On Monday, May 14, 2001, at 04:11 Uhr, Lloyd W. Hanson wrote:
> However, it is not the conductors primary job to cue singers
> entrances in works from the standard rep such as Samson and Delila.
> Any singer who requires such is a singer who does not know his/her
> trade very well. On new works or works in which the orchestra parts
> are constantly played against the singer then the conductors cues are
> essential. But evern in these conditions most conductors will train
> singers to know how to enter in a difficult place so the conductor's
> cue is not as necessary. This is insurance in case there is an
> orchestral or stage difficulty that crops up in performance.
Oh boy, here we go! Sorry Lloyd but your post is a bit naive. To say
that a singer who requires a cue in standard rep. does not know their
trade very well, shows to me a lack of stage experience. Every stage is
different with regards to how much you hear from the orchestra, which
means that some very easy looking entrances on paper are harder than
hell to hear on the stage. Then when you have a conductor, who is
throwing you bad cues, it makes the whole thing hell. I have never had
a conductor train me how to enter in a difficult place. If there are
place, which I find hard, I ask the conductors to give me a cue, and
they accept it and write it in their scores.
Yes, sometimes we don't have enough time to rehearse, but if we would
have more time, then it would get too expensive for the opera houses to
pay us rehearsal fees. I wish people would stop belly aching about
under rehearsed operas, and accept that this is the way it has to be,
and give the poor people involved a break!!!! We we stand on the stage,
NOT ONE OF US WANTS TO DO A BAD PERFORMANCE, we a doing the best we can
with the tools we were given!!!
Graham Sanders
Heldentenor
gsanders@b...
gsanders@b...
www.heldentenor.org
Tel: +49 172 566-5754
Ciao,
Graham Sanders
Heldentenor
gsanders@b...
gsanders@b...
www.heldentenor.org
Tel: +49 172 566-5754
|
|
|  |
