Jaime Aragall

Hell, IIRC, neither Nunzio Todisco, nor Giuliano Cianella have never been
mentioned here....what's da beef?

DonPaolo
wrote in message

>
> wkasimer.RemoveThis@comcast.net wrote:
>> premiereopera.RemoveThis@aol.com wrote:
>>
>> > Of course, you know, as we all know, that to mention his name in
>> > anything but a very comlimentary, positive context is a big no-no here
>> > on RMO.
>>
>> That certainly isn't the way I view it, nor is it supported by the RMO
>> archives, Ed. In fact, I would argue that the truth is exactly the
>> opposite.
>>
>> Bill
> ================================================================
> I would say what you describe was quite prevelant in the past, Bill,
> but hardly at all in recent months, or the past year or two. I
> appreciate your kind response.
>
> Ed
>
 >> Stay informed about: Jaime Aragall 

Now, I'm torn between naming Nunzio Todisco & Giuliano Cianella (or, was
that Rudi Giuliani?). Now, I'm really confused....

DonPaolo
wrote in message

>
> donpaolo wrote:
>
> I'd hazard a guess it was NOT: Alfredo Kraus, Jose Carreras, Luis Lima,
>
> Luciano Pavarotti, Franco Bonisolli, Nicola Martinucci, Pedro LaVirgin,
>
> Vasile Moldoveanu, Gianfranco Cecchele, Franco Tagliavini, Mario
> Malagnini,
> Ermanno Mauro, Giorgio Merighi, Ludivic Spiess, Giuseppe Giacomini,
> Carlo
> Bini, Bruno Beccario, William Mateuzzi, Giorgio
> Casellato-Lamberti....Then,
> WHO was this assassino; this vergognato??? Hmmmmm...the mind boggles
> with
> the possibilities....
>
> DonPaolo
> ==============================================================
> Of course, you know, as we all know, that to mention his name in
> anything but a very comlimentary, positive context is a big no-no here
> on RMO. I think I was chastised for doing just that about a month ago!!
> Now my lips are sealed forever. (Well, almost forever!!)
>
> Ed
>
 >> Stay informed about: Jaime Aragall 

Who's this Domino guy?

DonPaolo
"Ken Meltzer" wrote in message

>
> premiereopera.TakeThisOut@aol.com wrote:
>
>> ==============================================================
>> Of course, you know, as we all know, that to mention his name in
>> anything but a very comlimentary, positive context is a big no-no here
>> on RMO. I think I was chastised for doing just that about a month ago!!
>
>
> You didn't say anything, Ed. As I recall, it was an anonymous female
> voice from cyberspace who spoke about Domingo! (;-)
>
>> Now my lips are sealed forever. (Well, almost forever!!)
>
> I'm very glad you qualified that. It will serve you well in the
> future!
> Best,
> Ken
>
 >> Stay informed about: Jaime Aragall 

wrote in message

>
> ljo wrote:
> .> > innuendo, Ed. You never disappoint me. Are you on retainer by the
>> > Tucker
>> > Foundation to be Maestro Domingo's own personal Javert?
>> > ==========================================
>>
>> > Oh, shut up already, LJO. >
>>
>> Never.
>>
>> > Stop being the list "nazi" for Domingo. >
>>
>>
>> Please explain how pointing out the truth makes
>> me a Nazi.
> ===========================================================
> The "Nazi" part is your obesession with any word I say that even hints
> at not praising Domingo. And your truth is not my truth. Yes, say
> anything you like. You're are entitled to keep being nasty on this
> list. And I will simply ignore any e-mails you write to or about me.
> This will help assure more peace on RMO, I hope.
>
> Ed
>

My being obsessed with your runaway obsession of smearing Domingo doesn't
make me a Nazi. It makes me a fair and decent person. One way for you to get
me off your case would be for you to get off Domingo's case. Simple, isn't
it? But I don't think you can do it. Your hatred is impacted. But let me
restate my case for you one more time. If you are going to steal and sell a
man's work product don't kick his ass in public.

ljo
 >> Stay informed about: Jaime Aragall 

wrote in message

>
> premiereopera.DeleteThis@aol.com wrote:
>
>> Of course, you know, as we all know, that to mention his name in
>> anything but a very comlimentary, positive context is a big no-no here
>> on RMO.
>
> That certainly isn't the way I view it, nor is it supported by the RMO
> archives, Ed. In fact, I would argue that the truth is exactly the
> opposite.
>
> Bill
>
 >> Stay informed about: Jaime Aragall 

Ken Meltzer wrote:
> premiereopera DeleteThis @aol.com wrote:
>
> > ==============================================================
> > Of course, you know, as we all know, that to mention his name in
> > anything but a very comlimentary, positive context is a big no-no here
> > on RMO. I think I was chastised for doing just that about a month ago!!
> > Now my lips are sealed forever. (Well, almost forever!!)
> >
> > Ed
>
> While we're on the subject, I just bought Domingo's new Neapolitan
> Songs album from DGG ("Italia, ti amo"). I think it's surprisingly
> good. He's in very fine voice, and does a lot more vocal and textual
> shading than I would have expected. A very worthy effort, IMO.

It is lovely. It isn't music of which I would want a steady diet, but
it is a pleasure to hear it presented with such care and obvious
affection.

Regarding Domingo and Aragall, the former went out of his way to bestow
high praise on the latter in one of his books ("In 1968, within one
month of my Metropolitan debut, two other tenors made theirs in the
same house -- Luciano Pavarotti and Jaime [Giacomo] Aragall. In some
respects their voices are similar -- both incredibly beautiful and both
possessing extreme facility in the high register. Luciano has, of
course, gone on to become one of the most celebrated tenors of our
time, while Jaime has not received all the recognition he deserves." -
_My First Forty Years_, p. 207).

Aragall returned the favor in the recent OPERA NEWS profile ("Reunion:
Giacomo Aragall," May 2005 issue), speaking admiringly of Domingo's
facility, intelligence, and stamina, and his great passion for the art
form ("There is one reason -- a very important one -- why he can
[manage such a heavy workload over so many years]. He loves it.").

I'm sure their public pronouncements only tell part of the story (and
for the record, however we might differ in our feelings about
particular performances, I always take what SJT has to say here very
seriously -- I believe he is extremely well informed), but there they
are, anyway.

Todd K
 >> Stay informed about: Jaime Aragall 

donpaolo wrote:
> Hell, IIRC, neither Nunzio Todisco, nor Giuliano Cianella have never been
> mentioned here....what's da beef?

I'll probably be shot for this, but I love the one performance by
Giuliano Cianella that I know well: his assumption of the role of
Marino Faliero's nephew, Fernando, in the Faliero with Marisa Galvany
and Cesare Siepi with Elio Boncompagni conducting. The first opera
Donizetti wrote for Paris (although in Italian and in the Italian style
for the Thêatre Italien), Faliero was written for the so-called
"Puritani quartet." Presumably Rubini had a more gorgeous and more
powerful voice than Cianella and greater ease above high C, but I find
Cianella's performance endearing in every way. He has all the right
expressive and dramatic instincts and wins me over completely. (Act
II, the most sustained success dramatically and musically of the
opera's three acts, is a tight and self-contained little drama built
around Fernando and by far one of my favorite Donizetti acts. His
death scene is a perfect little marvel. I can never make up my mind,
quite, about the other two acts.)

-david gable
 >> Stay informed about: Jaime Aragall 

Stephen Jay-Taylor wrote:
> "I'm sure their public pronouncements only tell part of the story (and
> for the record, however we might differ in our feelings about
> particular performances, I always take what SJT has to say here very
> seriously -- I believe he is extremely well informed), but there they
> are, anyway." Todd K
>
> I never mentioned Domingo at all, so I'm very puzzled as to why I'm being
> damned with quoted chapter and verse in contradiction, albeit with pleasant
> praise by way of mitigation

You are quite right. Posts made by others between yours and mine
brought his name into it (and who wasn't expecting *that*, in a thread
named after a tenor -- any tenor), and I was sharing the quotations in
response to those, stipulating for the time being that your unnamed
tenor (the target of JA's private ire) was, indeed, their named one.
Anyway, no damnation was intended -- let's just call it either
carelessness or undue credulousness on my part.

Todd K
 >> Stay informed about: Jaime Aragall 

"I'm sure their public pronouncements only tell part of the story (and
for the record, however we might differ in our feelings about
particular performances, I always take what SJT has to say here very
seriously -- I believe he is extremely well informed), but there they
are, anyway." Todd K

I never mentioned Domingo at all, so I'm very puzzled as to why I'm being
damned with quoted chapter and verse in contradiction, albeit with pleasant
praise by way of mitigation [ Perhaps you are thinking of the grim business
of the intrigues surrounding the casting of the rival Erato & HMV "Faust"s
in the late 70s, which certainly did cause a heap of trouble, though of
relatively brief duration.]

SJT, stumm, stumm, stumm.
 >> Stay informed about: Jaime Aragall 

Aragall is considered to have had the most beatiful lyric tenor voice ever. Pavarotti said "he was the best of us" and "what I would give to have his voice". Carreras said that if only Aragall had only recorded more "The Three Tenors would be in the second division". Dominngo always praised his top notes saying "Thay were always there as clear as a bell".
 >> Stay informed about: Jaime Aragall 

Aragall was the greatest lyric tenor of the 20th century. Pavarotti said "he was the best of us" and repeatedly praised him. Carreras said "if only he had recorded more, we, The Three Tenors, would be in the second division". Domingo said that "he had the finest top notes, clear as a bell". I asked Domingo for an hour's interview, he gave me four and lunch. Was very willing to talk about Jaume but the envy was clear. Poor Domingo a baritone trying desperately to pass as a tenor. At long last he is singing the roles he should have sung.
 >> Stay informed about: Jaime Aragall 

Aragall is without doubt the greatest lyric tenor of the 20th century, all his peers agreed.
 >> Stay informed about: Jaime Aragall 

Aragall had a far better voice than Carreras and he acknowledged it frequently. The career of Carreras was very short and he was in serious decline before his dreadful illness. He admitted he was a gambler, in more ways than one, he didn't have the resource for Chenier and Carmen He said "that for Don Jose you need a certain pulp, which I didn't have" and Chenier" stretches me to my vocal limits". Without any money the ever generous Pavarotti thought of the Three Tenors to enable him to pay some of his debts.

By the way who is the nasty Stephen Jay Taylor, in all my years in opera I have never heard him.

Most gentleman know that if you cannot say something nice about someone, it is better to say nothing. This man is obviously not a gentleman.
 >> Stay informed about: Jaime Aragall