Relay-Version: version B 2.10 5/3/83; site utzoo.UUCP Posting-Version: version B 2.10.1 6/24/83; site whuxi.UUCP Path: utzoo!watmath!clyde!bonnie!akgua!whuxlm!whuxl!whuxi!ktw From: ktw@whuxi.UUCP (WOLMAN) Newsgroups: net.music.classical Subject: Live Performances, Esp. Operatic Message-ID: <193@whuxi.UUCP> Date: Wed, 12-Dec-84 16:50:12 EST Article-I.D.: whuxi.193 Posted: Wed Dec 12 16:50:12 1984 Date-Received: Fri, 14-Dec-84 04:37:11 EST Organization: Bell Labs, Whippany, N.J. Lines: 23 With reference to live performances, there are too few of them committed to disk or tape, particularly with respect to opera, which almost demands such recording. At least a few years ago, many live performances could be had only on "pirate" labels or at least from companies using abysmal equipment. Nevertheless, the electricity of a fine live operatic performance tends to compensate for the sound quality. I am thinking of the 1953 La Scala production of Cherubini's "Medea" starring Callas and conducted by Bernstein and the 1951 Toscanini recording of Verdi's "Falstaff" with Giuseppe Valdengo. Many operatic artists do not record well, at least in studio settings; they almost demand the ambiance of the theater for their full impact to be felt. Callas is the obvious example; but so is Leonie Rysanek and, to a lesser extent, Jon Vickers. While Vickers has made some wonderful recordings, his live performances are often overwhelming: I would love to find a tape of a Pagliacci in which I saw him perform in January 1965 with Teresa Stratas. Ken Wolman Bell Communications Research Livingston whuxi!ktw