title: Lucifer auf naXos

author: Martin Bernheimer

text:
"In life, democracy.
In art, aristocracy."
--- Arturo Toscanini
----------------------------
On 26 September 2000, the so-called Great Mike 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 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 75% below pitch 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" -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.]
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 Levines, the Maazels, self-avowed rap-music fan von
Dohnanyi (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 in this "Juderei" -
that's right, this 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 PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
NO BLOOD FOR THE PAUL WOLFOWITZES
NO BLOOD FOR THE ARI FLEISHERS
NO BLOOD FOR ISRAEL
NO BLOOD FOR OIL
NO BLOOD FOR VENGEANCE
ENOUGH IS ENOUGH
]
[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 (that's what we call them, 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, and drab as
damp cardboard LetItRain Hunt(hyphen) (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 (and countless others long
before and long after), bruised 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 "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 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 liquidized 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 opposite Danny Boy
The 9.11 NYPD Singin' Cop, pathetically], 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 imminent collapse 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 close
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: Lucifer auf naXos

author: Mediaevalman

text:
Did you forget to mention them Opera Babes?
Bernheimer...@yahoo.com
 (Martin Bernheimer) wrote in message news:<
6fd9e901.0302...@posting.google.com
>...



title: Lucifer auf naXos

author: Ray Hall

text:
"Martin Bernheimer" <
Bernheimer...@yahoo.com
> wrote in message
news:6fd9e901.0302...@posting.google.com...
| "In life, democracy.
| In art, aristocracy."
|
| --- Arturo Toscanini
|
| ----------------------------
|
| On 26 September 2000, the so-called Great Mike 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:
[complete RAMBLE snipped ......]
You forgot to mention the Dixie Chicks, as well as take ALL your pills.
Regards,
  #
http://www.users.bigpond.com/hallraylily/index.html
   See You Tamara (Ozzy Osbourne)
Ray, Taree, NSW
---
Outgoing mail is certified Virus Free.
Checked by AVG anti-virus system (
http://www.grisoft.com
).
Version: 6.0.449 / Virus Database: 251 - Release Date: 27/01/03


title: Tic nervosi in orchestra

author: Praenestinus

text:
Saluti a tutti.
Credo che questo sia il primo tread che apro personalmente.
Mi č venuto alla mente pochi minuti fa rispondendo alla discussione sulle
opere dal vivo.
Ma vi siete mai accorti di che razza di tic nervosi hanno gli
orchestrali????? Alcune necessitą tecniche strumentali, complice la tensione
dell'esecuzione, diventano dei veri e propri assilli, che spesso sono pure
un po' fastidiosi per il pubblico in sala. Mi viene in mente una bellissima
gag presentata dal Quintetto Bibiena (veramente bravi) qualche anno fa al
termine di un concerto, come bis. Era una sorta di presa in giro di tutti
questi tic: il flautista che smanetta le chiavi dello strumento, il
clarinettista che soffia istericamente nell'imboccatura, l'oboista e il
fagottista che si ciucciano per mezz'ora l'ancia in modo rumorosissimo fino
ad arrivare al cornista che, nell'atto di scrollare la condensa dallo
strumento, capovolgendo la campana rovescia praticamente una secchiata
d'acqua sul palco (preparata ad hoc nello strumento). dopo 7 o 8 minuti di
queste marachelle alla Stanlio e Ollio, con casini vari, riescono ad
accordarsi e ad intonare la parte finale del "nessun dorma" in cui il
fagottista, con bella voce baritonale (in questo caso) intona il "vincerņ"
mettendo tutti in riga e risquotendo tanti applausi dal pubblico.
Dai vediamo se vi fate venire in mente cosa avete visto e sentito durante un
concerto.... raccontate un po' quella volta che..........
S.


title: Tic nervosi in orchestra

author: SBIANCO

text:
Praenestinus ha scritto:
> Saluti a tutti.
> Credo che questo sia il primo tread che apro personalmente.
>
> Mi è venuto alla mente pochi minuti fa rispondendo alla discussione sulle
> opere dal vivo.
> Ma vi siete mai accorti di che razza di tic nervosi hanno gli
> orchestrali????? Alcune necessità tecniche strumentali, complice la tensione
> dell'esecuzione, diventano dei veri e propri assilli, che spesso sono pure
> un po' fastidiosi per il pubblico in sala. Mi viene in mente una bellissima
> gag presentata dal Quintetto Bibiena (veramente bravi) qualche anno fa al
> termine di un concerto, come bis. Era una sorta di presa in giro di tutti
> questi tic: il flautista che smanetta le chiavi dello strumento, il
> clarinettista che soffia istericamente nell'imboccatura, l'oboista e il
> fagottista che si ciucciano per mezz'ora l'ancia in modo rumorosissimo fino
> ad arrivare al cornista che, nell'atto di scrollare la condensa dallo
> strumento, capovolgendo la campana rovescia praticamente una secchiata
> d'acqua sul palco (preparata ad hoc nello strumento). dopo 7 o 8 minuti di
> queste marachelle alla Stanlio e Ollio, con casini vari, riescono ad
> accordarsi e ad intonare la parte finale del "nessun dorma" in cui il
> fagottista, con bella voce baritonale (in questo caso) intona il "vincerò"
> mettendo tutti in riga e risquotendo tanti applausi dal pubblico.
>
> Dai vediamo se vi fate venire in mente cosa avete visto e sentito durante un
> concerto.... raccontate un po' quella volta che..........
>
>
>
>
> S.
>
>
...quella volta che, dovendo accompagnare un lungo recital lirico al
pianoforte, entrato in scena non trovai il leggio NEL pianoforte.
Finì che ne costruii uno con chiodi, assi e martello trovati dietro il
sipario, in 4 o 5 minuti. Traballava tutto... e furono altro che tic!


title: Tic nervosi in orchestra

author: Moosbrugger

text:
"Praenestinus" <
amma...@virgilio.it
> ha scritto nel messaggio
news:Wtxyd.558599$35.23...@news4.tin.it...
> Dai vediamo se vi fate venire in mente cosa avete visto e sentito durante
un
> concerto.... raccontate un po' quella volta che..........
Sui due piedi non mi viene in mente niente di particolarmente esilarante. Ti
posso dire che il maestro del mio maestro ( quindi il mio "nonno"
contrabbassistico :-) in orchestra era temuto per i suoi scherzi da prete.
Quando il primo contrabbasso aveva un solo, passava i dieci minuti prima del
concerto a passargli sull'arco chili di pece o al contrario chili di sapone.
Una volta che era in leggio con Petracchi, questi si fermò qualche battuta
prima del suo solo per concentrarsi un attimo, tempo sufficiente al nostro
eroe - non visto - per dare una energica quanto fulminea girata alle chiavi
del contrabbasso di Petracchi : quello che si è sentito all'inizio del solo
non era definibile con aggettivi decenti.
Ciao
Moos
--
"Have wheels, will travel !"
www.blauequelle.at


title: Tic nervosi in orchestra

author: Giuseppe

text:
"Moosbrugger" <
bass_des...@yahoo.it
> ha scritto nel messaggio
news:Q2yyd.55083$C94....@tornado.fastwebnet.it...
>
> "Praenestinus" <
amma...@virgilio.it
> ha scritto nel messaggio
> news:Wtxyd.558599$35.23...@news4.tin.it...
>
> > Dai vediamo se vi fate venire in mente cosa avete visto e sentito
durante
> un
> > concerto.... raccontate un po' quella volta che..........
>
>
> Sui due piedi non mi viene in mente niente di particolarmente
esilarante. Ti
> posso dire che il maestro del mio maestro ( quindi il mio "nonno"
> contrabbassistico :-) in orchestra era temuto per i suoi scherzi da
prete.
> Quando il primo contrabbasso aveva un solo, passava i dieci minuti
prima del
> concerto a passargli sull'arco chili di pece o al contrario chili di
sapone.
> Una volta che era in leggio con Petracchi, questi si fermņ qualche
battuta
> prima del suo solo per concentrarsi un attimo, tempo sufficiente al
nostro
> eroe - non visto - per dare una energica quanto fulminea girata alle
chiavi
> del contrabbasso di Petracchi : quello che si č sentito all'inizio
del solo
> non era definibile con aggettivi decenti.
E il pubblico?
per non parlare delle coronarie del direttore.-)))))))))))))))))
G,


title: Tic nervosi in orchestra

author: Veronica Medina

text:
"Moosbrugger" <
bass_des...@yahoo.it
> ha scritto nel messaggio
news:Q2yyd.55083$C94....@tornado.fastwebnet.it...
> Sui due piedi non mi viene in mente niente di particolarmente esilarante.
Ti
> posso dire che il maestro del mio maestro ( quindi il mio "nonno"
> contrabbassistico :-) in orchestra era temuto per i suoi scherzi da prete.
> Quando il primo contrabbasso aveva un solo, passava i dieci minuti prima
del
> concerto a passargli sull'arco chili di pece o al contrario chili di
sapone.
> Una volta che era in leggio con Petracchi, questi si fermò qualche battuta
> prima del suo solo per concentrarsi un attimo, tempo sufficiente al nostro
> eroe - non visto - per dare una energica quanto fulminea girata alle
chiavi
> del contrabbasso di Petracchi : quello che si è sentito all'inizio del
solo
> non era definibile con aggettivi decenti.
ROTFL!
A me non e' mai toccato di vedere niente di cosi' "grave" purtroppo pero'
conoscevo a un violoncellista in Sinfonica che aveva la mania di allungare
la mano senza nemmeno girarsi e svittare il leggio dei colleghi dietro
facendolo scendere di colpo e quindi facendo cadere tutti li spartiti in
concerto.  Le risate se le faceva vendendoli per terra recuperando il tutto
e mettendolo a posto di corsa per continuare il concerto, poveretti.
V.


title: Tic nervosi in orchestra

author: the Archeopteryx

text:
> [...] era temuto per i suoi scherzi da prete. Quando il primo
> contrabbasso aveva un solo, passava i dieci minuti prima del
> concerto a passargli sull'arco chili di pece o al contrario chili
> di sapone. Una volta che era in leggio con Petracchi, questi si
> fermň qualche battuta prima del suo solo per concentrarsi un
> attimo, tempo sufficiente al nostro eroe - non visto - per dare
> una energica quanto fulminea girata alle chiavi del contrabbasso
> di Petracchi : quello che si č sentito all'inizio del solo non
> era definibile con aggettivi decenti.
Ti prego, metti sů un sito su di lui. Non sai quanta
ammirazione ho per chi fa scherzi divertenti...


title: Tic nervosi in orchestra

text:
"SBIANCO" <
sbianco_qui...@hotmail.com
> ha scritto nel messaggio
news:cqe94i$aib$1...@lacerta.tiscalinet.it...
Praenestinus ha scritto:
...quella volta che, dovendo accompagnare un lungo recital lirico al
pianoforte, entrato in scena non trovai il leggio NEL pianoforte.
Finì che ne costruii uno con chiodi, assi e martello trovati dietro il
sipario, in 4 o 5 minuti. Traballava tutto... e furono altro che tic!
perchè le prove dove le avevate fatte? nei bagni dei camerini?? e il
pubblico come ha reagito? ha aspettato che finissi di costruire il leggio?


title: Tic nervosi in orchestra

text:
Praenestinus ha scritto:

Le prove erano state svolte il giorno prima con un altro pianoforte; il
pubblico è stato imbonito dalla speaker. Ahi, che dolente ricordo...


title: Tic nervosi in orchestra

text:
"Veronica Medina" <
v.medina...@tin.it
> ha scritto nel messaggio
news:GVyyd.560244$35.23...@news4.tin.it...

beh se avessi avuto una collega del genere o unoi come il contrabbassista di
cui sopra, giuro che gli avrei fatto un occhio nero come minimo. Sul lavoro
non tollero queste cazzate... un conto è un imprevisto che può trasfrmarsi
da tragico a divertente, un conto sono dispetti voluti. Sulla
professionalità non transigo.
S.


title: Tic nervosi in orchestra

text:
Praenestinus ha scritto:
>
>
> beh se avessi avuto una collega del genere o unoi come il contrabbassista di
> cui sopra, giuro che gli avrei fatto un occhio nero come minimo. Sul lavoro
> non tollero queste cazzate... un conto è un imprevisto che può trasfrmarsi
> da tragico a divertente, un conto sono dispetti voluti. Sulla
> professionalità non transigo.
>
> S.
>
>
Molto professionale fare - come minimo! - un occhio nero ad un collega...
Complimenti!


title: Tic nervosi in orchestra

author: Marco Trapanese

text:
 > Mi viene in mente una bellissima
> gag presentata dal Quintetto Bibiena (veramente bravi) qualche anno fa al
> termine di un concerto, come bis.
confermo. ho un meraviglioso ricordo di un loro concerto qui a Como
qualche anno fa, terminato in modo analogo a quanto da te descritto.
Sono molto bravi oltre che musicalmente anche dal punto di vista scenico.
ciao,
Marco / iw2nzm


title: Tic nervosi in orchestra

author: Luca Logi

text:
Praenestinus <
amma...@virgilio.it
> wrote:
> Dai vediamo se vi fate venire in mente cosa avete visto e sentito durante un
> concerto.... raccontate un po' quella volta che..........
So di un professore d'orchestra che aveva sempre caldo. I colleghi nei
posti vicini ne approfittavano vigliaccamente per esasperarlo ("Ma non
senti che caldo fa oggi?" "Si soffoca" "Oggi l'aria condizionata non
funziona" "Non si resiste" "che afa").
Una volta il suo collega di leggio durante una prova lo invitò a levarsi
la giacca perchè faceva troppo caldo, e lui se la tolse. Dopo un po' gli
disse di togliersi anche la camicia, e rimase in canottiera. Poi lo
convinse a togliersi i pantaloni e rimase in mutande. Mentre si stava
togliendo la canottiera una collega si mise ad urlare che era una
indecenza e si dovette sospendere la prova.
-----------
Fra i professori d'orchestra nascono spesso amori illeciti, che
costituiscono sommo motivo di interesse per i colleghi (si può sempre
contare su un collega buonanima che scriverà una lettera anonima ai
legittimi coniugi degli interessati).
Molti anni fa una violinista, donna sul tipo della fatalona e peraltro
felicemente sposata, concepì una folle passione per un violoncellista,
anche lui sposato, ma che era fedele alla moglie e di lei non ne voleva
proprio sapere.
Al termine della prova lui tornava a casa in bicicletta. Lei posteggiava
l'auto (una spider) sul lungarno, in maniera che quando lui passava in
bici, lei gli si accodava dietro e lo seguiva a passo d'uomo. Di solito
provocava un blocco del traffico sul lungarno, mentre lui dalla
bicicletta gli vomitava insulti: "Troia!! Puttana!! Lasciami stare!!
Vattene!! Sparisci!!..."
Dato che lo spettacolo si ripeteva abbastanza regolarmente, si formava
spesso un capannello di curiosi che tifavano per una delle due parti in
causa, mentre gli automobilisti in coda sul lungarno si attaccavano ai
loro clacson. Una scena da filmare, insomma.
--
Luca Logi - Firenze - Italy        e-mail:
ll...@dada.it
   Home page:
http://www.angelfire.com/ar/archivarius
                   (musicologia pratica)


title: Tic nervosi in orchestra

text:
"Praenestinus" <
amma...@virgilio.it
> ha scritto nel messaggio
news:Wtxyd.558599$35.23...@news4.tin.it...
a me fa ridere di come i timpanisti agitino le mazze prima di iniziare a
suonare... intanto che aspettano il passo d'orchestra dove devono
intervenire.
Ricordo invece in un teatro anno scorso, un'orchestra regionale: Nabucco...
non ricordo in che momento l'oboe se ne sta un bel pezzetto senza suonare.
Il professore all'oboe (tra l'altro uno che conosco bene) tira fuori la
settimana enigmistica e inizia a sollazzarsi... mentre le vicende di
Nabucodonosr si svolgevano solennemente sopra la di lui testa. Teatro da
circa 600 posti... allestimento niente male (un po' di risparmio sulle
scene, ma buoni cantanti) e l'oboista con settimana enigmistica
visibilissimo da molti punti della sala.
S.


title: Concorso mensile gratuito

text:
Amici melomani,
Ogni mese vi diamo la possibilita di giocare al nostro quiz e di vincere
alcuni dischi di musica classica.
Se siete inetressati, poete andare a visitare il nostro sito internet
chiamato "The Music -Lovers' Corner" al seguente URL :
http://www.coriolan.com
.
In Agosto, come è stato il caso in Luglio, abbiamo organizzato un quiz
"special" BACH.
Rispondendo alle nostre 10 domande, vi sara data la possibilita di vincere
uno dei 5 premi del mese.
Vi aspetiamo numerosi e vi auguriamo buona fortuna.


title: Sidro: come si fa?

author: Giorgio Capuani

text:
Qualcuno ne ha idea? Parlo del sidro, quella cosa liquida, buona e spesso
bollicinosa fatta a partire dalle mele... ahime', generalmente molto poco
alcoolica....
Non sono nemmeno riuscito a trovare un sito accettabile al riguardo.
Giorgio
uhmmmm..... mo' cche cce penzo, la prima e ultima volta che ho fatto una
richiesta su questo NG ho fatto brutti incontri.... che faccio, invio o
no?.... mmmm.... mah, magari mi va bene e non risponde nessuno.....


title: Sidro: come si fa?

text:
Giorgio Capuani wrote:
>
>
OK, chiedo scusa....sbagliato NG!!!
Doveva succedere, prima o poi, no?! ;'>
E NON SI DICA CHE IL TROPPO ROCK HA EFFETTI NOCIVI SUL SISTEMA NERVOSO!!!
Giorgio (sto ancora ridendo da solo....)


title: Sidro: come si fa?

author: Isidoro Ferrante

text:

Giorgio, mi sa che sidro ne hai bevuto troppo, e ben fermentato per
giunta: non e' che per caso volevi postare su it.hobby.cucina?????

____________________________________Isidoro___________________________
Isidoro Ferrante
ferr...@galileo.pi.infn.it
Dipartimento di Fisica
ferr...@axpia.pi.infn.it

Universita' di Pisa         Tel +39 50 880284 (INFN Pisa)
INFN sezione di Pisa        Fax +39 50 880317 (INFN Pisa)


title: Sidro: come si fa?

text:
Isidoro Ferrante wrote:
>
> Giorgio Capuani wrote:
> >
> > Qualcuno ne ha idea? Parlo del sidro, quella cosa liquida, buona e spesso
> > bollicinosa fatta a partire dalle mele... ahime', generalmente molto poco
> > alcoolica....
> > Non sono nemmeno riuscito a trovare un sito accettabile al riguardo.
> >
> > Giorgio
> >
> > uhmmmm..... mo' cche cce penzo, la prima e ultima volta che ho fatto una
> > richiesta su questo NG ho fatto brutti incontri.... che faccio, invio o
> > no?.... mmmm.... mah, magari mi va bene e non risponde nessuno.....
>
> Giorgio, mi sa che sidro ne hai bevuto troppo, e ben fermentato per
> giunta: non e' che per caso volevi postare su it.hobby.cucina?????
Isidro...no, scusa( ihc ...IHC...) volevo dire: Isidoro, complimenti per la perspicacia e, soprattutto, per la prontezza di
riflessi!! ;'D (Eppure il messaggio di scuse e' partito solo due minuti dopo....)
Ciao!!!
Giorgio


title: file MIDI

author: Leonardo

text:
qualcuno di voi sa se esistono modi di :
1. convertire un file midi in mp3 o altro file audio
2. se è possibile modificare un midi (ad esempio cambiare tonalità o
strumenti)
le sto tentando tutte con scarsi risultati....
grazie Leonardo


title: file MIDI

author: Aldo Galli

text:
"Leonardo" <
leonardo....@tiscali.it
> ha scritto nel messaggio
news:9u11v5$s35$1...@pegasus.tiscalinet.it...

Forse WinGroove può esserti utile. Sito web:
http://www.cc.rim.or.jp/~hiroki/english/
Ciao,
Al.


title: file MIDI

author: Giacomo Andreola

text:
"Leonardo" <> ha scritto

La prima cosa (da midi a wave) io la faccio col programmino Wave Studio,
annesso alla Sound Blaster 64.
La seconda con un semplice sequencer, Digital Orchestrator Plus.
Ma qualunque sequencer lo fa.
ciao
Giacomo


title: file MIDI

author: KLAUS

text:
On Tue, 27 Nov 2001 22:55:53 +0100, "Leonardo" <
leonardo....@tiscali.it
>
wrote:
>1. convertire un file midi in mp3 o altro file audio
vai su Audio Compositor, uno shareware che trovi qui:

http://audiocompositor.home.att.net
potrebbe servire anche a tutti quelli che hanno una scheda audio senza suoni
campionati ( solo MF ) perché utilizzando un buon soundfont ad es. sinfonia.sf2
si possono convertire i file.mid  in ottimi file.wav ( e successivamente,
eventualmente in file.MP3); è necessaria una CPU almeno di 300MHz, ma ormai
penso che tutti abbiano qualcosa di meglio
>2. se è possibile modificare un midi (ad esempio cambiare tonalità o
>strumenti)
questo è facilissimo, basta usare un midi-editor, o meglio ancora un programma
di notazione musicale
puoi scegliere tra i più semplici ( es. :
http://NoteWorthyComposer.com
 ) per
arrivare ai più belli e più costosi, come Sibelius (
http://www.sibelius.com
 ).
per cambiare tonalità si seleziona il brano e si esegue una trasposizione
(attenzione ad usare una trasposizione reale, perché è possibile anche trasporre
mantenendo la stessa intonazione e quindi cambia solo la notazione, ma le
frequenza restano invariate)
per cambiare le voci, basta modificare l'assegnazione (dipende dal programma e
dal midimap), operazione anch'essa estremamente facile.
Allegri !
Claudio Chiani


title: il canone RAI

author: rafrasnaffra

text:
ma perché invece di far pagare il canone, non fanno pagare che so . il
madrigale, il trio, il preludio, etc.?
discutiamone!
rafrasnaffra


title: il canone RAI

author: Schillogeno

text:


La Partita la fanno già pagare.
Schillogeno
-----------
"A composer is a guy who goes around forcing his will on
unsuspecting air molecules,often with the assistance of
unsuspecting musicians."  Frank Zappa, 1940-1993.


title: il canone RAI

author: . k l A u s .

text:
On Tue, 04 Oct 2005 21:30:15 GMT, Schillogeno <
schil...@libero.it
> wrote:
>>ma perché invece di far pagare il canone, non fanno pagare che so . il
>>madrigale, il trio, il preludio, etc.?
>>discutiamone!
>>rafrasnaffra
>La Partita la fanno già pagare.
bé, ma quella é un Divertimento ...
pensa se ti facessero pagare anche ogni Scherzo !
_________________________________
. a l l E g r i !
Claudio Chiani
_________________________________
La musica, sotto qualsivoglia suono
o struttura si presenti, non è altro
che rumore senza significato finché
non raggiunge una mente capace a riceverla.
Hindemith


title: Papero

author: Hegel

text: Ti disprezzo.


title: Papero

author: Davide Cabassi

text:
"Hegel" <x...@yyy.zzz> ha scritto nel messaggio
news:PEod9.150527$n04.3...@twister2.libero.it...
> Ti disprezzo.
Che brutto, una coppia che si separa.
d


title: Papero

author: Ale Redfiddler

text:
"Hegel" <x...@yyy.zzz> ha scritto nel messaggio
news:PEod9.150527$n04.3...@twister2.libero.it...
> Ti disprezzo.
finalmente qualcosa di sensato
A.


title: Papero

text:
On Wed, 04 Sep 2002 14:20:31 GMT, "Hegel" <x...@yyy.zzz> wrote:
>Ti disprezzo.
Il papero - sostiene - e Dio.
Hel è inferiore a Dio.
Hegel è quindi inferiore al Papero N.1.
Tuttavia la sua colorazione - penne e piume rossonere - lo rende
gradevole.
Schillogeno
-----------
"Does humor belongs in music?"
Frank Zappa, early '80
(per reply togliere le due acca prima della @)


title: Papero

text:
"Schillogeno" <
schill...@libero.it
> ha scritto
> Tuttavia la sua colorazione - penne e piume rossonere - lo rende
> gradevole.
:-))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))))


title: Papero

author: Marco Marcelli

text:
"Schillogeno" <
schill...@libero.it
> ha scritto
> Tuttavia la sua colorazione - penne e piume rossonere - lo rende
> gradevole.
Ma ti rendi conto di chi sia il proprietario? :-))
--
============================
Marco Marcelli - Genova (Italy)
marco_m...@libero.it
http://digilander.iol.it/mm55ge
============================


title: Papero

text:
"Marco Marcelli" <
marco_NOSP...@libero.it
> ha scritto
> Ma ti rendi conto di chi sia il proprietario? :-))
;-)


title: Papero

text:
On Wed, 04 Sep 2002 23:58:03 GMT, "Marco Marcelli"
<
marco_NOSP...@libero.it
> wrote:
>
>"Schillogeno" <
schill...@libero.it
> ha scritto
>
>> Tuttavia la sua colorazione - penne e piume rossonere - lo rende
>> gradevole.
>
>
>Ma ti rendi conto di chi sia il proprietario? :-))
Si: milioni di rossoneri prima, durante e dopo di lui.
Io mi divertivo sugli spalti ai tempi di Milan-Cavese (1-2), per
esempio.
In quel campionato di B c'era una media di 30,000 spettatori, con
punte di tutto esaurito.
Ricordo che facevamo più spettatori dell'Inter, impegnata in uno dei
tanti campionati in cui è giunta seconda o terza.
- - - -
Ricordo, peraltro, che durante la gestione del "duce in pectore"
qualche **piccola** soddisfazione l'abbiamo avuta, e di ciò, a denti
stretti, gli va dato atto.
Berlusconi ha usato il calcio - non il Milan - come ogni imprenditore,
per crearsi notorietà.
Ma, a differenza dei più, questo gli è servito per stravincere (come
nessuno) nella competizione sportiva; ed a salvarsi dalla galera
(...come nessuno) dopo.
Ha contribuito a modernizzare il calcio.
Ma anche contribuito allo sfascio di oggi.
Lo ha reso più spettacolare.
Ma al tempo stesso ci ha infilato le televendite e il "miconsentico"
(linguaggio parlato da Pelegatti e Serena), ed ha trasformato in
EVENTO ogni normale puttanata quotidiana.
Io soldi non glie ne dò più, da quando ha furbescamente scelto un urlo
sportivo come slogan.
Creata Forza Italia, non vado più allo stadio, nè foraggio alcuna
Pay-Tv.
Il problema sono gli idolatri del calcio, o gli elettori.
Non il Milan.
(A proposito... Credi forse che Umberto Agnelli sia, nel suo intimo,
migliore? O il fratello NON scemo dei Moratti? Sono solo meno
"estroversi",  impetuosi, megalomani e naif.)



title: Papero

text:
"Schillogeno" <
schill...@libero.it
> ha scritto
> >Ma ti rendi conto di chi sia il proprietario? :-))
>
>
> Si: milioni di rossoneri prima, durante e dopo di lui.
>
> Io mi divertivo sugli spalti ai tempi di Milan-Cavese (1-2), per
> esempio.
Spero che tu stia guardando, in questo preciso istante, "Sfide" su RaiTRE,
dedicato all'Inter di Herrera e al Milan di Rocco...........:-)))
> (A proposito... Credi forse che Umberto Agnelli sia, nel suo intimo,
> migliore? O il fratello NON scemo dei Moratti? Sono solo meno
> "estroversi",  impetuosi, megalomani e naif.)
Agnelli e' certamente piu' "ancient régime" del Berluska, meno arrogante e -
forse - piu' idealista, per quanto idealista possa essere un personaggio a
quel livello.
E te lo dice un (ex) tifoso della (ex) Fiorentina, che i gobbi li considera
come sai......



title: Papero

author: Il Negromante

text:
In article <DMOd9.6023$%
z1.1...@twister1.libero.it
>, Marco Marcelli,
marco_NOSP...@libero.it
 says...
> Spero che tu stia guardando, in questo preciso istante, "Sfide" su RaiTRE,
> dedicato all'Inter di Herrera e al Milan di Rocco...........:-)))
un Milan di sfondamento :)))
--
"Perpinchiopinchernacolo"


title: Papero

author: Antonio Suriano

text:
che musica ascolti?
frequenti ancora Spock's beard e Gentle Giant?


title: Papero

author: Napra

text:
"Antonio Suriano" <
sur...@sns.it
> ha scritto nel messaggio
news:alb10n$b8c$1...@newsserver.unipi.it...
> che musica ascolti?
> frequenti ancora Spock's beard e Gentle Giant?
>
il solo mettere questi due nomi nella stessa frase squalifica tutto il tuo
post
napra


title: Papero

text:
Napra <
nos...@libero.it
> wrote in message
uM7e9.10437$AW6.2...@twister2.libero.it...

ma tu hai capito chi è il paperottolo Abcabcabc ?
mi sa proprio di no...
lui ascoltava entrambi i gruppi e ne traeva godimento secondo quanto mi
risulta


title: Papero

text:
"Antonio Suriano" <
sur...@sns.it
> ha scritto
> ma tu hai capito chi è il paperottolo Abcabcabc ?
> mi sa proprio di no...
Rippa
> lui ascoltava entrambi i gruppi e ne traeva godimento secondo quanto mi
> risulta
>
trarre godimento dai GG mi sembra il minimo
napra


title: Papero

text:
Napra <
nos...@libero.it
> wrote in message
rS7e9.11416$%z1.2...@twister1.libero.it...
>
> "Antonio Suriano" <
sur...@sns.it
> ha scritto
>
>
> > ma tu hai capito chi è il paperottolo Abcabcabc ?
> > mi sa proprio di no...
>
> Rippa
SBAGLIATO!
è come se avessi risposto alla domanda "sai dove stanno i pinguini?" con
POLO NORD


title: Papero

author: aLUCArd

text:
Antonio Suriano <
sur...@sns.it
> wrote in message
alb1qq$b9n$1...@newsserver.unipi.it...
> > Rippa
>
> SBAGLIATO!
>
> è come se avessi risposto alla domanda "sai dove stanno i pinguini?" con
>
> POLO NORD
Bella questa!
Comunque si tratta del mitico, inconfondibile, inossidabile Giovannino
Lagnese!
--
"You may know what I don't know,
  but not that I don't know it
  and I can't tell you
  so you will have to tell me all..."
                            ("Knots", Gentle Giant)
aLUCArd


title: Papero

text:
"Napra" <
nos...@libero.it
> ha scritto nel messaggio
news:rS7e9.11416$%z1.2...@twister1.libero.it...
> trarre godimento dai GG mi sembra il minimo
Bravo! Bravissimo! Sette più.
d


title: Papero

author: JFSebastian

text:
Sono interista ma, letto questo post, non posso che proporti di cambiarti il
nick in "schillo-genio".
Saluti,
JFSebastian
P.S.: quale sarebbe il fratello non stupido dei Moratti?
"Schillogeno" <
schill...@libero.it
> ha scritto nel messaggio
news:qt6fnus8chrf1aira...@4ax.com...



title: Papero

author: dimitri

text:
"Hegel" <x...@yyy.zzz> ha scritto nel messaggio
news:PEod9.150527$n04.3...@twister2.libero.it...
> Ti disprezzo.
>
>
>
Chi disprezza compra.... ^__^
D.


title: Papero

author: VinceR

text:
>
> ma tu hai capito chi è il paperottolo Abcabcabc ?
> mi sa proprio di no...
> lui ascoltava entrambi i gruppi e ne traeva godimento secondo quanto mi
> risulta
>
a' Tonysuper,  ho già detto tante volte che dopo un primo momento di
entusiasmo
gli Spocks mi hanno rotto.
Ciò due-tre dischi loro mai ascoltati.


title: Papero

text:
> a' Tonysuper,  ho già detto tante volte che dopo un primo momento di
> entusiasmo
> gli Spocks mi hanno rotto.
ti chiami papero tu?


title: Papero

author: an illegal alien

text:
> >
> a' Tonysuper,  ho giŕ detto tante volte che dopo un primo momento di
> entusiasmo
> gli Spocks mi hanno rotto.
> Ciň due-tre dischi loro mai ascoltati.
>
>
ah, scusa, Papero non ero io (VinceR o illegal).
avevo capito male
(a palese conferma etc.)


title: Papero

text:
Antonio Suriano <
sur...@sns.it
> wrote in message
ald5q6$d3s$1...@newsserver.unipi.it...

avevo capito male
>


title: Papero

text:
On Sat, 07 Sep 2002 09:40:08 GMT, "JFSebastian" <
dan...@yahoo.it
>
wrote:
>Sono interista ma, letto questo post, non posso che proporti di cambiarti il
>nick in "schillo-genio".
Grazie.
Spero che non ci sia dell'ironia.
Ti assicuro che, comunque, se genio vi è in me, esso è del tutto
nascosto, e comunque inutile o dannoso.
>Saluti,
>JFSebastian
>
>P.S.: quale sarebbe il fratello non stupido dei Moratti?
Probabilmente più d'uno.... O nessuno, non lo so.
Tuttavia se Gianfranco (o Giancarlo, o Ricky... insomma, quello che si
occupa di petrolio) avesse condotto la propria società con lo stile
(lo dico senza ironia) del fratello, avremmo la prima compagnia
petrolifera a metà tra le Opere Pie e la Enron.
PS:
Leggo sulla Gazzetta:
"Ronaldo è triste: non ammessi i procuratori e perfino il
fisioterapista agli allenamenti del Real."



title: Papero

text:


Preciso ad IAMC che Davide parla proprio dei Gentle Giant, non di
Glenn Gould....



title: Depositiamo immagini su Sarchiapone!

author: Giamber

text:
On Thu, 20 Apr 2000 22:41:44 GMT, "Emanuele Passerini"
<
ema.pa...@libero.it
> wrote:
Sarebbe molto comodo poter disporre di una "banca" di immagini aperta
a
>tutti. Che ne dite?
Mi associo.
Mi sembra poi, dopo la recente sentenza della magistratura sulla
liceita' dell'utilizzo di copie del software non a fini di lucro, che
gli aspetti legali siano piu' tenui.
Saluti!
Giamber
giamber AT tin DOT it
punto e virgola trattino chiusa parentesi


title: Depositiamo immagini su Sarchiapone!

author: Emanuele Passerini

text:
"Giamber" <
gia...@tin.it
> ha scritto nel messaggio
news:3905a0cb...@news1.tin.it...
> On Thu, 20 Apr 2000 22:41:44 GMT, "Emanuele Passerini"
> <
ema.pa...@libero.it
> wrote:
>
> Sarebbe molto comodo poter disporre di una "banca" di immagini aperta
> a
> >tutti. Che ne dite?
>
> Mi associo.
> Mi sembra poi, dopo la recente sentenza della magistratura sulla
> liceita' dell'utilizzo di copie del software non a fini di lucro, che
> gli aspetti legali siano piu' tenui.
Meno male che nel silenzio generale del NG qualcuno è d'accordo. :-))
--
Emanuele Passerini
ema.pa...@libero.it
http://meltingpot.fortunecity.com/pakistan/72
ICQ# 34957310


title: Depositiamo immagini su Sarchiapone!

text:
On Mon, 24 Apr 2000 22:23:18 GMT, "Emanuele Passerini"
<
ema.pa...@libero.it
> wrote:
>Meno male che nel silenzio generale del NG qualcuno è d'accordo. :-))
Immagino che fossero tutti al mare e ai monti... :-)



title: Sempre sul canto gregoriano

author: Luca Logi

text:
Felix Mendelssohn, compositore tedesco, soggiornò a Roma nel 1830. Era
luterano, ma la sua competenza musicale non può essere messa in
discussione. Ecco come ci racconta come veniva cantato il canto
gregoriano. E' interessante per chi considera l'odierna un'epoca di
decadimento della musica sacra (e lo è) e considera quello che succedeva
prima del concilio come un'epoca d'oro (e non lo era).
-------
"Alla Sappella Sistina la polifonia teneva il, campo. Quando
s'intercalavano parti in gregoriano, esse venivano eseguite così: il
principio di ogni pezzo è affidato ad un soprano; egli attacca le prime
note con vigore, le carica di appoggiature ponendo nella ultima sillaba
un trillo prolungato.
Allora le quattro voci si dividono in due parti. Soprano e tenore
cantano la melodia come è scritta sul libro o pressappoco; il contralto
e il basso fanno la terza ad una ottava di distanza fra loro.
Questo accompagnamento produceva combinazioni armoniche strane e
talvolta scorrette, ma non importava.
Giunti alla fine i cantori facevano un accordo perfetto maggiore
sull'ultima sillaba.
Così cantavano i musici. Il popolo naturalmente null'altro sapeva che
qualche inno, seviziato da tutte le corruzioni possibili e ridotto ad un
ritmo saltellante."
--
Luca Logi - Firenze - Italy        e-mail:
ll...@dada.it
   Home page:
http://www.angelfire.com/ar/archivarius
                   (musicologia pratica)


title: Sempre sul canto gregoriano

author: Praenestinus

text:
"Luca Logi" <
ll...@dada.it
> ha scritto nel messaggio
news:1gvh6ee.n8j41c1xncri6N%ll...@dada.it...

Percarità... non è che voglio dire che Mendelssohn fosse un cretino ma forse
ce l'aveva un pochino con noi italiani caro Luca e magari si aspettava di
sentire cose diverse. Il motivio di un certo giudizio abbastanza secco e
severo (che poi muta in positivo via via nelle varie lettere fino ala fine
del suo soggiorno a Roma durato dal 2 novembre 1830 al 16 giugno 1831) è
dato con tutta probabilità dalla natura della pratica musicale italiana,
lontanissima da quella della sua formazione musicale. E' questo anche il
motivo per cui questi signori venivano da tutta Europa ad ascoltare musica e
canto a Roma.
Il gregoriano... quale gregoriano? Chi sa come si eseguiva durante la sua
epoca d'oro? E ai tempi di Palestrina? sicuramente è il genere musicale che
nel corso dei secoli ha subito più trasformazioni in assoluto. Splendore e
decandeza.
In Sistina di fatto il gregoriano veniva eseguito per tradizione in diverse
maniere, sopratutto come cantofratto ma anche in modo armonizzato, essendo
affidato ad una cappella musicale che aveva una batteria di voci attrezzata
di tutto punto per fare polifonia. Questo forse poteva rappresentare uno
scandalo per Mendelssohn ma in Sistina non lo era poi tanto. La scuola di
Solesmes era di la da venire... e comunque anche i solesmensi ( con la
doppia scisagura di essere frati e francesi) quando sono arrivati hanno
pensato alla saccoccia loro più che all'autenticità della musica.
Il popolo aveva secondo Mendelssohn un ritmo saltellante perchè
probabilmente cantava gli inni in modo mensurato e come tu sai questa è una
tradizione antichissima... forse risalente alle origini stesse degl' inni.
Poi il popolo canta come può.... non è che deve dare un concerto.
Parla inoltre di " combinazioni armoniche stane... talvolta scorrette, ma
non importava". Ma siamo sicuri che non erano collegamenti modali? Perchè
non si spiega meglio? Mi sembra che sia solo preoccupato di dare un gidizio
severo e nulla più.
Senza conoscere la diversa pratica dell'epoca e leggendo solo i suoi
commenti si può avere l'impressione di essere in una piazza più che in un
luogo di culto....ma ciò non sarebbe obbiettivo.
Saluti,
S.


title: risposta a definizione polemica di musica

author: gabriele

text:
sono daccordo con la definizione di musica, ( e la si dovrebbe spiegare
anche a qualche studente in conservatorio che dice di essere compositore di
musica contemporanea.....)
per quanto riguarda gli Avion travel ........ basta non ascoltarli.
ciao
gabriele


author: Giampaolo Bellavite

text:
"gabriele" <
bebe...@libero.it
> ha scritto:
> sono daccordo con la definizione di musica,
«La» definizione?? Quale?
> ( e la si dovrebbe spiegare
> anche a qualche studente in conservatorio che dice di essere compositore
di
> musica contemporanea.....)
Probabilmente non sarebbe d'accordo con tale definizione.
> per quanto riguarda gli Avion travel ........ basta non ascoltarli.
Eh, sì, ma li avessi sentiti almeno una volta!! :-(
--
Giampaolo Bellavite, Verona
E-mail:
bell...@3nd.it
ICQ# 6663743 | MSN: bellavite
Su Ciajkovskij:
http://www.tchaikovsky.org
«Chi ha imparato ad ascoltare gli alberi, non desidera più essere un albero.
Non desidera essere altro quello che è. Questa è la patria. Questa è la
felicità»
(Hermann Hesse, 1919)


title: Filodiffusione e RAI: siamo in buone mani

author: EquinoXe

text:
Riporto quanto appare su Venerdě di Repubblica, nella rubrica delle
Lettere di questa settimana.
---
Lettera:
Segnalo con disappunto che da qualche tempo i programmi indicati per la
filodiffusione non sono corretti.
Risposta:
Ci scusiamo del disguido dovuto a un guasto del sistema di trasmissione che
si č verificato il 30 giugno scorso e che, dopo molte traversie, la Rai č
riuscita a riparare solo il 10 luglio".
---
E' bello sapere che c'č sempre qualcuno che veglia su di noi.
Ciao,
    Aldo.
--
"Open your eyes! Open up wide!"


author: Moosbrugger

text:
"EquinoXe" <
aldoo...@yahoo.it
> ha scritto nel messaggio
news:bfscgq$iipsc$1...@ID-114486.news.uni-berlin.de...
> Risposta:
> Ci scusiamo del disguido dovuto a un guasto del sistema di trasmissione
che
> si è verificato il 30 giugno scorso e che, dopo molte traversie, la Rai è
> riuscita a riparare solo il 10 luglio".
Sarà, ma io da diversi giorni non riesco neppure a collegarmi alla
filodiffusione.
Ciao
Moos
--
Allargate l'area della coscienza !
Allen Ginsberg


text:
Moosbrugger wrote:
>
> Sarà, ma io da diversi giorni non riesco neppure a collegarmi alla
> filodiffusione.
Hai l'apperecchio collevato via cavo telefonico? :-)
Via sat e FM (102.2 a Milano) direi che si riceve con la qualità di sempre
(ovverosia non eccezionale, ma perlomeno "udibile" :-P ).



text:
"EquinoXe" <
aldoo...@yahoo.it
> ha scritto nel messaggio
news:bfsdi9$i2kvi$1...@ID-114486.news.uni-berlin.de...
> Hai l'apperecchio collevato via cavo telefonico? :-)
> Via sat e FM (102.2 a Milano) direi che si riceve con la qualità di sempre
> (ovverosia non eccezionale, ma perlomeno "udibile" :-P ).
Fibra ottica. Quando provo a collegarmi al sito, mi dice che non lo trova,
porca paletta. E mentre cazzeggio qui e in altri luoghi virtuali mi manca la
musichetta, senza contare che ogni tanto capita ancora di saltare sulla
sedia ascoltando qualche gioiellino che proprio non conoscevi...
Ciao :-)



text:
Moosbrugger wrote:
>
> Fibra ottica.
Siete troppo evoluti voialtri! :-P
> Quando provo a collegarmi al sito, mi dice che non lo
> trova, porca paletta. E mentre cazzeggio qui e in altri luoghi
> virtuali mi manca la musichetta, senza contare che ogni tanto capita
> ancora di saltare sulla sedia ascoltando qualche gioiellino che
> proprio non conoscevi...
Per la "fase cazzeggio web" ti consiglio, tra le mille alternative
possibili, l'ascolto del canale svizzero Swiss Classic, che è pure in
italiano e sarebbe un po' una versione elvetica della nostra FD.
Streaming:
http://real.xobix.ch/ramgen/encoder/ssatclass.rm
Sito coi programmi:
http://www.swissclassic.ch/nav/frameset.php?lang=it
Per altre opzioni ci sta pure il mio situzzo, vedi:
http://www.harmoniae.com/radio.cfm
Ciao, :-))



author: Johannes Wentu

text:
On Sat, 26 Jul 2003 14:22:04 +0200, "EquinoXe" <
aldoo...@yahoo.it
>
wrote:
>Per la "fase cazzeggio web" ti consiglio, tra le mille alternative
>possibili, l'ascolto ...
della WCPE
www.wcpe.org
Wentu


text:
"EquinoXe" <
aldoo...@yahoo.it
> ha scritto nel messaggio
news:bftrqm$iq7p4$1...@ID-114486.news.uni-berlin.de...
> Per la "fase cazzeggio web" ti consiglio, tra le mille alternative
> possibili, l'ascolto del canale svizzero Swiss Classic, che č pure in
> italiano e sarebbe un po' una versione elvetica della nostra FD.
> Streaming:
http://real.xobix.ch/ramgen/encoder/ssatclass.rm
> Sito coi programmi:
http://www.swissclassic.ch/nav/frameset.php?lang=it
Ringrazio te e Wentu per i suggerimenti. Sto ascoltando in questo momento su
Swiss Classic una delle piů brutte versioni dell' Italiana di Mendelsshon
che abbia mai sentito ;-)))
A parte questo, il sito č interessante e ben fatto. Peccato che trasmettano
quasi sempre singoli movimenti e quasi mai opere complete : strana
abitudine, invero...
Ciao
