text:
Il Sat, 28 Feb 1998 10:16:19 GMT,
Giulio Peruginelli <5lon...@sysnet.it5> ha scritto:
>>Stai scherzando. Sfido qualsiasi persona *sensibile* che, conoscendo Round
>>Midnight di Monk, non ne sia ammaliata come dal Concerto per pf di Schumann.
>
>Hai detto pio' po'!!! Prendi invece il concerto per vl, che e' meglio
Dai, Giulio, ma che discorsi mi fai?
>>Inoltre, chiamare musica leggera le opere di Parker o Mingus, mi pare
>>quantomeno ingenuo.
>
>Ma perche'? Ti rivolto l'atavica questione: mi dai la definizione di
>musica *leggera*??
E'la musica senza riflessione sul proprio linguaggio.
Questo mi porta ad escludere dall'insieme di cui parliamo sia Haydn che i
King Crimson.
>>E te lo dice uno che ama Bach, Mozart, Monteverdi e Bruckner.
>Ma come li fai a conciliare con il rock????
Se e'per questo, mi piacciono sia le donne che la birra.
Va da se'che quando sto in gentile compagnia non mi pongo domande sulla
femminilita'della birra. Oddio, ogni tanto mi capita di bere insieme a delle
amiche: ma ti assicuro che sono perversioni a cui mi sto disabituando.



title: it.fan.the-doors...sono in cerca di fans!

author: Alessandro Di Nicola

text:
Il Mon, 02 Mar 1998 08:01:07 GMT,
Giulio Peruginelli <5lon...@sysnet.it5> ha scritto:
>Mi domando come faccia Alessandro ad ascoltare Mozart (chesso': la
>K364 o un qualsiasi concerto per vl) e poi cambiare e mettere su i
>Doors o chi per lui.
Una precisazione oziosissima: a me i Doors non piacciono (a parte Strange
Days). Direi, comunque, che con Mozart (magari il Concerto per flauto ed
arpa) stanno molto bene insieme Hendrix e Coltrane.
Accetto suggerimenti per altri cocktail, grazie.



text:
Il Tue, 03 Mar 1998 10:36:12 +0100,
emf <
chez_to...@geocities.com
> ha scritto:
>Vorrei fare un'osservazione che feci l'altra sera al Nencini (che saluta
>tutti in attesa che lo zio guru finisca di sfasciar...pardon...
>riaggiustargli il PC). Una caratteristica fondamentale del rock e' che e'
>molto 'custom', ossia cucita su misura di chi la esegue. Per essere
>calzanti con il caso dei Doors (ma potremmo metterci altri illustri
>esempi, fra cui Hendrix e Zappa), se fate eseguire la stessa musica da un
>altro esecutore, non e' piu' la stessa cosa (non dico che sia migliore o
>perggiore, ma differente), e puo' suscitare emozioni diverse. L'obiezione
>che a questo punto faccio e' questa. Il rock e' una espressione troppo
>vincolata all'esecutore, per cui non si puo' ricondurre alla volonta' del
>compositore, se eseguita da un esecutore diverso da quello per cui e'
>stata scritta. Voglio dire, un Beethoven o un Puccini o un Bach lo
Io, invece, sono arrivato alla conclusione che il rock non esista.
Esistono Frank Zappa, Elvis Presley, i King Crimson e gli Oasis.
Quindi anche tentativi di astrarre uno "specifico rock" (a parte la
propulsione ritmica) sono, a mio parere, molto difficilmente applicabili in
modo estensivo.
A proposito di Zappa: durante la settimana bianca, tra Sparring Partner di
Paolo Conte e la Canzone Intelligente di Cochi & Renato, mi sono ascoltato
ben bene One size fits all del nostro. Bene, e'uno dei dischi
piu'intelligenti (musicalmente) che mi e'capitato di ascoltare da molti
mesi. E non parlo solo di rock.



author: Giulio Peruginelli

text:
On 8 Mar 1998 17:29:13 GMT,
a.din...@flashnet.it
 (Alessandro Di
Nicola) wrote:
>Dai, Giulio, ma che discorsi mi fai?
Il concerto per vl e' piu' bello di quello per pf. (:-)))
>Se e'per questo, mi piacciono sia le donne che la birra.
>Va da se'che quando sto in gentile compagnia non mi pongo domande sulla
>femminilita'della birra. Oddio, ogni tanto mi capita di bere insieme a delle
>amiche: ma ti assicuro che sono perversioni a cui mi sto disabituando.
Vedi risposta che ho dato a Vinix.
Ciao



text:
On Sat, 07 Mar 1998 20:10:10 GMT,
ned...@iperbole.bologna.it
(Ciorans'son -Luca F.Palmieri-) wrote:
>E io che credevo di aver gia' fatto pace con te...
No, la e-battaglia e' ancora aperta! Fino all'ultimo byte!
Alla fine restera' soltanto la mia e-mail! ecc. ecc. (seguono a ruota
altre cavolate del genere)
>va bene, il mio tentativo di redimerti e riportarti ad un modo di
>esprimersi meno irritante ed un poco piu' urbano e' fallito, come
>pedagogo sono uno sfacelo, evidentemente,
Sfido io! Con le argomentazioni che usi!
>ma anche tu come discepolo sei una tragedia,
Ho gia' sconfitto Vinix. Fin troppo facile.
>pensi solo al violino ed allo studio di Protagora e Gorgia.....
A chi dovrei pensare? Al tuo Cioran?
E comunque il sofista qua sei tu!
>(sto pensando a cosa troverai da dire anche stavolta, fa quel che ti
>pare, se e' pur vero che la goccia scava la pietra, tu sei di granito,
>e io sono stufo di gocciolare)
Ma perche' pensi solo di aver ragione tu??? Chi sei, la Sacra Bibbia?
Tu dovresti imparare a rispettare le opinioni altrui. E anche gli
sbagli altrui, senza farglielo pesare ogni volta. Sei pedante, come
l'altro tuo amico la'. (:-)))))))))))



author: Ciorans'son -Luca F.Palmieri-

text:
On Mon, 09 Mar 1998 17:54:58 GMT, 5lon...@sysnet.it5 (Giulio
Peruginelli) wrote:
>>(sto pensando a cosa troverai da dire anche stavolta, fa quel che ti
>>pare, se e' pur vero che la goccia scava la pietra, tu sei di granito,
>>e io sono stufo di gocciolare)
>Ma perche' pensi solo di aver ragione tu??? Chi sei, la Sacra Bibbia?
No, ma ho ragione io, lo stesso. Non ho assolutamente la piu' pallida
idea di che cosa stisamo discutendo, ma sono certo di avere ragione,
Ce l'ho poi, quantomeno sui toni che normalmente utilizzi, non sono
sicuramente il solo a trovarli un poochettino aciduli e spesso
irritanti, ma io non mi irrito, cosi' ti irriti tu.
>Tu dovresti imparare a rispettare le opinioni altrui.
beh, la lezioncina e' discreta, ma non c'e' volta che non abbia
rispettato le opinioni altrui, perfino con le tue (!!) l'ho fatto, il
che non mi impedisce di dissentire, se lo credo opportuno.
> E anche gli
>sbagli altrui, senza farglielo pesare ogni volta. Sei pedante, come
>l'altro tuo amico la'. (:-)))))))))))
non gocciolo proprio piu'....c'e' poco da scavare nel marmo.....



text:
Via su, continuiamo....
On Mon, 09 Mar 1998 09:13:56 GMT,
ned...@iperbole.bologna.it
(Ciorans'son -Luca F.Palmieri-) wrote:
>No, ma ho ragione io, lo stesso. Non ho assolutamente la piu' pallida
>idea di che cosa stisamo discutendo, ma sono certo di avere ragione,
Sei divertentissimo! (:-))
>beh, la lezioncina e' discreta, ma non c'e' volta che non abbia
>rispettato le opinioni altrui, perfino con le tue (!!) l'ho fatto, il
>che non mi impedisce di dissentire, se lo credo opportuno.
Forse ho sbagliato parola. Sostituisci a "rispettare" il verbo
"accettare". Ho l'impressione che tu non voglia accettare le mie idee,
e che per questo bolli subito a priori cio' che dico come sbagliato.
>non gocciolo proprio piu'....c'e' poco da scavare nel marmo.....
Certo che ne hai tanto di fiato, eh?



text:
On Tue, 10 Mar 1998 18:59:47 GMT, 5lon...@sysnet.it5 (Giulio
Peruginelli) wrote:
>Forse ho sbagliato parola. Sostituisci a "rispettare" il verbo
>"accettare". Ho l'impressione che tu non voglia accettare le mie idee,
>e che per questo bolli subito a priori cio' che dico come sbagliato.
Impossibile. In questo thread abbiamo espresso tutto meno che idee.



text:
On Wed, 11 Mar 1998 08:07:00 GMT,
ned...@iperbole.bologna.it
(Ciorans'son -Luca F.Palmieri-) wrote:
>>Forse ho sbagliato parola. Sostituisci a "rispettare" il verbo
>>"accettare". Ho l'impressione che tu non voglia accettare le mie idee,
>>e che per questo bolli subito a priori cio' che dico come sbagliato.
>Impossibile. In questo thread abbiamo espresso tutto meno che idee.
Lo vedi che non hai capito nulla di quello che ho detto? Scusa, ma
quando ci vuole ci vuole.
Tutta la nostra discussione verte in ultima analisi sulla *mia*
personale e rispettabilissima opinione sulla musica leggera, che voi
non avete voluto accettare, portando avanti varie argomentazioni: "non
conosci la musica leggera", "non sai di cosa parla", "non sei
curioso", ecc.ecc.
Lascia perdere la paranoia o qualsiasi altra cosa che hai/avete detto
su di me.
Ti rendi conto che ho espresso, anche brutalmente (questo te lo
concedo), un mio gusto, una mia preferenza musicale? Perche' non
volete capire che c'e' gente diversa da voi?
Se poi nemmeno questa ti sembra la verita' e' meglio che si vada tutti
a letto, perche' ultimamente *si* sta dando un po' di fuori di
cervello.
Quell'altro, il Di Nicola, se la prende perche' ho usato l'espressione
"Su, avanti" !!!!!  Non ero riuscito a trovare una cosa che mi aveva
detto che c'era, e in piu' avevo la testimonianza di un'altra persona
che frequentava quel ng in cui mi diceva di cercare.
Ma vi rendete conto? Almeno Alessandro spiegami in privato in cosa in
particolare ti ho offeso, perche' sinceramente non ci capisco piu'
nulla. Sara' il gocciolare di Cioran's son......(:-)))



text:
Il Thu, 12 Mar 1998 23:29:22 GMT,
Giulio Peruginelli <5lon...@sysnet.it5> ha scritto:
>Quell'altro, il Di Nicola, se la prende perche' ho usato l'espressione
>"Su, avanti" !!!!!  Non ero riuscito a trovare una cosa che mi aveva
Giulio, non mi riferivo alla singola espressione.
A me sembra (mi posso sbagliare) che tu hai il tipico vizio delle persone
calme e riflessive: ti incazzi per un nonnulla. Questo si riflette nel tono
dei tuoi scritti, stesi -evidentemente- da una mano irritata e irritabile.
Ti assicuro che non me la sono presa affatto: mi parevano fastidiose e (un
poco) assurde alcune frasi categoriche (ma avevano la categoricita'di chi e'
nervoso, non di chi vede con limpidezza) che finivano per rendere ingenui
anche pensieri che - presi di per se' - potevano essere apprezzabili.
In fondo, il fartelo notare e'semplicemente un attestato di stima nei tuoi
confronti: penso che i tuoi interventi possano essere intelligenti e acuti,
percio' volevo farti notare che uno stato d'animo infastidito puo' rovinare
un'idea o il modo di esporla.
>detto che c'era, e in piu' avevo la testimonianza di un'altra persona
>che frequentava quel ng in cui mi diceva di cercare.
Ecco, stiamo al punto: eri talmente preso dall'idea NERVOSA di dover
dimostrare qualcosa che non hai visto l'assurdo di tutto questo: sei partito
in quarta con l'accusa che io ti stessi prendendo in giro, sulla base di
elementi superficiali e sulla testimonianza di non so chi.
Questo non mi ha dato fastidio, mi sembrava soltanto che noi due scrivessimo
con due umori e prospettive talmente diversi da risultare inconciliabili. E
a me un umore concitato e rissoso non piace affatto in un interlocutore,
anche se capisco le ragioni di quest'umore.
Detto questo, regolati tu. Non ho altro da aggiungere di utile.



text:
On 13 Mar 1998 20:43:01 GMT,
a.din...@flashnet.it
 (Alessandro Di
Nicola) wrote:
>A me sembra (mi posso sbagliare) che tu hai il tipico vizio delle persone
>calme e riflessive: ti incazzi per un nonnulla. Questo si riflette nel tono
>dei tuoi scritti, stesi -evidentemente- da una mano irritata e irritabile.
Forse devo rispondere con piu' calma e lucidita'. Magari scrivero' di
meno, pero' con piu' coscienza di cio' che sto per dire.
>percio' volevo farti notare che uno stato d'animo infastidito puo' rovinare
>un'idea o il modo di esporla.
Ok. Grazie del consiglio.



text:
On Sat, 14 Mar 1998 18:14:58 GMT, 5lon...@sysnet.it5 (Giulio
Peruginelli) wrote:
>
>
>Forse devo rispondere con piu' calma e lucidita'. Magari scrivero' di
>meno, pero' con piu' coscienza di cio' che sto per dire.
>
>>percio' volevo farti notare che uno stato d'animo infastidito puo' rovinare
>>un'idea o il modo di esporla.
>
>Ok. Grazie del consiglio.
Ho quasi l'impressione che vi siate messi d'accordo per umiliarmi.
se e' cosi' ci siete riusciti.
(bravi comunque!)
ciao.



text:
Il Mon, 16 Mar 1998 07:23:06 GMT,
Ciorans'son -Luca F.Palmieri- <
ned...@iperbole.bologna.it
> ha scritto:
>Ho quasi l'impressione che vi siate messi d'accordo per umiliarmi.
>se e' cosi' ci siete riusciti.
Ti piacerebbe,eh? Un ciorano come te nell'umiliazione (che per il filosofo
e'un'ascesa verso la conoscenza) ci sguazza.
No,no, di queste gentilezze sono anni che non ne faccio.



title: Non ci posso credere!

author: emf

text:
Ordinai sullo shop della Testament il 23.12.2005 i 5 DVD dei concerti
televisivi di Toscanini, che
sono stati rimasterizzati anche rispetto alla precedente versione, sia per
l'audio che, per quanto
possibile per il video. La spedizione prevista per posta ordinaria.
Incredibile dictu: Stamani alle 11 la postina me li ha consegnati: col
Natale di mezzo e
praticamente a Capodanno. Vabbe' che a Pisa ha nevicato (uno spettacolo
stupendo) ma sto fine
2005 mi stupiscono anche le Poste!
Un po' carucci ma presi al negozio Testament costavano meno come prezzo di
partenza e le spese
postali erano incluse! Da MDT, per esempio partono gia' col prezzo piu'
alto e in piu' ci sono delle
spese di spedizione enormi considerato che usi le poste normali. Anche da
Tower Records mi
sembrano un tantinello piu' cari e con spese sempre alte.
Ho fatto un assaggio ampio dei DVD (ovvio non li ho mangiati) ma mi sembra
che presso
Testament si sia fatta un bel lavoro:soprattutto per l'audio. Suono
naturale, ben equalizzato, ben
sincronizzato, non come nella precedente release RCA, qualita' di alto
livello. Il video e'
abbastanza equilibrato, la sorgente non era granche', ma non stanca gli
occhi, e chiaramente non
puo' rappezzare le deficienze originali. Mi sembra comunque meglio
equalizzato che in quello
RCA.
Sono soddisfatto.
Spero che questo sia coerente con il classico augurio: Buona Fine e
Miglior Principio
Happy 2006
Ezio
--
questo articolo e` stato inviato via web dal servizio gratuito
http://www.newsland.it/news
 segnala gli abusi ad
ab...@newsland.it


title: Non ci posso credere!

author: Seneca

text:
Il Sat, 31 Dec 2005 17:55:15 +0100,
chez_to...@yahoo.com
 (emf) ha
scritto:
>Ordinai sullo shop della Testament il 23.12.2005 i 5 DVD dei concerti
>televisivi di Toscanini, che
>sono stati rimasterizzati anche rispetto alla precedente versione, sia per
>l'audio che, per quanto
>possibile per il video. La spedizione prevista per posta ordinaria.
>Incredibile dictu: Stamani alle 11 la postina me li ha consegnati: col
>Natale di mezzo e
>praticamente a Capodanno. Vabbe' che a Pisa ha nevicato (uno spettacolo
>stupendo) ma sto fine
>2005 mi stupiscono anche le Poste!
Caro Ezio,
Mi fa piacere che tu abbia trovato questa edizione. Io ho quella della
RCA che mi regalò in DVD appena uscì, l'amica Emanuela. Ne mandai una
copia a Marcelli che prima mi aveva mandato una copia dei suoi. Avevo
pensato di mandarteli anche a te, ma mi son sempre detto che
sicuramente...dato il cognome che porti :-))) li avresti avuti di
sicuro fin dal primo momento.
Cosa è questa Testament? Ogni giorno, grazie a Dio , si scopre
qualcosa di nuovo. Quando dici un po' carucci cosa vuoi dire? Io ho
ordinato tutte le sinfonie di Mahler dirette da Bernstein (9 DVD in 5
contenitori cofanetto. Li ho comprati da Amazon.com America e me li
hanno spediti in una scatola grande piena di plastica gonfia d'aria
per proteggere il contenuto. Li ho pagati, trasporto aereo ordinario,
118 dollari americani che fanno circa 90 euro. Amazon di New York
spedisce sempre da Francoforte dando l'incarico alla Amazon tedesca.
Questa volta però, forse a causa dello scatolo, malgrado fosse una
spedizione dentro la comunità europea e quindi (credo) non soggetta a
dogana, mi hanno fatto pagare 30 euro di tasse doganali e dazio che ho
dovuto sborsare alle poste per ritirare il pacco arrivato con tanto di
timbri tedeschi e con la DHL che è la deutsch post.
Non mi andava di litigare e così ho pagato ob torto collo. Comunque
anche con i trenta euro rubati dal ministero accattone che non batte
un ciglio sapendo che in Italia si fregano i soldi anche dai conti
correnti dei morti e ha creduto utile penalizzare 90 euro di cultura
con una tassa, alla fine son risultati meno cari di quanto li avrei
pagati da Feltrinelli che chiede 160 euro per il cofanetto.
 E pazienza! Te l'ho raccontato perchè magari questo sito che usi tu è
più conveniente e più rapido. Pensa che il mio pacchetto spedito il 19
novembre e arrivato il primo dicembre, mi è stato consegnato 10 giorni
dopo per la burocrazia doganale (oltretutto).
Mi dici cosa contengono questi dischi di Toscanini? In Italia non si
trovano? Pensi che valga la pena sostituire gli RCA con quelli che hai
preso tu?
Ti ringrazio degli auguri e anch'io ti dico Buon Anno Nuovo. Fra
l'altro sei la prima persona cui scrivo sul gruppo in questo 2006
appena iniziato. Spero vederti presto.
Saluti
Seneca (GP)


title: Non ci posso credere!

text:
Caro filosofo, il primo messaggio del 2006 e' per risponderti. Reduce
dal concerto veneziano (con cappella del corno sul Va pensiero, e
sipario nero! oltre alla Forza....mah) e da quello viennese (con una
serie di potpourri mozartiani fortunatamente riscattati da una discreta
scelta sulla famiglia Strauss, con i piatti troppo in evidenza a mo' di
marcette militari)) innanzitutto gli auguri di Buon Anno a te e a tutti
gli NGisti.
Poi passiamo alla tua mail. Testament e' una piccola casa discografica
inglese che ha la licenza di attingere ai materiali di EMI BBC e anche
registrazioni di prima mano di (spesso) alta qualita', usando anche gli
studi di Abbey Road. Ad esempio il ciclo brahmsiano londinese di AT
negli originali di Walter Legge (La versione Arkadia e le altre non gli
vedono manco la suola delle scarpe, per la qualita' delle copie cui si
rifanno), le registrazioni di Cantelli, e molto molto altro
(
www.testament.co.uk
). Esiste almeno da 8 anni ed e' una casa molto di
qualita' in tutti i sensi. I 5 DVD mi son costati 87 sterline che in
euri sono circa 110, tutto compreso, intendo tasse spedizione ecc ecc.
Mi sfugge la edizione DVD della RCA che non so quando e' uscita e non
vorrei fosse un riversamento del vecchio ciclo uscito 15 anni fa in VHS
per i mortali ;) O ti riferisci ai laserdisc? Comunque ti assicuro che
(per lo meno rispetto al VHS e a quanto passato da RAI) la qualita'
video e' leggermente meglio ma quella audio e' stratosfericamente
superiore: inoltre il sync audio-video non ha inesattezze visibili.
Per Amazon usa Amazon.fr, che comunque ti fa accedere a volte con
sconti a Cayman e con spese piu' contenute. Tra l'altro i cataloghi dei
vari Amazon sono stranamente diversi!
I concerti dei DVD sono i dieci concerti televisivi, nulla piu' nulla
meno, in Italia si troveranno fra un paio di mesi perche' sono usciti
ufficialmente il 19.12.2005. non posso darti un consiglio sincero e
spassionato per la sostituzione perche' non ho un confronto sui
laserdisc RCA (continuo a credere che tu parli di quelli): a me
piacciono assai, e all'home theater, che non e' sicuramente come il tuo
(ahime') fanno fare un figurone per la parte audio!
Se vuoi un'altra dritta, la casa discografica Andante (li trovi anche
in Italy, anche in quella cittadina dove abiti tu, visto che li trovo
anche nella megalopoli pisana; oppure su
www.andante.com
) ha prodotto
le masterizzazioni dai Selenophone fatte da Seth Winner e Ward Marston
delle opere Salisbughesi di AT (ancora manca il Flauto pero'). Il
Falstaff e' molto meglio di quello che si trova a giro ( anche se
preferisco addirittura quanto pubblicato dalla casa di Pippo Di
Stefano), e i Maestri Cantori sono ottimi.
Spero anche io di vederti presto e se puoi e vuoi salutami la S.ra
Emanuela.
Auguroni ancora
Ezio


title: Saint-Saens Quartetti per Archi - Sonate per Violino

author: Phaeton

text:
Qualcuno possiede la seguente incisione della Apex contenente le
composizioni in oggetto?
Penso sarà il mio prossimo acquisto...cosa ne pensate?
Mi incuriosisce il Camillo da camera, dopo la piacevole scoperta dei
trii e del quartetto con piano e del quintetto con piano, oltre al
magnifico settimino
Ciao a tutti!!!
Phaeton
www.warnerclassics.com/release.php?release=2592


title: [Non molto OT] Una domanda a Ceccherini

author: Matteo Scala

text:
Durante le vacanze ho letto sull'Enciclopedia di Repubblica la voce "Carlos
Kleiber" da te curata:
ho notato che hai posto particolare enfasi sulla figura di suo padre Erich,
a cui purtroppo non è stata dedicata una voce a parte.
La domanda a questo punto è: quali sono i criteri in base ai quali si
scelgono le voci da inserire in un'enciclopedia?
Grazie e ciao.
P.S. sbaglio se penso che l'enfasi posta sul padre era forse causata proprio
dall'assenza di una voce a lui dedicata?
--------------------------------
Inviato via
http://arianna.libero.it/usenet/


title: [Non molto OT] Una domanda a Ceccherini

author: Zazie dans le métro

text:
"Matteo Scala" <
scalama...@libero.it
> ha scritto nel messaggio
news:147Z163Z21Z230Y...@usenet.libero.it...
> Durante le vacanze ho letto sull'Enciclopedia di Repubblica la voce
"Carlos
> Kleiber" da te curata:
> ho notato che hai posto particolare enfasi sulla figura di suo padre
Erich,
> a cui purtroppo non è stata dedicata una voce a parte.
> La domanda a questo punto è: quali sono i criteri in base ai quali si
> scelgono le voci da inserire in un'enciclopedia?
domanda alla quale potrebbe rispondere Claudio ;-)
Z.


title: [Non molto OT] Una domanda a Ceccherini

author: lorenzo

text:
di quale enciclopedia si parla?
dettagli, prego!


title: [Non molto OT] Una domanda a Ceccherini

author: Abel Tiffauges

text:
"lorenzo" <
lcn...@email.it
> wrote in message
news:3ffd0e9...@news.tin.it...
> di quale enciclopedia si parla?
> dettagli, prego!
dell'enciclopedia Utet in edicola con Repubblica
ciao
c.


title: [Non molto OT] Una domanda a Ceccherini

author: Tito Ceccherini

text:
On Wed, 07 Jan 2004 11:52:52 GMT,
scalama...@libero.it
 (Matteo
Scala) wrote:
>Durante le vacanze ho letto sull'Enciclopedia di Repubblica la voce "Carlos
>Kleiber" da te curata:
>ho notato che hai posto particolare enfasi sulla figura di suo padre Erich,
>a cui purtroppo non è stata dedicata una voce a parte.
>La domanda a questo punto è: quali sono i criteri in base ai quali si
>scelgono le voci da inserire in un'enciclopedia?
mi piacerebbe saperlo!... :)
a parte gli scherzi, nel caso in questione non ho avuto voce in
capitolo sulla scelta delle voci, che comunque, in tutti i casi del
genere, sono competenza del curatore della sezione.
nel caso di un'opera a carattere così generale, non mi sembra abbia
troppo senso discutere omissioni che, da una parte o dall'altra, non
possono mancare, e colpiscono inevitabilmente anche nomi illustri.
immagino che nel caso in questione si sia adottato un criterio di
attualità.
>Grazie e ciao.
>
>P.S. sbaglio se penso che l'enfasi posta sul padre era forse causata proprio
>dall'assenza di una voce a lui dedicata?
può darsi che questa considerazione mi abbia suggestionato, ma molto
più semplicemente ero (e resto) convinto che la figura del padre
(direttore fra i maggiori del secolo passato) abbia giocato un ruolo
decisivo nella formazione della personalità artistica ed umana del
direttore argentino.
ciao,
T


title: [Non molto OT] Una domanda a Ceccherini

text:
Il 09 Gen 2004, 21:31, Tito Ceccherini ha scritto:
> nel caso di un'opera a carattere cosě generale, non mi sembra abbia
> troppo senso discutere omissioni che, da una parte o dall'altra, non
> possono mancare, e colpiscono inevitabilmente anche nomi illustri.
Sono d'accordo, mi ero solo dispiaciuto che non fosse stato considerato:
ovviamente la mancanza di Hans Hotter nella Garzantina di Musica in edicola
con il Giornale č cosa ben piů grave...
Ciao e grazie ancora.



title: NO BLOOD for the JEWISH LOBBY

author: James Jorden

text:
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
----------------------------
"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"....hear hear] 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"....hear hear] 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 is good enough for a triumph" - "Madame Attila spreads her
top like butter on warm bread but her cool, Nordic, blonde looks
carried the night" - "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 50-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-50-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 - 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
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
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
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.]
[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 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  of
especially great voices or exceptional interpretive forces or
personalities or even of remotely
acceptable  n-e-w  music, but of *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 relevance...
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.]
[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.]
[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 + Cancer Sob Story)
Lieberson.  But do not for a second believe the ad-men....for this
product is yet more of the ho-hum variety.]
[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
"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 ---
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 swiftly  r-e-j-e-c-t, wholesale, them records [or
anything, for that matter] by or with Cheryl Studer becuz they were
everything from digital to illusion to un-necessary to in-competent to
im-personal to contrived to in-experienced to un-felt to
perfect to dull to null to this to that to that to this - beautiful
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, 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
"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 Great Meltdown 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 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 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: DA VEDERE

author: STEFANIA


title: Libri

text:
Qualcuno sa indcarmi qualche buon libro di teoria musicale e di composizione
che ben si presterebbero ad uno studio da autodidatta ? Suono il piano
abbastanza bene e mi  piacerebbe approfondire la mia conoscenza musicale ma
putrtoppo il tempo a mia disposizione non mi permette di frequentare dei
corsi ...
Grazie dell'attenzione
Ciao Ciao
Michele


title: Libri

text:

Grazie dell'attenzione
Ciao
Michele


Libri


title: Libri

author: LB

text:


ti rispondo io, perché ammiro la tua costanza. Vuol dire che ci tieni
davvero. Ma prima ti faccio alcune domande: a che livello sei? A che
livello vuoi arrivare? Quale direzione stilistica ti interessa
prendere? Quali sono i tuoi obiettivi?
ciao,
LB
"Noi, esseri finiti,
personificazioni di uno spirito infinito,
siamo nati per avere insieme gioie e dolori;
e si potrebbe quasi dire che i migliori di noi
raggiungono la gioia attraverso la sofferenza".
L.V.B. alla contessa Erdödy, 1815


title: Libri

text:
Caro LB ti ringrazio per l'attenzione ma ho alcune difficoltà nel rispondere
alle tuew domande nel senso che il mio livello è abbastanza buono ... per
esempio potrei dirti che riesco a suonare qualche notturno di chopin
compreso qualche valzer dei più facili  ! Non ho grandi obbiettivi ma mi
piacerebbe riuscire a capire soprattutto come si possono mettere insieme
differenti strumenti come le trombe e i violini per esempio, visto che non
sono come il piano dove un tasto corrisponde a un tono o a un semitono e mi
sembra che per altri strumenti siaun po' diverso ...
Spero di essere riuscito a far passare le mie intenzioni !
Michele


title: PER CESARE SIMONETTI (se ancora vivente)

author: Giampaolo Lomi

text:
In questo ipocrita mondo di merda che ogni giorno diventa sempre  più
"politically correct" voglio farti notare una cosa e vorrei che te la
ficcassi bene in testa:
Quando giocavi col cerchio nei giardinetti genovesi e prendevi per
ritorsione a sassate la statuetta del povero Balilla, gli zoppi erano
zoppi e non "non deambulanti". Gli spazzini erano spazzini e non
"operatori ecologici" . I facchini erano facchini (ma ora non ci son
più perchè non hanno trovato il giusto nome per loro). I Ciechi erano
ciechi come quelli della parabola immortalati da Brueghel il vecchio e
non "non vedenti". Le cameriere erano cameriere e non "collaboratrici
familiari" .
Gli ivalidi hanno subito più di un cambiamento. Prima erano invalidi,
poi son diventati "disabili". Infine oggi sono nientemeno che:
"diversamente abili" !!!
Di conseguenza tu non sei più nè vecchio nè vecchiaccio, ma sei un
"diversamente giovane" (come me del resto)
I tuoi compagnucci di merenda con cui ogni tanto crapuleggi sono
invece "diversamente giovani" ( cioè vecchi o vecchiacci più di quanto
eravamo noi fino ad ora.)
Viva il lessico corretto che ci ha ridato nuova vita.
Divertiti
Giampaolo
(diversamente giovane)


text:
In questo ipocrita mondo di merda che ogni giorno diventa sempre  più
"politically correct" voglio farti notare una cosa e vorrei che te la
ficcassi bene in testa:
Quando giocavi col cerchio nei giardinetti genovesi e prendevi per
ritorsione a sassate la statuetta del povero Balilla, gli zoppi erano
zoppi e non "non deambulanti". Gli spazzini erano spazzini e non
"operatori ecologici" . I facchini erano facchini (ma ora non ci son
più perchè non hanno trovato il giusto nome per loro). I Ciechi erano
ciechi come quelli della parabola immortalati da Brueghel il vecchio e
non "non vedenti". Le cameriere erano cameriere e non "collaboratrici
familiari" .
Gli ivalidi hanno subito più di un cambiamento. Prima erano invalidi,
poi son diventati "disabili". Infine oggi sono nientemeno che:
"diversamente abili" !!!
Di conseguenza tu non sei più nè vecchio nè vecchiaccio, ma sei un
"diversamente giovane" (come me del resto)
I tuoi compagnucci di merenda con cui ogni tanto crapuleggi sono
invece "diversamente vecchi" ( cioè vecchi o vecchiacci più di quanto



author: cap

text:
Il 24 Nov 2006 alle 1:41 Giampaolo Lomi <
gia...@fastwebnet.it
> ha scritto:
> (diversamente giovane)
Ma non si doveva dire "anagraficamente svantaggiato"?
--------------------------------
Inviato via
http://arianna.libero.it/usenet/


author: Marco Marcelli

text:
Il 24 Nov 2006, 08:49,
ca...@libero.it
 (cap) ha scritto:
> > (diversamente giovane)

> Ma non si doveva dire "anagraficamente svantaggiato"?
Pensa che da noi ci sono anche i politici "diversamente onesti"........:-)))
MM



author: Cocco Bill

text:
Giampaolo Lomi ha scritto:
> In questo ipocrita mondo di merda che ogni giorno diventa sempre  più
> "politically correct" voglio farti notare una cosa e vorrei che te la
> ficcassi bene in testa:
> Quando giocavi col cerchio nei giardinetti genovesi e prendevi per
> ritorsione a sassate la statuetta del povero Balilla, gli zoppi erano
> zoppi e non "non deambulanti". Gli spazzini erano spazzini e non
> "operatori ecologici" . I facchini erano facchini (ma ora non ci son
> più perchè non hanno trovato il giusto nome per loro). I Ciechi erano
> ciechi come quelli della parabola immortalati da Brueghel il vecchio e
> non "non vedenti". Le cameriere erano cameriere e non "collaboratrici
> familiari" . Gli ivalidi hanno subito più di un cambiamento. Prima erano invalidi,
> poi son diventati "disabili". Infine oggi sono nientemeno che:
> "diversamente abili" !!!
Veramente! Neanche i tuoi Americani non sono più quelli di una volta.
http://www.youtube.com/watch?v=m9A_vxIOB-I


author: Chipster

text:
Giampaolo Lomi <
gia...@fastwebnet.it
> wrote:
>In questo ipocrita mondo di merda che ogni giorno diventa sempre  più
>"politically correct" voglio farti notare una cosa e vorrei che te la
>ficcassi bene in testa:
>Quando giocavi col cerchio nei giardinetti genovesi e prendevi per
>ritorsione a sassate la statuetta del povero Balilla, gli zoppi erano
>zoppi e non "non deambulanti". Gli spazzini erano spazzini e non
>"operatori ecologici" . I facchini erano facchini (ma ora non ci son
>più perchè non hanno trovato il giusto nome per loro). I Ciechi erano
>ciechi come quelli della parabola immortalati da Brueghel il vecchio e
>non "non vedenti". Le cameriere erano cameriere e non "collaboratrici
>familiari" .
>Gli ivalidi hanno subito più di un cambiamento. Prima erano invalidi,
>poi son diventati "disabili". Infine oggi sono nientemeno che:
>"diversamente abili" !!!
Dimentichi il periodo in cui si chiamavano "handicappati": la parola più
ORRIBILE e MOSTRUOSA che abbia mai ammorbato la lingua italiana.
Per quanto riguarda l'idiota che ha coniato l'espressione "diversamente abili",
io lo vorrei tanto conoscere per sputargli in faccia.


author: davidino

text:
Cocco Bill ha scritto:

Figli di troia è politicamente corretto?
d


author: enrico

text:
davidino ha scritto:
>
> Figli di troia è politicamente corretto?
Si dice "discendenti biologici di uomine pluralmente occupate"
E.


author: Benedetto Zaccaria

text:
Il Fri, 24 Nov 2006 01:41:58 +0100, Giampaolo Lomi
<
gia...@fastwebnet.it
> ha scritto:
>
>Quando giocavi col cerchio nei giardinetti genovesi
Mai giocato col cerchio nei giardinetti : lo facevo in mezzo alla
strada, allora passava un auto ogni mezz'ora e la guardavamo tutti
molto ammirati.
Erano piu' frequenti i grandi carri trainati da enormi cavalli, ma coi
NOTAV in azione e al governo, ci torneremo, oh se ci torneremo !
> e prendevi per
>ritorsione a sassate la statuetta del povero Balilla, gli zoppi erano
>zoppi e non "non deambulanti".
No guarda, era piu' facile prendere a sassate gli zoppi che il
Balilla, e piu' divertente.
>Le cameriere erano cameriere e non "collaboratrici
>familiari" .
In casa mia si chiamavano serve, e ce le portavamo a letto sino  dai
verdissimi 11 o 12 anni....Furono una GRANDE scuola !
>Di conseguenza tu non sei più nè vecchio nè vecchiaccio, ma sei un
>"diversamente giovane" (come me del resto)
Una sega : tu eri un vecchiaccio a 20 anni e tale sei inesorabilmente
rimasto.
>I tuoi compagnucci di merenda
Io non ho compagni di merende, io le rubo ancora le merende, e  nego
tutto.
Sono un diversamente morto che ancora se la spassa.
Per ora....
Benedetto Zaccaria


title: Tito Ceccherini

text:
Spero che Tito sia una persona di spirito, e - datogli atto dei suoi
interessanti contributi musicali - credo lo sia.
Detto questo, non posso tacervi il mio tormento.
Quel nome, mi evoca qualcosa.
Per me la tentazione di applicarlo ad un'opera lirica o a un musicista
e' inarrestabile!
Vediamo:
"Il Tito Ceccherini, mercante di Amalfi"
Opera in tre Atti di G.F. Haendel.
Oppure:
"Le grandi voci del novecento: Enrico Caruso, Aureliano Pertile e Tito
Ceccherini".
Con le dovute scuse a Tito (io di cognomi non dovrei parlare), attendo
altri contributi.
Grazie.
Schillogeno
------------------
"Well, i'm the slime from your video
 Oozin' along on your living room floor
 I am the slime from your video
 can't stop the slime, people, look it me go"
 Frank Zappa, 1973
 NB: Per scrivermi togliete accaacca finali al mio username.


title: Tito Ceccherini

text:
Ceccherini, ossia il Tito riconosciuto...
dramma storico in tra atti di Alessandro Scarlatti
In ogni modo non so come ringraziarti per la cortesia usatami
nell'attribuire la prima "opera sul mio nome" all'amatissimo Händel!
:-))) Ciao,
Tito
<
schill...@iol.it
> ha scritto
> Spero che Tito sia una persona di spirito, e - datogli atto dei suoi
> interessanti contributi musicali - credo lo sia.
>
> Detto questo, non posso tacervi il mio tormento.
>
> Quel nome, mi evoca qualcosa.
>
> Per me la tentazione di applicarlo ad un'opera lirica o a un musicista
> e' inarrestabile!
chissà che poi non riesca a fartelo applicare a me stesso...! :-)))



title: Tito Ceccherini

author: Luca Logi

text:
<
schill...@iol.it
> wrote:
> Spero che Tito sia una persona di spirito, e - datogli atto dei suoi
> interessanti contributi musicali - credo lo sia.
>
> Detto questo, non posso tacervi il mio tormento.
>
> Quel nome, mi evoca qualcosa.
>
> Per me la tentazione di applicarlo ad un'opera lirica o a un musicista
> e' inarrestabile!
Spero che Tito non se la prenda, ma a Firenze Ceccherini e' un
importante negozio di musica. "Vado da Ceccherini a prendere un
pianoforte..."
--------------------------------------------------------
Luca Logi - Firenze - Italy        e-mail:
ll...@dada.it
   Home page:
http://www.angelfire.com/ar/archivarius
                   (musicologia pratica)