 The Clarinet BBoard
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Author: Keil
Date: 2003-02-15 02:45
Can anyone fill me in on the general logistics of this. Has Philly officially announced Morales as their new principal clarinet? and if so at what point will we see him occupying the chair? I'm just curious as to how these things work. I understand contract issues and what not so yeah, and also yeah. Thank you
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Author: David Sapadin
Date: 2003-02-15 03:00
Ricardo has the job and his last day is in June.
That is what he told me. So he will start next season. The
Met is giving him a leave of absence for a year so he
will have the year to see if they like him and if he likes
playing there. Which is why there is going to be a temp
Principal at the Metropolitian Opera next year(Jon Manasse)
There you go. : )
DS
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Author: james
Date: 2003-02-15 05:24
Yay for Jon Manasse, perhaps they would make him the permanant principal. He is one of the most amazing clarinetist ever.
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Author: CPW
Date: 2003-02-15 13:48
What then happens to Caviezel.
Will Montanaro retire? Is the Don p**sed off.
Is this then end of the Curtis dynasty.
Enquiering minds want to know.
News at 11.
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Author: joevacc
Date: 2003-02-15 14:07
This last December 28th I was at the Met. for a performance... Mr. Morales was not there. :~( The performance was as fine as one could expect.
I like to listen to the clarinetists a little more intently these days for some reason - they were beautiful. ;~)
I wonder if he had the night off or... or what? More questions than answers - is it *11* yet???
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Author: Brandon
Date: 2003-02-15 17:11
Perhaps Morales does not play principal as often as Rabbai. Every perfromance I have been to of the Met in the last year or so Rabbai was playing principal.
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Author: James
Date: 2003-02-15 17:33
I don't understand, co-principals is bad idea in the first place. Maybe once Morales is gone they should just let Rabbai hold the chair alone.
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Author: Keil
Date: 2003-02-15 17:51
the thing with that james is that the met performs at least 3 shows a day over the course of a week, you do the math... to say the least these players get just a little fatigued. In this case it is in their best interest to have more than one principal player.
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Author: judy
Date: 2003-02-15 18:27
If you go to the Metropolitan Opera Website, you will see that there are 7 opera performances a week, and that the performances are far longer than most orchestral concerts. That's why two principal players are necessary. Mr. Morales probably did not play the December 28 evening performance of Die Fleidermaus because he played A View From the Bridge that afternoon. If you guys want to hear Mr. Morales play, all you have to do is listen to the Texaco Metropolitan Opera Broadcasts on Saturday afternoons. He seems to be playing at least 50% of the time. Given that Tommasini praised Mr. Morales' performance in Les Troyens a couple of days ago in the New York Times review, it is probable that Mr. Morales will be playing during the Les Troyens broadcast next Saturday afternoon.
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Author: Mark Charette
Date: 2003-02-15 19:35
James wrote:
>
> I don't understand, co-principals is bad idea in the
> first place.
Why is that, especially in the context of professional orchestral organizations? There are a number of orchestras that don't seem to have any problem with the concept, both in theory and practice.
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Author: joevacc
Date: 2003-02-15 23:00
judi wrote:
"Mr. Morales probably did not play the December 28 evening performance of Die Fleidermaus because he played A View From the Bridge that afternoon."
I am not sure about the afternoon performance but that evening was the premiere of Don Giovanni.
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Author: HAT
Date: 2003-02-15 23:16
The job of principal in the MET orchestra is far too taxing for one person to fill.
In addition, there is a rule that no member of the orchestra can be required to play more than 4 opera performances in a week. Thus the real need for two principals.
The idea that an opera orchestra could possibly perform so consistantly on as high a level as the MET orchestra begins and ends there (and was brought about through the truly amazing efforts of James Levine). No other opera orchestra has ever played with the consistent excellence as is displayed there.
There are other excellent opera orchestras, but none as consistent.
A fantastic opportunity for Jon Manasse, who as most here know is one hell of a clarinet player.
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Author: vin
Date: 2003-02-16 00:10
I attended the Don Giovanni performance on the 28th. Rabbai was playing in the pit and Ricardo played in the onstage octet in costume complete with old-school knickers and wig. Fantastic, musical playing from Ricardo, in my opinion. When ever I have gone to the MET and James Levine is conducting, Ricardo has been playing in the pit, but I sure this is partly coincidence. Even on his "night off" Mr. Morales has to do some work. Their workload is amazing to me; they might do away with "co-principals and try "tri-principals." Go Jon Manasse!!
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Author: joevacc
Date: 2003-02-16 01:21
I didn't know that was him. I have heard Ricardo play solo and- well afterward I considered giving all my instruments away. ;~)
I remember thinking... *I thought the orchestra would be bigger*, then they struck up and I was surprised at how full it sounded. All the musicians played with great awareness of each other. Their timing was scary perfect and their intonation was so dead on it was like witchcraft! Fun! I enjoyed every note.
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Author: Liquorice
Date: 2003-02-16 07:52
HAT wrote: "No other opera orchestra has ever played with the consistent excellence as is displayed there".
So when did you last hear that opera orchestras in, for example, Milan, Zürich and Vienna??
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Author: HAT
Date: 2003-02-16 13:30
Have YOU heard them?
I confess that I haven't been to those cities, but I know fine musicians who have attended performances at all of the houses you mention and others.
If you understood how virutually ALL major opera houses function (all except the MET), you would understand why I said what I said.
Obviously the Vienna Philharmonic (which is an opera orchestra) is a great orchestra. But if you knew how they ran the Staatsoper, you would know WHY it isn't possible for them to be as consistent as the MET.
The players are great in most of the orchestras out there, but the situation doesn't allow for great orchestral playing.
On their best nights, a select few other opera orchestras enter the same sphere as the MET orchestra. On the worst night every year at the MET, it may be less than the very best at the houses you mention, but it is a million times better than the worst night at those houses.
When the MET is at its best, there's hardly an existing orchestra (opera or symphonic) anywhere that can touch it. Not for 6 straight hours, anyway.
Again, if you understood how most opera houses work (or how difficult opera playing is), you would understand what I am saying. It has to do with rehearsal time and the quantity of repertoire in a season. . .
Again, its the consistency of its greatness that makes the MET unique, NOT the fact of its greatness.
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Author: Liquorice
Date: 2003-02-16 15:11
HAT, I have attended performances of operas in London, Paris, Milan and Vienna. Perhaps more to the point, I'm a member of the Orchestra of the Zürich Opera House, so I understand at least how things work at our house. You could also say that I have an idea how difficult it is to play opera! ;-)
All orchestras play better on some nights than on others. If we have 14 rehearsals for a new production of a Mozart opera, obviously we sound better than when we play Tosca with one rehearsal. But a certain level of playing is always expected, and we all know the standard repertoire. It just means that when you join the orchestra, you have to do a LOT of homework! In any case, our performances range from sounding just very good to sounding really excellent. (Sorry to blow my own horn, but it's true!)
Unfortunately I haven't had the pleasure of hearing the MET live. I'm sure that when I do, I'll be very impressed. I'd be interestd to hear how the MET works, and compare it to the way we do.
However, I find your statements about no other orchestra playing with such consistent excellence, especially when you haven't even heard other major opera orchestras playing live, sweeping to say the least!
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Author: William
Date: 2003-02-16 15:39
YES!!!! (at last) "Opera Wars" has come to a website near you. Be sure to catch ALL THE ACTION as it unfolds before your very eyes.
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Author: HAT
Date: 2003-02-16 16:06
I didn't realize your professional position, Liquorice. No offense intended to your orchestra.
I was not criticizing the other orchestras, merely their way of operating.
But the MET orchestra is indeed one of the finest orchestras ever assembled, comparing favorably with the greatest symphony orchestras ever created.
Unlike most opera houses, nothing gets to the stage of the met without at least a few orchestra rehearsals and a full dress runthrough.
In Munich, for instance (one of the other great opera house orchestras) operas that havent been performed for years sometimes go 'live' without ANY rehearsals. This practice is not uncommon.
And whenever Levine conducts, no matter how common the repertoire, MANY rehearsals take place. It makes all the difference.
Now when Levine leaves (as he will someday) I believe this situation will change. So it will then be like any other opera orchestra. .. great but only occasionally displaying its full potential.
The other problem is the pathetic level of some of the guest conductors who regularly frequent all opera houses. They are much of the reason for the problem.
Again, my comment was not directed at the players, who no matter what orchestra it is always try their best (and who must display a very high level of competence to get their positions to begin with).
Sorry for the confusion.
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Author: David Sapadin
Date: 2003-02-16 18:11
I have seen many performances of the Metropolitan opera and I have played in many performances with them. So I may be a little biased but I will say they are amazing. Its not just the amazing intonation its the blending and the general sound they produce and the way everyone has made a commitment to phrasing.
I would never try to compare them to anyone or make an absolute statement about them that they are the best. But without a doubt....they are one of the best in the world and that is enough dont you think?
They are human my friends and make many more mistakes than you might realize. But the pit is very forgiving. : ) If you want to hear Ricardo play for sure then check out who is conducting.. If its Levine then Ricardo Morales is playing. I give that a 90% on that if not 100%. As to why that is I think its best that I leave that up to all of you guys to ponder. Take a guess.
Caviezal is waiting for the Don to retire until then he is on paid leave from the orchestra. Philly didnt want to keep him and did a poor job of dealing with him. He was there for four years before they decided they didnt want to give him tenure but after four years he gets tenure automaticly. So instead of having a long drawn out court case they decided to have the audition and let him play assistant principal once the job opens up. In the mean time he is getting paid. Now that is a great gig. LOL Where do I sigh up for that. Is the don pissed? I have no idea but I am sure he is dissapointed its not one of his boys. But like every era things have to change. And its a good thing.
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Author: CPW
Date: 2003-02-16 20:10
After a circuitous venture into Opryland,
DS took pen to papyrus and encrypted an answer to an early question: "Philly didnt want to keep him and did a poor job of dealing with him."
To which the cosmic AC asks: Who exactly is Philly (surely not Pat's Steaks or the soft pretzel vendor at Frankford and Comly)
and why did they/he/she/hismaestroness not like him or deal with him fairly/unfairly?
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Author: romaggio
Date: 2003-02-16 21:38
Philly is the Philedelphia Orchestra... as i far as who specifically didn't like him and to why, one can only speculate at this point. As far as whether or not don is angry, well i'm sure he's a bit miffed considering when Ricardo auditioned for Curtis he was rejected because Montanaro didn't like his tone... how ironic don't you think? Newayzzz... i'm sure Morales will eventually be on the Curtis faculty making those calls but until then... keep practicing!
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Author: Sylvain
Date: 2003-02-16 23:34
Who was principal of Philly prior to Sam Caviezel?
-S
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Author: CPW
Date: 2003-02-17 13:36
What didnt DM like about RM's tone?
Has his tone changed over the years? Is there a difference projecting from the Met pit vs. the new Kimmel center? At the time RM would have applied to Curtis the PO was playing at the Academy of Music. Anyway, RM might decide he doesnt like the PO after a year.
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Author: vin
Date: 2003-02-18 18:19
Sylvain- correct me if I'm wrong everybody but burt hara was principal for one year and decided for personal reasons to go back to the minnesota orchestra. before that for a long time (about 50 years) anthony gigliotti was principal.
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Author: CPW
Date: 2003-02-18 22:02
Could it be that RM has just a touch of ....vibrato? Listen to the real audio on the link given on this BB to the Archduke Rudolph cd.
It is subtle, but I think it is there. Maybe that is why the Don didnt like his tone.
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