1/ Tellya what, I own a copy of the Met Opera Record Club version of this, starring the great buffo Salvatore Baccaloni ("Some enchanted evening/I will look like Pinza/And my double chinza/Will surely disappear...") and then-young comprimario Charles Anthony as the tenor lead....
2/ and also the great baritone Frank Guarrera, and I'll always value that recording. As to the opera, tho - I saw it @MetOpera starring Fernando Corena and (our reason for being there) Beverly Sills. At the famous "slap moment," Corena showed such poignant humiliation that...
3/ I immediately sympathized with silly old Pasquale and hated all the other characters. Since we're supposed to sympathize with those others and consider Pasquale nothing but an example of "no fool like an old fool," I'm outta here. That said, that evening was not a loss...
4/ bc, when we went backstage afterward, being on Bev's guest list, I also got Corena's autograph! I had seen him so many times in his Pantaloon roles in bel canto comedies, including the 1st time I was ever at the met, 15 yrs before that PASQUALE. I said "Grazie!" and....
5/his "Prego!" in response was so resounding, it made me realize that the line between a basso buffo and a basso cantante is thinner than I had thought. - So tonight, instead, I'm listening to a 1963 BARBER OF SEVILLE on @metoperaradio that happens to have been my 1st time...
6/ever at the Met. And Corena was in it! So was Frank Guarrera! Good times.
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“And chase the Giaours flying night and day, not giving rest,
For that which was our trouble comes again out of the west.”
“But a noise is in the mountains, in the mountains, and I know,
The voice that shook our palaces - four hundred years ago:
It is he that saith not ‘Kismet’; it is he that knows not Fate;
It is Richard, it is Raymond, it is Godfrey at the gate!”
@VerbumCatholic @JoshuaTCharles It’s been just sitting there for decades 😃
@VerbumCatholic @JoshuaTCharles Some ironies:
The character that launched dear Ray Walston toward “My Favorite Martian” was named Luther: Luther Billis in “South Pacific” (stage and film).
Before “South Pacific” Ray won a Tony for playing, literally, Satan - dba “Mr. Applegate” - in “Damn Yankees.”
@VerbumCatholic @JoshuaTCharles The Luther Billis character required broad farce, whereas Uncle Martin - well, what was more exciting, in the ‘50s, than Martians? Yet Uncle Martin required Ray to deadpan, and to dress like an insurance salesman, and from *that* platform, to be funny.
1/ TLM readings for Assumption are boss! Gen 3 - we know there in enmity betw the snake and “the woman” - a typological category that includes several OT women, including Judith, so 1st reading is from her book, where she is explicitly praised for her most famous accomplishment.
2/ Old ‘Olofernes - ‘e’s been ever so much better since ‘e ‘ad ‘is ‘ead off.
3/ Not in the readings, but “the woman” includes Jael, in Judges.
What’s going on? fundyProts w nmore Biblical depth than Antietam Creed attacking Our Lady, then someone does a hostile (some wd say homophobic) thread on GKC, and now R. Brazen Witch is on about Dante.
For more about Dante and Courtly Love, read on.
2/ Dante took the Courtly Love tradition more or less as he found it; one of the rules of the CL road was that your “amor” cdn’t be your wife. But in part he broke with the conventions. CL usually involved sexual passion for the “amor,” and sometimes (less often) actual conquest.
3/ This surprises some ppl, bc we think we know all about CL from TANNHÄUSER or “Man of La Mancha” - “to love pure and chaste from afar” - n’uh uh. Except for a minority of CL poets, including Dante. “Pure and chaste from afar” was v much his thing re Beatrice.
2/ she specializes in chicks who are a bit cuckoo-for-cocoa-puffs.
3/ Elza’s fine. Noted, too, how Eric Cutler, formerly bel canto (Arturo in PURITANI) here moves to the threshold of Wagner-tenor-world, turning in a well-sung Erik - a role that doesn’t need, yet frequently gets, a full-blown heldentenor.
For a dark lord, Pizarro sure gets a jolly intro march. Beethoven’s FIDELIO on MetOperaChannel now, perf from 1976. Gwyneth Jones, Jess Thomas, Donald McIntyre; cond. John Mauceri.
2/ The horns effed up their exposed slow passage early in the overture, so they provided lovely support for Gwyneth in the Abscheulicher, and maybe the maestro didn’t demand their asses for dinner.
3/ Leonora (“Fidelio”) persuades Rocco (John Macurdy, old pro) to let the prisoners out for some air, hoping she’ll spot her husband. When Pizarro calks on Rocco to please explain, Rocco says well it’s the king’s b’day. …