Tuesday, January 16, 2007

High Notes

Now it is time to begin wrenching this blog back in the direction of opera and alienating perhaps all but two of my readers. But… erk… no pain, no gain! People!

Right!



This will be quick and dirty (but there have been and will be pictures!).

In another locale [in the comments of Marginalia—Chalk’s haunt], talk turned to a soprano who will only become more controversial as time goes on I imagine, Anna Netrebko (or Trebs, as the cognoscenti are fond of saying, or as I am fond of imagining they are fond of saying). Anyway, I have seen it mentioned that La Trebs’ high E-flat at the end of I Puritani was less than what people were hoping for. Now I always thought I Puritani ended in D. My score certainly suggests so (and you can see that I have written in the high D--also, enlarge the photo and luxuriate in the hard cool glamour of two sharps! This is ain't no cuddly warm E flat major finish, no-siree-bob.):



Now, we have a couple of options here. But let me say upfront that I think people are mistaken who think that there was a high E-flat sailing (precariously) through the hall. One option is that the edition I have is but one version; that another version has the finale up one-half step. That is possible. But it seems unlikely to me that Trebs would have wanted an E-Flat instead of a D for her last note. A D (a whole step above high C, amici mei!) would have been plenty of teh sexy—why stray into Callas Mexico City Aida 1952 (and Millo Verona [see an earlier post]) territory unnecessarily? I picture La Trebs giving a smoldering-sexy-bad-girl-diva “nyet” to that option:


“I not sing that E flat, maestro,
we do the D. Da, yes, the D.”

Another option is that La Trebs meant to sing a D but went way sharp and served up an E-Flat (which our friends with perfect pitch picked up)—but it seems that the truly intolerable and inevitable dissonance would have provoked comment from these same quarters. No, my money is that it was a D and that the end of the opera was in D and that the E flat stuff is a misconception that keeps getting quoted. These things happen. In my line of work, that most assuredly does happen. It is human nature—one cannot check all things all the time. Public service function concluded!

PS Bonus Netrebko shot! On the stairs at the MET! She didn't even change from her costume in the last act of Puritani!! She will get a definite "Da" from gents who are so inclined. DA! Teh sexxy. DA!!

7 comments:

Chalkenteros said...

LOL -- that was very good, very funny reading. I must definitely be one of the offenders who circulate incorrect information. I fully admit not to having perfect pitch, but whatever the alphabetical nomenclature of the high notes she's singing, Trebbers has been off. Regularly. I have been listening. I would comment more, but am still recovering from fleeing the ice storm. As for the Netrebko publicity shot: PA-POW!

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Mark said...

I am glad you liked. Maybe I have been reading too much Opera Chic? NYOpera Fanatic? Nah. Maybe not enough!! And god I love that publicity shot. A reethay ithway erhay and erhay otthay oyfriendbay ouldway ebay icenay, onay? and yes PA-POW! There was a disco song from the early 80s--- basically unknown--- by one Sophie St. Lauren. It was called "sex appeal." All us boys were in love with the song for about 2.35 weeks (things move fast in the clubs). Anyway, I should play it for you some time, the words which are set to a version of va va va voom music suitable to dance clubs in gay SF (and elsewhere) in 1983 [it's a dminutive genre] are "You've got that sex-, sex-, oo-la-la, sex-appeal." re Trebs in this picture? "How's that workin' for ya?" "Oh yeah."

Mark said...

It really is impossible to nail down all of this without perfect pitch. A lot of the big operas have accepted moments where there is the possibility of a modulation into a different key than the one you may see in front of you in the score for the greater comfort of the singer (though it is usually down). I remember being a sweet young thing and listening to a major opera queen sniff that Joan (late in her career) had not sung the mad scene in the E-flat (as it is written, I think) but in D on one of the MET broadcasts. (I HOPE I have those keys right... erk.)

Mark said...

I don't have perfect pitch. Richard Wagner did not either. We are in excellent company.

Chalkenteros said...

hey i found a funky little piano application on my laptop (bundled with the mac software, called Garageband -- sweet), and so i have been testing out how much 'Trebs has been "off" -- well she's not that off in fact. But the strain is definitely bleeding through. Hemorrhaging, actually. btw, the e-flat in question is at the end of "Vien diletto," not at the end of the opera. THAT's the high note that everybody cares about anyway, right? And I just compared the Trebs e-flat with the Sills e-flat from last week's Unnatural Acts of Opera -- ah, Sills, so divine. Alas, I do not own the Sutherland/Pav set, but I imagine that THAT one is a seventh heaven stupendous e-flat with superfine clarity and absolute luxuriousness, no?

Chalkenteros said...

in fact, to my (deaf?) ears the Trebs e-flat doesn't sound that far off from the Callas e-flat. Which is kinda scary.

Mark said...

You are right about Vien Diletto! Will be posting a correction shortly. O Wise Chalkchop! O Wise Chalkchop! [proskynesis occurs]