http://online.wsj.com/article/SB121244733967139457.html?mod=at_leisur...

Remember when you and I were advised to?........well, you know the
rest.

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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."

http://online.wsj.com/article/SB121244733967139457.html?mod=at_leisur...

Remember when you and I were advised to?........well, you know the
rest.

On Jun 4, 5:20 am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:





On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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 -

On Jun 4, 6:22 am, La Donna Mobile <mobiled... at (no spam) yahoo.com> wrote:

On Jun 4, 5:20 am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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

...

read more »

On Jun 4, 6:13 pm, Mrs Terfel <brynsmistr... at (no spam) yahoo.com> wrote:

On Jun 4, 6:22 am, La Donna Mobile <mobiled... at (no spam) yahoo.com> wrote:

On Jun 4, 5:20 am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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

...

read more »

Hi Faye,

Good to see you posting.  Have you tried
http://groups.gurgle.com/group/bollmannsroachmotelofobnoxiousoaf_ordure

There is a slightly higher degree of poster liquidity, and it is not
more pleasant, because we slimes keep leaving it.  It is moderated, but stupidly.  It
would great to see you there.

Best regards

Jerk

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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."

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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."

On Jun 4, 5:20 am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:





On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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 -

LDM, appreciate you posting the entire article.  Down with Netrebko,
Villazon and all these overmarketed monkeys.

On Jun 4, 6:22 am, La Donna Mobile <mobiled... at (no spam) yahoo.com> wrote:



On Jun 4, 5:20 am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:

On Jun 3, 9:20 am, "premierop... at (no spam) aol.com" <premierop... at (no spam) 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

...

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LDM, appreciate you posting the entire article. �Down with Netrebko,
Villazon and all these overmarketed monkeys.

On Jun 4, 6:22�am, La Donna Mobile <mobiled... at (no spam) yahoo.com> wrote:



On Jun 4, 5:20�am, Ortrud <ortrudvonbrab... at (no spam) yahoo.com> wrote:

On Jun 3, 9:20�am, "premierop... at (no spam) aol.com" <premierop... at (no spam) yahoo.com
wrote: