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In Reply to: RE: The non-Eurotrashed Aida posted by Amphissa on October 18, 2009 at 08:23:06
. . . I had already graduated, but I had friends who were taking his classes. In regard to your point about heroic/young/beautiful figures in the libretto whose roles are assumed by 300-pound singers, Ducloux (according to my friends) was apparently a believer in filming actors to lip-sync with pre-existing soundtracks sung by the 300-pound opera singers. In fact, one friend told me that Ducloux had visions of filming the Ring cycle in Arizona, with Hollywood actors lip-syncing the sound track. He was concerned exactly with what you mention: there's often a dramatic disconnect between what the various libretti suggest (or explicitly state) should be the qualities of the characters and the actual appearance of these characters on an operatic stage.
Of course, these kinds of opera films with lip-syncing actors have been tried, and not to universal acclaim. There was a series which took Decca-London soundtracks and then used a cast of Czech actors to lip-sync for the films. These included "Eugene Onegin" (Solti recording used as a soundtrack), "A Village Romeo and Juliet", and "Lady Macbeth of the Mtsensk District". As I say, the acclaim for these films was far from unanimous, but they do show that others are concerned about the same problems you mention.
...you'd probably be stuck with some dull studio performance.
The essence of live opera is its... liveness. But for those more concerned with visual issues... well...
P.A.
. . . why don't you just end your sabbatical and rejoin the discussions under your old identity? I think we'll all be able to deal with it. :-)
My own feeling is that studio performances needn't be dull. In fact, I love that Eugene Onegin film which uses the Solti recording as a soundtrack. As I mentioned, not everybody loved it however.
As Amphissa mentions in another post, there needn't be a conflict between visual issues and live opera, although in many cases, the conflict is all too common.
But I would much prefer that they simply cast the parts with singers who fit the part. Just as Hollywood actors and actresses make a concerted effort to maintain their appearance, and are cast in roles appropriate to their age and looks, so it should be in opera. Just as Deborah Voigt was dismissed from the role of her role as Ariadne in Richard Strauss’ “Ariadne auf Naxos” because she had become so obese, directors should simply cast singers who are the best fit for the parts in their operas, rather than perpetuate the current practice. There are plenty of very talented singers who do not weigh 300 lbs.
This is one area in which the Eurotrash directors have made positive steps. Since they commonly require nudity on stage, even by those in key roles, they are not so inclined to hire obese singers for those roles.
If more directors and opera houses made clear their intention to cast individuals who actually fit their roles, the singers will take more care to take their appearance seriously. Deborah Voight returned several years later to play the role of Ariadne, slimmer and most successfully.
"Life without music is a mistake" (Nietzsche)
Wasn't there a film version of "Aida" with Sophia Loren slinking about as the heroine, mouthing words sung by Renata Tebaldi?
I saw parts of it. It would have gone better the other way around.
and Renata Tebaldi acting?
I don't think so.
But, it's an amusing scenario.
"If people don't want to come, nothing will stop them" - Sol Hurok
You'd sing a different tune if you sat through that 1953 production, conducted by Guiseppe Morelli. Ms. Loren (in blackface!) can't act her way out of a paper coffin and Tebaldi looked rather fetching at the time. Truly an unbearable musical and cinematic torture.
$20.99 on DVD, available everywhere!
Yeah, but we got a kick out of following her boobs with every deep "agonized" breath.
db
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