Breakfast item - 30th Jan 2013

[Dave2002]

Breakfast today, which I happened to catch by accident, had a caller, Stephen (with a "ph" or a "v"?) who had worked at the ROH in the 1970s.
He mentioned performances of Aida, and how he'd seen people like Leontyne Price. Aida was one of the, perhaps the first, operas I saw at the ROH. At the time the ROH was running Proms performances, where those of us who wanted to "prom" sat on the floor in the stalls area since the seats had been removed. I'm not sure of the year when I saw this - perhaps 1972.

I particularly remember when Radames came on how many people clapped and cheered, and not being very familiar with many singers at the time I did not notice who he was. This has from time to time made me wonder if in fact I had seen Pavarotti, or maybe Domingo at that performance. It's also possible that Aida was performed by Leontyne Price. I'm still wondering though who it was that I had seen.

It was also interesting to hear the caller's comment about how sometimes performances "catch fire" - even late on. I think this does happen, though sometime it may simply be the perception of just a few people, though the cheering at various points and at the end can give clues as to whether the rest of the audience felt the same.. The performance of Aida I attended was not dull at any time, so I guess that wasn't the same one that was mentioned with Bergonzi.

[salymap]

DDave, I heard that man - they do find quite interesting people sometimes, although I don't really like phone=ins.

The proms style ROH performances were too late for me but I saw Aida earlier. Being fairly new to opera then the constant marching round and round the stage induced giggles from our group of silly girls. And goodness knows who was singing. I wish I had all my programmes still.

Does anyone remember Malcolm Sargent's concert version of Aida, published Ricordi, and sung a lot by various choirs at the time.?

[kernelbogey]

I wonder whether this Stephen was the man who looked after the small shop within the Box Office and also fielded general enquiries. He was extremely knowledgeable about opera and about performances at the House. I'll have a listen.

[mercia]

he said he was a dresser [for the men's chorus]

his comment on performances catching fire late on made me wonder if conductors give football-manager-type 'pep' talks in the intervals if things are not going well - kick a few chairs about - "come on people we can do this"

probably not

[Old Grumpy]

he said he was a dresser [for the men's chorus]

his comment on performances catching fire late on made me wonder if conductors give football-manager-type 'pep' talks in the intervals if things are not going well - kick a few chairs about - "come on people we can do this"

I heard this item this morning and that was my thought too - my conclusion (with no knowledge of whether it might be the case or not) was probably so. I am sure there are some who frequent these board who will know the answer.

OG

[ardcarp]

If a conductor threw his rattle out of the pram, the players might pick up the ball and go home.

[Sir Velo]

If a conductor threw his rattle out of the pram.

Is that an oblique reference to a certain well known conductor of Scouse origin?

his comment on performances catching fire late on made me wonder if conductors give football-manager-type 'pep' talks in the intervals if things are not going well - kick a few chairs about - "come on people we can do this"

Certainly, the Screaming Skull didn't acquire his soubriquet from showing admirable restraint in the face of less than superlative contributions from his "team".

[kernelbogey]

I heard this item this morning and that was my thought too - my conclusion (with no knowledge of whether it might be the case or not) was probably so. I am sure there are some who frequent these board who will know the answer.
OG

Whether that happens or not, it raises for me the more interesting question of whether and how a change of energy in a performance might be created by the mutual communication of the music making. This must be true of 'excellent' performances, even where the conductor is highly respected, and/or where there has been no 'failing'. I don't know if this has ever been discussed on the boards but it would be very interesting to hear comments from orchestral players.