Hi guys. The following questionnaire, signed "Gunnar", arrived today.
Thought I'd give it a shot.
>We all would like to know who you are, your
favorite works, composers, artists and
other preferences in the Opera music and
art form.:
My name is John Yohalem, aka Hans Lich, aka Jean Coeur de Lapin.
My favorite opera composer is Wolfgang Giuseppe Wagner or maybe it's Richard
Amadeus Verdi, whichever I've heard performed best most recently.
Heard a decent Figaro and a decent Tristan recently, and a not disgraceful
Otello, but for excitement I think I'd have to go back to Abduction from the
Seraglio in November. So it's Mozart for now.
My favorite operas (in no particular order) are Parsifal, Don Carlos,
Idomeneo, Lucrezia Borgia, Il Tabarro, Guillaume Tell, Orleanska Djeva,
Billy Budd, Princess Ida, Handel's Saul, Les Troyens, Dido & Aeneas,
Fierrabras, Alfonso und Estrella, Oberon, Fidelio, Bluebeard's Castle, Cosi
fan tutte, L'Incoronazione di Poppaea, Atlas, Les Vepres Siciliennes, La
Forza del Destino, Ariadne auf Naxos, Die Walkuere, La Gioconda, Sadko, and
that opera about the boy and girl who are in love but it doesn't work out --
you know the one I mean.
I'd love the great American opera if anyone had ever written one.
Unfortunately....
My "starter" diva was Joan Sutherland, to whom I wrote 34 sonnets when I was
16 years old. But I grew out of that. Price, Caballe, Crespin, Freni,
Tebaldi, Nilsson and Rysanek helped. Mezzos: Troyanos, Ludwig, Berganza and
Cossotto. Tenors: The Big Three -- that is, Bergonzi, Vickers and Gedda --
but also Domingo, Heppner and -- the prettiest tenor voice on earth until he
was about 30 -- Carreras. Baritones: The young Sherrill Milnes, Bruson,
Bailey. Basses: Kurt Moll now and forever, Siepi, Van Dam, Salminen,
Treigle.
Just now, my faves among those extant are:
(S) Karita Mattila, Barbara Bonney, Hei-kyung Hong, Gabriele Schnaut,
Natalie Dessay. Deborah Voigt? Maybe.
(M-S) Stephanie Blythe, Larissa Diadkova, Olga Borodina, Vessalina Kasarova,
Lorraine Hunt -- oh, and that Swedish girl who sang the sister-in-law in
Katya Kabanova last year. Sylvia something?
(C-T) David Daniels, Bejin Mehta. Andreas Scholl? Maybe.
(T) Um.
(Bt) There's this Pole named Mariusz Kwiecin who was a Finalist at Cardiff
last year. Keep your ears peeled. The Korean was pretty hot, too.
(Bs) Kurt Moll now and forever, but also Rene Pape. Peter Rose, maybe.
Other preferences: small opera houses and productions that aren't too
gimmicky and do not exist to exalt the stage director over anyone else.
>I am a computer technician living in Stockholm, the capital of Sweden, 53
years old. I started to go to the opera around 1960.
I like all sort of opera. My favorites composers are Wagner, Verdi, Puccini
and Mozart.
As a Swede; the best tenor of all is Jussi Bjoerling and the best soprano is
Birgit Nilsson.
You mean, for Swedes they're okay, but otherwise just so-so?
I'm afraid I can't agree with you.
Never heard Bjoerling. Nilsson was great, but she was also harsh -- it was
powerful and effective and blazing and exciting, and she was a very
intelligent musician and actress, but there was never any warmth in her
sound. This meant there was always a dimension lacking when she sang things
like Isolde and Brunnhilde.
>I don't like Pavarotti. For me he always sounds like "Pavarotti", it
doesn't matter if it Mozart or Verdi, he sings in the same "Pavarotti way".
I never did "get" the Pav, until lately, when his voice has darkened so much
and he no longer bothers to try for the high notes. I used to consider it
reedy and unpleasant, but now it's quite attractive. Maybe he will have a
career after all.
>Besides Opera I enjoy all sort of classical music, especially vocal music
and piano music.
I'm fond of Early Music, of classical chamber music (Haydn trios, Mozart
quintets), Scarlatti sonatas, Bach organ music, Handel oratorios, Schubert
anything, lieder, Broadway of the golden age (1920-1960), late '60s acid
rock and Motown. (Ideal for dancing.)
I seldom think recordings equal the thrill of live performances, and have a
low opinion of singers who use microphones.
>Do you attend operas in your community?
What company performs? Notible guest
artists?
I'll go anywhere in reason as long as it's an opera I've never heard before.
New York used to have 31 opera companies, but most of them went broke. The
Met is too goddam big. The City Opera uses electronic enhancement. Venga la
morte.
>In Stockholm we have a Royal Opera Company established in the 1800th
century. From time to time there are guests artists.
We also have a small company called the "People's Opera", which sings in
Swedish. At the moment they are giving a very fine La Bohème.
My greataunt heard Soderstrom sing Madama Butterfly in Stockholm in Swedish.
"Can you imagine that?" she says. "Madama Butterfly in Swedish!" Frankly,
that story couldn't be sillier in Swedish than it is in Italian.
She also heard Caruso in La Juive, in 1919. Remembers it vividly. "What was
he like?" I asked her. "He was good," she said. So now you know.
>Is opera available on your local radio station? What station, what is their
broadcast time?
The Swedish Broadcasting Company has a "classical channel". Almost every
Saturday night there is a live performance of an Opera, can be from the MET
in NY or any other foreign country.
Good for them. WQXR and WNCN used to both play operas on Sunday nights. Then
WNCN switched to rock. Then WQXR cancelled their opera program last summer.
I hate their guts and wish them gridlock and stomach spasms.
>We had a commercial channel for classical music, but it was sold and is now
a pop channel.
with the greetings of the season
Sounds like Stockholm isn't so much more enlightened than New York after
all.
Hans Lich
John Brightshadow Yohalem
enchante@...
"I wish I had a potion
Like Erin's fatal queen
As red as heart's commotion,
As youth so gold and green;
I'd pour it in your cocktail,
I'd dose you with it sure,
No tonic resolution
Would ever work your cure...."
-- Old Celtic legend, interpreted by JY
Be sure to visit the Enchanté Web Site!
http://www.herodotus.com
My name is Cheryl & I'm a 25y/o student of education from San Francisco. My
favorite operas in order of preference are: Rusalka, Carmen, Electra, Ruslan &
Lyudmila, Aida, Salome, La Cenerentola, The Fiery Angel (can't remember original
title), and Die Walkure. My favorite performers in order of preference are: Jose
Cura, Olga Borodina, Gabriela Benacova, Jose Carrera, Anna Netrebko, Ruth Ann
Swenson and Freni. If anyone has any recommendations of a good bass singer, I'd
be interested to hear them.
Cheryl
Hello,
As I am new to this list, I thought I should introduce myself. I am 22
years old American living near Lyon, France. I am an aspiring vocalist, and
dream of one day being a part of the "opera experience". I have been
studying vocal techniques for about 5 years now, but have only recently
discovered the world of opera. (about 1 year ago) My enthusiasm for opera
has led me to study one opera at a time. I want to know everything about
each one I hear about, listen to, or see on cable. During this year, I
have listened to and sang the music of Mozart's Giovanni, and Bizet's
Carmen. I haven't had time to really STUDY any others, since operas are
rather complexe, and the vocal parts alone can be a challenge. I am also
somewhat of a perfectionist, so much time is spent on corrections and
perfectioning my understanding of the characters. (the type of things that
generally concern singers and performers.) I have, however watched a
recording of a performance of Puccini's Turandot at the Forbidden City.
(Didn't feel anything special for it, but I'm the type of person that has
to hear something several times before knowing if I like it) But aside from
that, I don't know many operas, and don't know much about them.
Up until last year, my singing focused mainly on Sacred Music, or Classical
music. (with a little bit of English/American musicals tossed in for good
measure) I find that operas satisfy my desire to perform (and watch)
something expressive, and with voices of good quality- (worked voices.)
Quite often, sacred and classical music - in the way it is performed today-
tends to be rather structured and stiff. The performers wear somber
clothing and serious expressions. Opera has a different depth to it. We
feel as if we are experiencing what is happening. We understand what
motivates the people to sing that which they sing, and why they sing it the
way they do. And we can often encounter someone who's interpretation is
different- not by a changing of notes, but in the expression itself-
because their motivation can differ somewhat from that of other people.
I've always felt a certain loss when watching someone interpret a classical
or sacred song and wondered- What has motivated this person to sing this?
Are they just trying to sing to us songs they think sound pretty, or
perhaps- songs they think will please us? And as for Musicals... the
motivation is visible enough (it's easy when you have a whole story line
and know your character), but I often think that there is a sacrice of
quality in the voices and/or intruments. Quite often, they will accept
someone who can fill their voices with emotion, or sing with a style that
gives us that impression, but what it all comes down to is- there is always
someone in the production who couldn't get a job singing as any character
other than that one which they play. Their singing style simply doesn't fit
the profile of any other (or very few) character(s).
During the last 4 or 5 years, I've developed a taste for Mozart, among
others. I may not know many operas and composers, but I really enjoy
Mozart's Don Giovanni. So far, it is my favorite- though from what I've
heard, it may always remain so. I am attracted not only by the music
itself, but by the characters and costumes. The characters aren't all of
rich and royal blood, and the atmosphere goes from formal to casual quite
easily. -And taking my voice type into account (and my age), i've found a
special place in my heart for the character Zerlina. I'm sure she'd be a
fun character to play with.
Oh yes, i've forgotten to say that i've also recently had a brush with
Delibes's Lakmé - though i've yet to hear the entire thing, it sounds
absolutely wonderful, and I'm sure it will be fun to work with.
As for Pavarotti, i don't like him at all. Sure, he has a voice, but he
uses it in such a "commercial" way! - And I'm not taking into account the
fact that he sings duets with nearly anyone who is a famous "singer" and
has enough money (even if they sing variety or pop) ,and does commercials
on TV.(at least in France he does) I feel as if he sings mechanically.
Sure, all of the dynamic changes are there- he does everything correct, but
with such bravado that the world says he's great. (he must be, since he
thinks he is)
I even have a little tale to tell you folks about him. (Let's just hope I
remember it correctly)My voice teacher once enrolled herself in his school
of music. The enrolement fees and everything else involved where so high
that it could be called "outrageous", but since it was Pavarotti's School,
she enrolled thinking that there is always a relation between quality and
price, etc. During her entire enrollment their, she never once even saw
Pavarotti, -no welcome, fairwell, or guest appearence. Needless to say, she
didn't continue her studies at that school...
Aside from him, there are few people's voices I really know. Maria Callas
for certain, though her type of voice isn't my favorite. (she did sing
rather well though, didn't she?)
On the whole, I'm a fan of lyrical music. I can enjoy symphonies, but feel
closer to sung music. Despite my harsh comments on classical and sacred
music, I do find myself enjoying it. I have a tendancy to listen more often
to women's voices, (and judging them rather strongly) especially soprano,
but I do have a special place in my heart for bariton. I'm no fan of, nor
of dramatic voices. That must have been what made me run away from opera
when I was a child, and shy away from it when I started my studies.
France is a place in which opera still lives. Though few people may enjoy
listening to this type of music, (most of them think of heavy, warbling
voices and fat men and women) it is still a big part of our culture. (at
least from my point of view) We can hear small excerpts in various
commercials on TV- trying to sell us cellular phones (with such a clear
sound that we could hear a diva's performance on the phone in mid-stage...
while she is trapped in the train station.), fancy cars (this is what the
high life is supposed to be like), and just about everything. During a 5
hour period on a public tv channel, you might hear 3 or more such excerpts-
usually background to set the "atmosphere". As far as I can tell, every
medium to large-sized city has it's opera. I can't really say how many
radio stations will air them, since I don't listen to the radio. I was
American-raised, and radio stations there tend to stick to 1 or 2 music
styles. But here, each radio station tends to mix up their styles. I can
listen to Eric Clapton, then hear KennyG, followed by Techno- and by then,
it's too late to change the station without being affected- i've already
been contaminated and thoroughly traumatized. After encountering that same
problem a few times, i've abandoned the radio altogether, without even
bothering to find any classical stations. When I want to watch an opera, I
watch the cable channel -Paris Premier. There are several cultural
programs- more theatre plays than operas, but I can see at least one
different opera each week. Every once in a while, some other channel
decides to air a famous opera.
In my town, we don't have an Opera. That's because Lyon is so close and has
such a large and good quality opera. We do have a couple of lyrical music
companies who are made up of amateurs or people who love to sing- but they
fail to impress me (or anyone else for that matter) and don't do any
costumed performances. I've been looking for a small amateur group that
might be good enough level for me to concider auditioning, but there are
none in my region. I'm sure there are several in Lyon, but it's far enough
to make one trilp a week costly.
Well, I hope my letter doesn't jump around too much- I don't communicate in
English often, and an awful lot can be forgotten when you live in a foreign
country since 3 years...
She-demon
From: 7cher7 <7cher7@...>
To: AnOPERAlist@onelist.com <AnOPERAlist@onelist.com>
Date: Thursday, January 06, 2000 1:21 PM
Subject: anOPERAlist~ RE favorite pieces/performers
My name is Cheryl . If anyone has any recommendations of a good bass singer,
I'd be interested to hear them.
Living:
1. Kurt Moll.... Now and forever
2. Matti Salminen
3. Cesare Siepi
4. Rene Pape (who's actually in prime career, so you are in LUCK, and in for
a treat)
5. Peter Rose
6. John Tomlinson
7. Nicolai Ghiaurov
8. Simone Alaimo (also in prime career, Rossini specialist)
9. James Morris
10. Roberto Scandiuzzi (also in prime career)
11. Hans Hotter
Dead, but don't let that stop you:
Boris Christoff
Feodor Chaliapin
Norman Treigle (but you kind of had to see him to get it)
Jose Mardones
Adamo Didur
Michael Bohnen
Owen Brannigan -- or is he still alive?
(signed)
Hans Lich
In a message dated 1/6/00 6:36:36 PM Central Standard Time,
enchante@... writes:
> Dead, but don't let that stop you:
> Boris Christoff
> Feodor Chaliapin
> Norman Treigle (but you kind of had to see him to get it)
You did? I have a his LP and he sounds great! I can only imagine his acting
only enhanced the experience to the Nth degree. One of those cases of a great
singer that couldn't get the cards to fall the right way.
> Jose Mardones
> Adamo Didur
> Michael Bohnen
> Owen Brannigan -- or is he still alive?
Uh, where is Pinza???? @_@
Todd
I wouldn't want you to forget Paul Robeson and Enzio Pinza!
--
Mark@...
http://www.IntoThe.Net
From: "John Yohalem" <enchante@...>
Reply-To: AnOPERAlist@onelist.com
Date: Thu, 6 Jan 2000 16:10:02 -0800
To: <AnOPERAlist@onelist.com>
Subject: Re: anOPERAlist~ RE favorite pieces/performers
From: 7cher7 <7cher7@...>
To: AnOPERAlist@onelist.com <AnOPERAlist@onelist.com>
Date: Thursday, January 06, 2000 1:21 PM
Subject: anOPERAlist~ RE favorite pieces/performers
My name is Cheryl . If anyone has any recommendations of a good bass singer,
I'd be interested to hear them.
Living:
1. Kurt Moll.... Now and forever
2. Matti Salminen
3. Cesare Siepi
4. Rene Pape (who's actually in prime career, so you are in LUCK, and in for
a treat)
5. Peter Rose
6. John Tomlinson
7. Nicolai Ghiaurov
8. Simone Alaimo (also in prime career, Rossini specialist)
9. James Morris
10. Roberto Scandiuzzi (also in prime career)
11. Hans Hotter
Dead, but don't let that stop you:
Boris Christoff
Feodor Chaliapin
Norman Treigle (but you kind of had to see him to get it)
Jose Mardones
Adamo Didur
Michael Bohnen
Owen Brannigan -- or is he still alive?
(signed)
Hans Lich
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From: Kagami101@... <Kagami101@...>
>In a message dated 1/6/00 6:36:36 PM Central Standard Time,
>enchante@... writes:
>
>> Dead, but don't let that stop you:
>> Norman Treigle (but you kind of had to see him to get it)
>You did? I have a his LP and he sounds great! I can only imagine his acting
>only enhanced the experience to the Nth degree. One of those cases of a
great
>singer that couldn't get the cards to fall the right way.
Well he died young-ish. I'm sorry I never heard his Don Giovanni (to Sills
in the mid 60s when I was still only listening to Gilbert & Sullivan and
Beethoven symphonies -- gosh, the stuff I missed -- but I wouldn't have been
allowed to go to the opera late at night anyway).
I heard his Giulio Cesare, which was immensely dignified and had the
authority the part requires -- which Jennifer Larmore pitifully lacks.
(Vocally, Larmore always does everything right, but she lacks a "spark", she
never brings anything alive. Compare her to Troyanos or Horne in any role --
they're ALIVE. She might be sight reading a score.)
The major Treigle roles I heard were Mefistofele and the villains in
Hoffman. (His King from Coq d'Or was telecast, so it must exist on tape
somewhere. I think he sang the Cardinal in La Juive to Tucker in New
Orleans, which is on a pirate disk. Also his Boris.)
The Mefistofele was frighteningly good. The entire City Opera production was
built around his stringy physique. When he was on stage, everyone else was
background. The production was extraordinary considering it must have been
done on a shoestring. It was also beautiful to hear, but what I could never
forget was how riveting he was in his movements -- he could have been a
dancer as well as a singer. The moment in Scene 2, the Kermesse, when he
confronts Faust in disguise was terrifying. He had a style of movement, a
tempo, completely unlike anyone else on stage. Everyone would be doing
something -- dancing, walking, processioning, and this figure all in black
would sashay through the crowd, as though he'd wandered in from some other
work, and circle around, and like Faust, you couldn't help but focus on him.
And then he entered again and walked with determination through the crowd,
circled Faust and suddenly stopped dead. The cessation of movement shocked
you as much as the movement had. And abruptly he stuck out his hand in a
begging gesture. The tenor as Faust was visibly shaken. No one in that
theatre could look anywhere but at that hand. And the tenor took a coin or
two from his pocket and put it in the outstretched hand as if the touch of
the hand might burn him. Treigle didn't move. He just stood there as the
tenor nervously walked away, looking back. Then the hand turned over, and
the coin rolled out on the floor. The meaning was absolutely clear: I want
something from you, and money won't do it.
Treigle could do with a gesture what composers do with a musical gesture in
a score: create an entire mood, an entire story. I haven't listened to his
recordings and I have no idea if was doing this with his voice as well -- I
was a kid when I saw him do this. (Sam Ramey, whose instrument was much
larger and more sensuous, was never half the artist Treigle was. Sort of
like what those who heard Leonard Warren say about Robert Merrill.)
The Four Villains was similar, in lighter music. WHen he strolled across the
stage as Councillor Lindorf, he seemed suspended from a wire hanger across
his shoulders -- he seemed to be a marionette. His singing also had a
sinister jerkiness in this aria. As whatsisname, the glasses-seller, he was
a complete contrast, a crazed, fantastic gypsy figure. His Dappertutto, in a
very gaudy costume, made the most of being the most glittering thing on
stage, and the voice "scintillated" too.
And that's what I remember now of Treigle.
So I'm delighted something of his achievement survives in recordings.
- Hans Lich
John Brightshadow Yohalem
enchante@...
"I wish I had a potion
Like Erin's fatal queen
As red as heart's commotion,
As youth so gold and green;
I'd pour it in your cocktail,
I'd dose you with it sure,
No tonic resolution
Would ever work your cure...."
-- Old Celtic legend, interpreted by JY
Be sure to visit the Enchanté Web Site!
http://www.herodotus.com
MADRID, Spain (AP) - Italian tenor Luciano Pavarotti was booed
heavily in absentia by Spanish opera lovers who were angry because he
didn't show up for a concert. He was supposed to have performed
Friday night at Madrid's Teatro Real in a concert honoring the late
Alfredo Kraus, along with Spanish tenors Placido Domingo, Jaime
Aragall, Ramon Vargas and Venezuelan Aquiles Machado and Spanish
sopranos Maria Bayo, Lucia Aliberi and Carmen Oprisano. Kraus, one of
the world's most respected lyric tenors, died in September after a
long illness. Pavarotti canceled at the last minute because he was
not feeling well, the opera house said. The audience wasn't in a
forgiving mood. Many booed loud and long when the three absences were
announced, delaying the concert for nearly an hour. See
http://www.infobeat.com/stories/cgi/story.cgi?id=2563135636-123
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Dvorzak's "Rusalka" is by far my favorite opera. I've seen it once performed by
the San Francisco Opera in 96 (starring Olga Borodina) & own one recording of
it, a 1984 Czech Philharmonic version directed by Vaclav Neumann & starring
Gabriela Benackova. I'm curious about other recordings, how they stack up
against the one I have?
Cher
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Gawain
opera in two acts,
music by Harrison Birtwistle
libretto by David Harsent after 'Sir Gawain and the Green
Knight'
The Royal Opera House, Covent Garden, London
7.30pm 13th January 2000
A confession. 'Gawain' is a modern opera, so I knew that tickets would a) be
available, and b) be a
little more affordable than is usual so I booked thinking 'well, at least I'll
get a good look around the new house'
Actually, I wasn't being so terribly cynical, the Lancastrian-born bass John
Tomlinson was to sing The Green Knight
and having enjoyed his Boris and Wotan I was keen to hear him in a new, so
called 'difficult' piece.
It must be said that this is challenging music, there wasn't a melody to hum
on the way home, yet Birtwistle's
huge orchestration, dense, intense with beautiful jangles from the cimbalom,
was totally spell-binding.
To my ears there were fragments of Janacek, Wagner,early Richard Strauss and
moments that had a
touch of the Turandot about them. The sound was at times massive but only
occasionally overwhelmed the singers.
The cast were all magnificent, Constance Hauman as Morgan le Fay and Kathryn
Turpin as Lady De Huatdesert
floated down to the stage in a magic circle of light and seemed to have no fear
for either the hight of their flight
or of Birtwistle's fiendishly high writing. This made comprehension of the
libretto a little difficult but sur- titles were
provided so one could read that which one couldn't quite hear. Anne Mason as
Guinevere was also singing at the
top of the stave but made an impression in a smallish role, even if she did
lose out by having to wear the ugliest wig.
The Knights of Camelot were well balanced vocally from velvety bass to
unearthly counter tenor, providing choral
support but showing individual character none the less.
A stand-out for me was Thomas Randle, a fine baritone with excellent diction,
who gave his holy fool
a gorgeous naivety. Robert Tear as Arthur was also in fine voice, heroic but
with a touch of ennui
and impatience giving a totally human quality to this noble character. So, to
the titular Gawain and his pal the green knight.
Wilhelm Hartman's Gawain was touching, an innocent out to prove his heroism,
his repeated cries of 'cross of Christ,save me'
were affecting without resorting to melodrama, his silent presence during the
lengthy 'Turning of the seasons' sequence
still managed to draw the eye and at the end after singing 'I'm not that hero'
he stood crushed, disconsolate, all too fallible,
a shiver seemed to chase around the audience, magic!
John Tomlinson as The Green Knight was brilliant. His superb diction and
projection meant I never had to check the titles
to discover just what was being sung (but I suppose singing at Bayreuth for the
last 12 or so seasons must help a
great deal) his bass was just wonderful, his acting as committed as his
singing, splendid stuff.
The sheer theatricality of the piece was also impressive, moments will stay
with me for a long time, the Green Knight's
singing severed head was an oddly beautiful but thrilling image, the hunt for
Stag, Boar and Fox charmingly enacted with
a masked actor as each beast, the eye as well as the ear was constantly fed
riches.
I discovered earlier in the day that 'Gawain' has yet to be performed outside
the UK, but there is a live recording of
the 1994 revival (on the Collins Classics label) with Francoise Le Roux as
Gawain and yes, good old Mr Tomlinson as Greenie. The sound is vivid with very
little stage noise, the only disappointment being Omar Ebrahim's Fool, but none
the less a very
good set that captures some of the on-stage magic. You might want to check out
your local record library before financial
commitment though, Sir Harrison Birtwistle might not be everyone's cup of tea,
he worked for me though!
Ralf D'Arcy Higgins 17/1/00
FEATURED IN THIS E-MAIL:
* "Quintet: Five Journeys Toward Musical Fulfillment" by
David Blum
* "Gregorian Chant: Songs of the Spirit" edited by Huston
Smith
* "Jon Vickers: A Hero's Life" by Jeannie Williams
* "Johannes Brahms: A Biography" by Jan Swafford
* "Mozart" by Peter Gay
* "The NPR Guide to Building a Classical CD Collection" by
Ted Libbey
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>
> ------------------------------------------------------------------------
>
> Subject: Intro
> Date: Sat, 22 Jan 2000 09:35:07 -0800
> From: Brian Delaney <bripat@...>
> To: AnOPERAlist-owner@onelist.com
> References: <948527034.12141@onelist.com>
>
> Hi,
> I've just joined, so I thought I would give a little introduction.
> My name is Brian, I'm 34, and live San Diego, Calif. My occupation is as a
librarian for our public library system.
> In opera, my favorite composers include Mozart, Handel, Monteverdi,
Rossini, some Puccini, some Verdi but I must say I am Wagner-shy!! ;)
> The operas I most adore include "Le Nozze di Figaro", the Magic Flute,
Orlando (Handel), The Coronation of Poppea, La Boheme, and La Cenerentola
> Among the "divas", I love Cecilia Bartoli, Frederica Von Stade, Kiri Te
Kanawa and Samuel Ramey and "many" countertenors among the men.
> I do prefer opera when it is a good fusion between acting and beauty of
voice. This is essential to me. To have someone who has a beautiful tone but
who just stands there and makes campy gestures does not do it for me ;)
> Anyway, I am glad to have found this list!
>
Peace,
>
Brian
>
> AnOPERAlist-owner@onelist.com wrote:
>
> > Hello,
> >
> > Welcome to anOPERAlist. Please take a
> > moment to review this message.
> >
> > We all would like to know who you are, your
> > favorite works, composers, artists and
> > other preferences in the Opera music and
> > art form.
> >
> > Do you attend operas in your community?
> > What company performs? Notible guest
> > artists?
> >
> > Is opera available on your local radio station? What station, what is their
broadcast time?
> >
> > We hope you will be a regular contributor to 'AnOPERAlist'.
> >
> > Should you want to unsubscribe from this
> > list, go to the ONElist web site, at
> > www.onelist.com, and select the User Center link from the menu bar on the
left. This menu will also let you change your subscription between digest and
normal mode. You can also select NOMAIL if you go on vacation or just want a
break from the group for a bit.
> >
> > Thank you for joining us,
> > Administrators
> > of AnOPERAlist
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> AcoustiCDigest News - http://acousticdigest.com
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----- Original Message -----
From: AnOPERAlist@onelist.com
To: AnOPERAlist@onelist.com
Sent: Wednesday, February 02, 2000 8:44 AM
Subject: anOPERAlist~ Digest Number 129
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There is 1 message in this issue.
Topics in today's digest:
1. new MUSIC BOOKS
From: CD NEWS <newcdnews@...>
_______________________________________________________________________________
_______________________________________________________________________________
Message: 1
Date: Tue, 1 Feb 2000 05:48:11 -0800 (PST)
From: CD NEWS <newcdnews@...>
Subject: new MUSIC BOOKS
The latest titles are listed at URL:
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With Classical 101, editors introduce
music fans to key composers and performers, important
stylistic movements, and milestone recordings in the history
of classical music. In this mailing, contributor Ted Libbey
introduces the quintessential romanticism of Frederic Chopin
(1810-1849), the most beloved poet of the piano.
See the article at...
http://www.angelfire.com/biz/musiclassical/chopin101.html
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