> On Jun 4, 5:20 am, Ortrud <ortrudvonbrab...@yahoo.com> wrote:
>
>
>
>
>
> > On Jun 3, 9:20 am, "premierop...@aol.com" <premierop...@yahoo.com>
> > wrote:
>
> > >http://online.wsj.com/article/SB121244733967139457.html?mod=at_leisur...
>
> > > Remember when you and I were advised to?........well, you know the
> > > rest.
>
> > Is this what you meant, Ed?:
>
> > Remember when you and I were advised to please ignore, demonize,
> > condemn, denigrate, and reject and whathaveyou (swiftly and
> > wholesale) them records by (or any live appearance containing) soprano
> > Cheryl Studer?
> > Well, considering the recording industry's Grand Meltdown (not lacking
> > the
> > "Grand Manner" you so prefer -- but do you really?) of new opera
> > recordings...take a Long-and-Hard (as some of you like it) look at
> > the following repertorium --- BECUZ IT WILL NOT HAPPEN AGAIN.
>
> > * Title role in Donizetti's Lucia di Lammermoor, rec 8/90, London SO,
> > Marin
> > * Hanna Glawari in Lehar's Lustige Witwe, rec 1/94, Vienna PO,
> > Gardiner
> > * Countess in Mozart's Nozze di Figaro, rec 1-2/94, Vienna PO, Abbado
> > * Countess in Mozart's Nozze di Figaro, rec 5/91, Vienna PO, Abbado
> > * Title role in Rossini's Semiramide, rec 7/92, London SO, Marin
> > * Florinda in Schubert's Fierrabras, rec 5/88, Chamber Orch of
> > Europe,
> > Abbado
> > * Title role in R. Strauss' Salome, rec 12/90, Deutsche Oper Berlin,
> > Sinopoli
> > * Gilda in Verdi's Rigoletto, rec 6/93, Metropolitan Opera, Levine
> > * Gilda in Verdi's Rigoletto Act III, rec 9/91, Metropolitan Opera,
> > Levine
> > * Desdemona in Verdi's Otello, rec 5/93, Opéra Bastille, Chung
> > * Violetta in Verdi's Traviata, rec 1/91, Metropolitan Opera, Levine
> > * Elisabeth in Wagner's Tannhäuser, rec '88, Philharmonia, Sinopoli
> > * Elisabeth in Wagner's Tannhäuser, rec '89, Bayreuth, Sinopoli
> > * Senta in Wagner's fliegende Holländer, rec 1/91, Deutsche Oper
> > Berlin, Sinopoli
> > * Gutrune in Wagner's Götterdämmerung, rec 5/89, Metropolitan Opera,
> > Levine
> > * Title role in Floyd's Susannah, rec 3/94, Opéra de Lyon, Nagano
> > * Marguerite in Gounod's Faust, rec 2/91, Toulouse, Plasson
> > * Salomé in Massenet's Hérodiade, rec 11-12/94, Toulouse, Plasson
> > * Donna Anna in Mozart's Don Giovanni, rec 9/90, Vienna PO, Muti
> > * Konstanze in Mozart's Entführung aus dem Serail, rec 4/91, Vienna
> > Symphony, Weil
> > * Queen of the Night in Mozart's Zauberflöte, rec 7/89, ASMF,
> > Marriner
> > * Giulietta in Offenbach's Contes d'Hoffmann, rec 87/88/89, Dresden
> > Staatskapelle, Tate
> > * Matilde in Rossini's Guglielmo Tell, rec 12/88, La Scala, Muti
> > * Madama Cortese in Rossini's Viaggio a Reims, rec 10/92, Berlin PO,
> > Abbado
> > * Title role in Spohr's Jessonda, rec '84, ORF Orchestra, Albrecht
> > * Chrysothemis in R. Strauss' Elektra, rec 1/90, Bavarian RSO,
> > Sawallisch
> > * Chrysothemis in R. Strauss' Elektra, rec 6/89, Vienna PO, Abbado
> > * Empress in R. Strauss' Frau ohne Schatten, rec 2-12/87, Bavarian
> > RSO, Sawallisch
> > * Empress in R. Strauss' Frau ohne Schatten, rec '92, Vienna PO,
> > Solti
> > * Title role in Verdi's Aida, rec 6/94, Covent Garden, Downes
> > * Odabella in Verdi's Attila, rec 6-7/89, La Scala, Muti
> > * Odabella in Verdi's Attila, rec 6/90, La Scala, Muti
> > * Elena in Verdi's Vespri Siciliani, rec 12/89-1/90, La Scala, Muti
> > * Drolla in Wagner's Die Feen, rec 7/83, Bavarian RSO, Sawallisch
> > * Elsa in Wagner's Lohengrin, rec 6/90, Bayreuth, Schneider
> > * Elsa in Wagner's Lohengrin, rec '90, Vienna PO, Abbado
> > * Eva in Wagner's Meistersinger, rec 4/93, Bavarian State Opera,
> > Sawallisch
> > * Irene in Wagner's Rienzi, rec 7/83, Bavarian State Opera,
> > Sawallisch
> > * Ortlinde in Wagner's Walküre, rec 8/81, Dresden Staatskapelle,
> > Janowski
> > * Sieglinde in Wagner's Walküre, rec 2-3/88, Bavarian RSO, Haitink
> > * Zemlinsky's Der Geburtstagder Infantin, rec 83, Berlin RSO,
> > Albrecht
> > * Coloratura Arias by Bellini (Sonnambula/Norma), Verdi (Traviata/
> > Trovatore), Donizetti (Lucia/Lucrezia Borgia), Rossini (Barbiere/
> > Semiramide), rec 4/89, Munich RSO, Ferro
> > * Mozart Arias (Entführung/Zauberflöte/Idomeneo/Nozze/Giovanni/
> > Clemenza/Cosi), rec 9/89, ASMF, Marriner
> > * R. Strauss' Vier Letzte Lieder/Wagner's Wesendonck-Lieder/Isolde's
> > Liebestod, rec 1/93, Dresden Staatskapelle, Sinopoli
> > * Isolde's Liebestod, rec 1/88, Bavarian RSO, Tate
> > * Wagner Gala (Tannhäuser/Lohengrin/Meistersinger/Walküre), rec
> > 12/93,
> > Berlin PO, Abbado
> > * First Europakonzert - in Prague (Mozart: "Non mi dir"/"Ch'io mi
> > scordi di te-Non temer amato bene"), rec 5/91, Berlin PO, Abbado
> > * Covent Garden Gala (Otello/Traviata/Fledermaus), rec 7/88, Covent
> > Garden, Barker
> > * Sacred Works (Bach/Schubert/Mendelssohn/Handel/Mozart/Gounod/Faure/
> > Poulenc/Bernstein/Bruch), rec 3/91, London SO, Marin
> > * Samuel Barber Songs, rec 9/92, Browning (R.I.P.), Emerson String
> > Quartet
> > * Beethoven's Missa Solemnis, rec 8/91, Vienna PO, Levine
> > * Beethoven in Berlin (Ah! Perfido/Choral Fantasy/Egmont), rec 12/91,
> > Berlin PO, Abbado
> > * Brahms' German Requiem, rec 10/92, Berlin PO, Abbado
> > * Schubert Lieder, rec 1/90, Gage
> > * Salzburg Recital (R. Strauss/Schubert/Debussy), rec 8/92, Gage
> > * Mahler's Klagende Lied, rec 11/90, Philharmonia, Sinopoli
> > * Mahler's Symphony No. 2, rec 11/92, Vienna PO, Abbado
> > * Mahler's Symphony No. 8, rec 11-12/90, Philharmonia, Sinopoli
> > * Mahler's Symphony No. 8, rec 1/94, Berlin PO, Abbado
> > * Verdi's Requiem, rec 6/87, La Scala, Muti
> > * Verdi's Requiem, rec 11/91, Vienna PO, Abbado
> > * Beethoven's Symphony No. 9, rec 4/89, Philadelphia Orchestra, Muti
> > * Beethoven's Symphony No. 9, rec 1/03, Philharmonie der Nationen,
> > Frantz
> > * Bruckner's Mass in F Min/Mozart's Vespers, rec 3/77, MIT Choral
> > Society, Oliver
> > * Donizetti's Requiem, rec 1/84, Bamberg SO, Gómez-Martínez
> > * von Schweinitz's Messe Op. 21, rec 7/84, RSO Berlin, Albrecht
> > * R. Strauss Choral Works, rec 9/84, RIAS Kammerchor, Gronostay,
> > Creed.
>
> > The world of Opera and of serious music seriously delivered remains
> > indebted to the soprano for her important and prestigious documented
> > legacy, a legacy which can now be safely regarded as Gold Standard.
> > Not since her heyday has anyone come close to making such an
> > indelible and electrifying impression. No one.
>
> > Thank you. Thank you for a most varied, exemplary, and unforgettable
> > legacy, a legacy of exceptional quality and distinction (and without
> > crossover charlatanism). Thank you for uncompromising Artistry of
> > uncommon intelligence and instinct - the work of a consummate being.
> > Thank you for Dedication, Seriousness, and Integrity. Thank you for
> > remaining True to your self, to the artform (on life-support as it
> > is...and counting down), and to music. Good Music. Thank you for a
> > Universe of Sound and Texture and Expression and Communication all of
> > your own. Thank you for your generosity. Thank you for High
> > Individuality. And (to boot) individuality within the bondage of and
> > respect for the Tradition. And thank you too, Universal, EMI and
> > Sony, for having had the foresight (to bypass the anatomical, also
> > prefixed with fore, since we are people of such impeccable taste, in
> > life and
> > art) to recognize and capture genius in our midst while the going was
> > good (now that these dinosaurs' [delusional] populist causes have
> > caused them to trim....ouch....their future....for that squeaky clean
> > look and sound....and potent[ial] self-extinction).
>
> > "LA ÚLTIMA que ríe, ríe mejor."
>
> Indeed Ortrud. The WSJ article bears quoting in full. What a
> veritable cesspool!
>
> The Manager as Double Agent
> By MATTHEW GUREWITSCH
> June 3, 2008; Page D7http://online.wsj.com/article/SB121244733967139457.html?mod=at_leisur
> Copyright © 2008 Dow Jones & Company, Inc. All Rights Reserved
>
> Last fall, the Universal Music Group, owners of the premier classical
> labels Decca and Deutsche Grammophon, sent shock waves through the
> industry when they launched, without warning, the Universal Music
> Artist Agency, offering the company's glamorous roster of recording
> artists -- we are talking the likes of Renée Fleming and Lang Lang --
> for galas, corporate events, promotional campaigns and even Christmas
> parties. Mind you, these stars were not Universal's clients.
>
> Martin Kozlowski
> Under the contracts the world of classical music is used to, the
> person who negotiates an artist's services for performances, personal
> appearances, endorsements, recording deals and any other activities is
> the artist's manager. The historic role of the recording company --
> whether Universal or a competitor like Sony Classical or EMI Classics
> -- has been to finance recordings and handle manufacturing,
> distribution, press and promotion, while retaining copyright in
> perpetuity.
>
> These days, the recording piece is a losing proposition. Last year,
> Nielsen SoundScan, which tracks point-of-purchase sales of recorded
> music in the U.S., reported a 7.2% decline in sales of classical music
> (by no means the hardest-hit sector), amounting to a pathetic 18
> million units in all formats. The best-selling album of the year was
> the pop baritone Josh Groban's "Noel," with 3.7 million units sold.
> Irony of ironies, it counted as classical. (Sure, and "Dancing With
> the Stars" is the Bolshoi Ballet.) But then, not one of the 10 top-
> selling "classical" albums would pass muster with the Bach-to-Boulez
> crowd. Mr. Groban has three spots on the list, as does Il Divo; Andrea
> Bocelli has two, with one slot each left over for Paul Potts and the
> lullaby compilation "Baby Einstein." To put all this in perspective,
> Il Divo's 10th-place Christmas album sold just 172,000 units.
>
> No wonder, then, if Universal wants in on more lucrative aspects of
> the industry that have nothing whatever to do with recordings per se.
> Predictably, artists' managers were incensed, none more so than
> Jeffrey D. Vanderveen, director of the Vocal Division of IMG Artists,
> and architect of the dazzling career of the Russian soprano Anna
> Netrebko, a rare classical artist with a glimmer of ...
>
> read more »- Hide quoted text -
>
> - Show quoted text -
Ortrud
jrw
