioni sufficienti per poterti ricattare
2) è molto più facile dimagrire per chi sia molto distante dal peso forma
3) ho già iniziato la dieta
4) tu conosci bene la mia cocciutaggine
:-)
