HDTenEightyP/NetNews huggingface dataset:
From: spg@Xenon.Stanford.EDU (Stephen P. Guthrie)
Subject: Re: Karajan & Solti (was Mahler's 5th & Solti etc.)
Organization: Computer Science Department, Stanford University.
Date: Thu, 10 Sep 1992 17:09:20 GMT

In article <1992Sep9.222031.29549@CSD-NewsHost.Stanford.EDU> smith@CS.Stanford.EDU (Jeremy Smith) writes:
>In article <8SEP199216410533@deimos.caltech.edu>, inr@deimos.caltech.edu (I. Neill Reid) writes:
>
>|>   although there are some very fine recordings, it's a very Germanic 
>|>  Sibelius that he presents 
>|> 
>
>Perhaps,  but Sibelius himself said that HvK was the only conductor who understood
>his music.
>

What did Stravinsky say about HvK conducting his music? Something about playing
it a la hoochie koo.
From: alves@calvin.usc.edu (William Alves)
Newsgroups: rec.music.classical
Subject: Re: Six fingers to play harpsichord, eh?
Date: 8 Sep 1992 16:02:32 -0700
Organization: University of Southern California, Los Angeles, CA
NNTP-Posting-Host: calvin.usc.edu

I once heard the thesis proposed that the thumb came into wider use because
the number of usable keys generally increased during the baroque. Thus,
while one can get away without using the thumb if one only plays in C,
D, F, or G major, their relative minors and a few closely related keys,
try playing the Well-Tempered Clavier without the thumb! I don't know
if there is any documentation for this thesis, but what do you think?

Bill Alves
From: ajw@Think.COM (Andy Wilson)
Newsgroups: rec.music.classical
Subject: Re: Schaeffer and Henry
Date: 8 Sep 1992 22:39:35 GMT
Organization: Thinking Machines Corporation, Cambridge MA, USA
Distribution: world
NNTP-Posting-Host: custard.think.com

In article <1992Sep8.145451.11673@menudo.uh.edu>, chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789") writes:
|> 
|> Help... Could somebody please enlighten me as to the available CD recordings
|> of music by Pierre Schaeffer and/or Pierre Henry, especially their *musique
|> concrete* and electronic pieces. They may be available on obscure (to me)
|> French labels which don't make it to my part of the world.
|> 

Henry has at least one CD available on Harmonia Mundi France.  I haven't seen
any Schaeffer on CD.

|> Thanks,
|> Bill
|> 
|> 
|> + ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
|> | Bill Harrison,            \             /       "Be as radical as... |
|> | University of Houston, TX  >-----------<         reality itself"     |
|> | CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
|> + ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Shostakovich "The Assault on Beautiful Gorky"
Date: 9 Sep 92 14:22:05 GMT
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston

In article <BuB65y.28D@dcs.glasgow.ac.uk>, jack@dcs.glasgow.ac.uk (Jack Campin) writes:
>chem91@Elroy.UH.EDU wrote:
>[ in the "train songs" thread" ]
>> The "mini piano concerto" from the music for the film "The Unforgettable
>> Year 1919", composed by Shostakovich (ca. 1948).  The music apparently 
>> portrays Stalin's heroic train ride to the city of Gorky during the civil
>> war.
>
>Is this the piece recorded under the title "The Assault on Beautiful Gorky"
>as a filler to a recording (Alexeev's?) of the two piano concertos?  If so,
>you *really* don't want it on a compilation tape - it is quite amazingly
>awful.  Some of Shostakovich's other Stalinist music has its moments; this
>thing has no redeeming features whatever.  Richard Addinsell did better.
>

It sure is. It's pretty ludicrous, but it might go down well with an 
eight-year-old, or a Last Night of the Proms audience... It's regarded 
(by someone) as significant enough to have its own opus # (Op 87).

Bill

>-- 
>--  Jack Campin    room G092, Computing Science Department, Glasgow University,
>17 Lilybank Gardens, Glasgow G12 8RZ, Scotland   TEL: 041 339 8855 x6854 (work)
>INTERNET: jack@dcs.glasgow.ac.uk or via nsfnet-relay.ac.uk    FAX: 041 330 4913
>BANG!net: via mcsun and uknet     BITNET: via UKACRL    UUCP: jack@glasgow.uucp
+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: elkies@ramanujan.harvard.edu (Noam Elkies)
Newsgroups: rec.music.classical
Subject: Counterfactual contrafacta (Re: nyah, nyah)
Date: 12 Sep 92 23:47:40 GMT
Organization: Harvard Math Department

In article <Sep.12.17.52.32.1992.17479@aramis.rutgers.edu>
loewenst@aramis.rutgers.edu (David Loewenstern) [actually
"Deborah Greenberg (his lovely wife) on David Loewenstern's
account"] writes:

>The altos sing "nyah, nyah,nyah, nyah, nyah".  Funny, having sung 
>"Fair Phyllis" for 2 years, I never noticed it before.  I don't 
>think I'll ever be able to sing it again with a straight face (as 
>if all the running up and down weren't enough...). 

Hm.  For several years the Harvard Commencement Choir music included
a 5-part motet "Non vos relinquam orphanos" (by Byrd? it starts with
a point of imitation on  |F   C C |F G A .A|G  etc.).  An inner voice
sings one of the concluding Alleluias on part of the Fred Flinstone tune
|xC AG _C |...  Then there's the Woody Woodpecker horncall (actually
|F^CFA  F  |C  instead of CFA|C A, but close enough...) that announces
the soloist's final tumbling run in Chopin's F-minor piano concerto.
Any other such examples?

--Noam D. Elkies (elkies@zariski.harvard.edu)
  Dept. of Mathematics, Harvard University
From: face@ccit.arizona.edu (Chris 'Face' Janton)
Newsgroups: rec.music.classical
Subject: Handel's Sampson - recordings recommended
Date: 5 Sep 92 17:02:04 GMT
Followup-To: rec.music.classical
Organization: home

Subject says it all

8)
----------
Chris 'Face' Janton
Home  (602) 881-6634   Internet: face@arizona.edu
From: hsmoliar+@cs.cmu.edu (Harold Smoliar)
Newsgroups: rec.music.classical
Subject: Re: Preparing vs. was-Re: Supertitling
Date: 5 Sep 92 00:14:13 GMT
Organization: School of Computer Science, Carnegie Mellon

In article <26090@dog.ee.lbl.gov> jeffand@csa1.lbl.gov writes:
>
>Let me start off by saying that I used to hate the idea of supertitles, but 
>that I now like them quite a bit.  I try to study the libretto and multiple
>recordings before I attend an opera performance, but I find it just isn't

>(Sometimes this kind of backfires.  The way that
>'Una voce poco fa' was "cleaned up" for the audiences in this summer's
>S.F. production of 'Barber of Seville' had me so annoyed that I was almost
>unable to appreciate the music.)


I also like supertitles as I rarely have the time to "prepare" for going to the
opera.  One drawback that I have noticed, though, is that the audience 
sometimes will laugh at a joke in the translation that has yet to occur in the
aria--bad timing, in other words.


Harold Smoliar
English horn, Pittsburgh Symphony
Piano, Symphony Jazz Trio
Newsgroups: rec.music.classical
From: rwh@visual.com (Rob Holzel)
Subject: Re: Keith Jarrett
Organization: Visual
Date: Tue, 15 Sep 92 17:36:56 GMT

Keith Jarrett has also recorded Lou Harrison's Piano Concerto, on New
World Records, I believe.

The music has a lot of Eastern sounds to it.  The slow movement seemed
particularly striking.

Rob


Xref: sparky rec.music.classical:12458 rec.music.bluenote:6848
From: gjm11@cus.cam.ac.uk (G.J. McCaughan)
Newsgroups: rec.music.classical,rec.music.bluenote
Subject: Re: Shostakovic's Preludes and Fugues recording: comments?
Date: 8 Sep 92 17:32:09 GMT
Organization: U of Cambridge, England

In article <1992Sep8.123856.454@cine88.cineca.it>, simion@iveuncc.unive.it (Marco Simionato) writes:

> I would appreciate any comments on the recent release on K.Jarret's
> recording of this piano work.
> I would also be grateful if anyone could tell me which label released
> Tatiana Nikoleeva's recording and if it is currently available.

I haven't heard Jarrett's recording, but I've seen two reviews of it (one in
the "BBC Music Magazine", and the other in the rather higher-class "Gramophone"),
and both said it wasn't as good as Nikolayeva's. I can probably get hold of the
reviews themselves and type them in if more detail is needed.

Nikolayeva's recording is with Hyperion.

-- 
Gareth McCaughan     Dept. of Pure Mathematics & Mathematical Statistics,
gjm11@cus.cam.ac.uk  Cambridge University, England.    [Research student]
Newsgroups: rec.music.classical
From: jmcooper@cbnewsk.cb.att.com (janet.m.cooper)
Subject: : How to buy a piano- Part I: General summary from 1987
Organization: AT&T
Distribution: usa
Date: Thu, 10 Sep 1992 03:25:49 GMT


	This article is Part I of the summary results of my
	recent posting on how to buy a baby grand piano.
	In my article, I referred to a general summary of
	how to buy a used piano which was originally posted in 1987. 
	The following is a copy of that summary for those who requested it...
	I'll post a 1992 summary (Part II) soon!


	Many thanks to David Stewart for converting the paper copy of
	this summary to ASCII!  



From: ulysses!allegra!princeton!rutgers!seismo!mnetor!lsuc!dave Wed Jan  7 1987
Article 127 of rec.music.classical:
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Re: recommandation for good performances of choral works.
Date: 10 Sep 92 05:16:14 GMT
Reply-To: mgresham@dscatl.UUCP (Mark Gresham)
Organization: Digital Systems Co,  Atlanta, Ga

In article <1992Sep8.172728.13909@infodev.cam.ac.uk> gjm11@cus.cam.ac.uk (G.J. McCaughan) writes:
>In article <Bu8nLI.9An@mentor.cc.purdue.edu>, dmnhieu@riemann.math.purdue.edu (Duy-Minh NHIEU) writes:
>>                   The Westminster choir.
[...]
>30 singers.) I suspect the same is true for the choir of Westminster Cathedral.

Um, I would think he meant the Westminster Choir of Westminster
Choir College (Joseph Flummerfelt), Princeton, NJ.
It is a "big" chorus.

But yes, a choir of 30 is hardly "big."

Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
From: inr@eccles.caltech.edu (I. Neill Reid)
Newsgroups: rec.music.classical
Subject: re : recommendations for choral music
Date: 9 Sep 92 04:02:00 GMT
Organization: California Institute of Technology
News-Software: VAX/VMS VNEWS 1.41

as a follow-up to wilcox@vax.oxford etc etc etc

 1) I think the original poster meant the Westminster Choir (as in
 opposite Princeton) - not the Westminster Cathedral Choir. They're
 pretty fine

 2) The Monteverdi choir is/was(?) a well-defined entity - not just a
 scratch collection of experienced singers (there are 32 members listed
 on the Erato disc that I have of  Carissimi's Jephtha, and there's not
 a lot of overlap with the Taverner Consort etc)

 3) Although there _is_ a lot of overlap between the Taverner Consort,
 Consort of Musicke, Tallis Scholars etc, there is a substantial
 difference in the direction of the performances because of the 
 different directors (and the different styles of music).

 4) Frankly, if the Cambridge singers represent the best of English
 choral music (I don't agree), then it's pretty damning of the whole
 gendre - they give very _nice_, twee, uninvolved performances. Blah.
 (& that probably reflects Rutterdom).

 Other fine groups that sprang to mind later - the Huelgas ensemble under
Paul van Nevel (I think - try their Brumel Et ecce terrae), the Deller
Consort (particularly with Alfred Deller - best Byrd masses), & David
Hills with either the Westminster Cathedral or Winchester Cathedral choirs
(yes, boys on top (um, maybe should re-phrase that) but fine performances
in that gendre). 

 Neill Reid - inr@eccles.caltech.edu
From: baldwin@csservera.scs.usna.navy.mil (J.D. Baldwin)
Newsgroups: rec.music.classical
Subject: Re: rec.music.classical FAQ
Date: 6 Sep 92 00:42:00 GMT
Followup-To: rec.music.classical
Organization: Comp. Sci. Dep't., U.S. Naval Academy, Annapolis, MD
In-reply-to: gmw1@cunixa.cc.columbia.edu's message of 5 Sep 92 02:42:36 GMT

Gabe Wiener (gmw1@cunixa.cc.columbia.edu) writes:
>Q6. What is that music in [insert TV show/movie here] ?
>
>The Shining			Music for Strings		Bartok

Hey, I'm no expert, but didn't this film contain the middle movement
of the "Concerto for Orchestra"?  I don't know what is meant by "Music
for Strings"--maybe it's an alternate name for the same piece, maybe
it's another piece I don't know that was also in the film.  Even if it's
the same, it's probably easier to find as "Concerto for Orchestra."
--
 From the catapult of:              |+| "If anyone disagrees with anything I
   _,_  J. D. Baldwin, Comp Sci Dept|+| say, I am quite prepared not only to
 _|70|___:::)=}-  U.S. Naval Academy|+| retract it, but also to deny under
 \      /   baldwin@usna.navy.mil   |+| oath that I ever said it." --T. Lehrer
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
From: zorro@picasso.ocis.temple.edu (John Grabowski)
Newsgroups: rec.music.classical
Subject: Barber Piano Concerto (ORIGINAL REC.)
Date: 12 Sep 92 14:13:04 GMT
Organization: Temple University
X-Newsreader: Tin 1.1 PL5


I am looking for the original recording of the Samuel Barber Piano Concerto
with John Browning and George Szell & the Cleveland.  I have the recent 
Browning 2nd recording with Slatkin, but that doesn't quite have the 
bite of the first.  (I guess Szell is more arrogant than Slatkin.  ;-)  
Does anyone have any availability/reissue information about the original 
recording?  I've written to CBS/Sony about this, to no avail.


John
From: mchenry@guvax.acc.georgetown.edu
Newsgroups: rec.music.classical
Subject: dry mouth remedies
Date: 14 Sep 92 13:35:08 -0400
Distribution: world
Organization: Georgetown University

Does anyone know about a product that is on the market to specifically wet 
the mouth during performances? My brother suffers from "dry mouth" when he 
is nervous and singing in a performance, and I sometimes do when playing 
the trumpet. I use a variety of Binaca sprays, but I had heard about 
something more effective. My apologies if this has already been discussed.

Bill McHenry                   |Those who do not hear the past works
mchenry@guvax (bitnet)         |are condemned to recompose them....
mchenry@guvax.georgetown.edu   |                 -me

Newsgroups: rec.music.classical
From: lorenzo@spot.Colorado.EDU (Eric J. Lorenzo)
Subject: Looking for classical/baroque sax
Followup-To: poster
Organization: University of Colorado, Boulder
Date: Sat, 5 Sep 1992 03:36:32 GMT


Can anyone please send me some titles and/or artists that have recorded

classical or baroque on a saxophone?  I have no problems finding pieces

recorded on the trumpet, but have a hard time locating saxophone ones.



Thanks in advance.

Newsgroups: rec.music.classical
From: wyatt@othello (Wyatt Sutherland)
Subject: Re: Want to be a viola player?
Organization: First National Bank Of Chicago, Chicago IL, USA
Date: Mon, 14 Sep 92 16:03:34 GMT

In article <1992Sep12.001758.2000@highlite.uucp> alan@highlite.uucp (Alan  
McConnell) writes:
> 
> My sense of humor is almost as well developed as my modesty, never-
> theless I must spring to the defence of the viola, an instrument
> perpetually under assault by proponents of the tuba, the theremin
> and the ondes Martinot(bet I got that wrong!)

This reminds me of a joke:

Q: What is a definition of a string quartet?

A: A fairly good violinist, a not so good violinist, someone who used to  
be a violinist, and someone who hates violinists.
From: chem91@Elroy.UH.EDU ("Bill Harrison (713)-743-2789")
Newsgroups: rec.music.classical
Subject: Re: Supertitling
Date: 9 Sep 92 14:18:38 GMT
Reply-To: chem91@Elroy.UH.EDU
Organization: University of Houston

[stuff deleted]
>						Jeff Winslow
>
>
>PS. It occurs to me that surtitles could be made less distracting but
>nearly as readable through judicious choice of foreground and background
>colors - does anyone know of experimentation on this?

A high-tech solution would be a video monitor for each seat, like the posher
Airlines are now installing, as I understand. You could also tune into the
ballgame if you were getting bored...

Bill

+ ~~~~~~~~~~~~~~~~~~~~~~~~~\               /~~~~~~~~~~~~~~~~~~~~~~~~~~~+
| Bill Harrison,            \             /       "Be as radical as... |
| University of Houston, TX  >-----------<         reality itself"     |
| CHEM91@JETSON.BITNET      /             \                V. I. Lenin |
+ ~~~~~~~~~~~~~~~~~~~~~~~~~/               \~~~~~~~~~~~~~~~~~~~~~~~~~~~+
From: mgresham@dscatl.UUCP (Mark Gresham)
Newsgroups: rec.music.classical
Subject: Looking for AGO/electric organ
Date: 10 Sep 92 22:38:18 GMT
Organization: Digital Systems Co., Atlanta GA

Greetings organists!

I'm helping a client look for a used electric organ w/AGO pedalboard
suitable for use as a practice instrument in the home, preferably
an Allen or Rodgers, reasonably priced.  Distance not a problem if
cost of shipping is reasonable and organ is in good shape.
All leads appreciated, you can e-mail them to me and I will pass
them on to the client.  We may be looking for TWO of these, but
one is for certain.  Instrument must be in good condition (no
instruments suitable only for boat moorings, please).  My client
will contact you directly by telephone if you have an interesting
offer or lead.  MUST HAVE AN AGO PEDALBOARD!!!


Cheers,

--Mark Gresham

dscatl!mgresham@gatech.edu

==========================
Newsgroups: rec.music.classical
From: ladasky@netcom.com (John J. Ladasky II)
Subject: Viola Joke FAQ (was Re: violists)
Date: Fri, 11 Sep 92 23:50:33 GMT
Organization: Netcom - Online Communication Services (408 241-9760 guest)

	O.K., is there a FAQ for r.m.c?  I think that we ought to put the
massive musical joke compendium that was posted here into the FAQ, if it
exists - it contains all the viola jokes, and at least a hundred others.

-- 
== John J. Ladasky II ("ii") ========================= ladasky@netcom.COM ==
"Great composers do not borrow -	     "Talking about music is like
 they steal."  - John Ladasky	      ~ -     dancing about architecture."
(quote stolen from Stravinsky, who    o o     - Elvis Costello?  Laurie
 stole it from a statement made by     >        Anderson?  Frank Zappa?
 Pablo Picasso about painting, who    \_/    -------------------------------
 stole it from...)			     "Property is theft." - Groucho
============================================================================
Newsgroups: rec.music.classical
From: le01167@portal.lasc.lockheed.com (Ron Nadel (x2025))
Subject: Re: Wagner Weekend
News-Software: VAX/VMS VNEWS 1.41    
Organization: Lockheed Aeronautical Systems Co. - Rye Canyon
Distribution: usa
Date: Wed, 9 Sep 92 16:10:23 GMT

Someone writes:

>Why the [insert favourite oath here] won't anyone record Wagner's 
>Symphony? 

There was a recording on DGG (lp) conducted by Otto Gerdes, and once 
you've heard it, you'll see why it is not widely recorded.  Pretty 
youthful work.  For all its seminality, it just doesn't satisfy very much.

Ron
Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: Beethoven's 10th. Symphony
In-reply-to: 6145goldino@vms.csd.mu.edu's message of Thu, 10 Sep 1992 16:21:26 GMT
Organization: pubs
Date: 10 Sep 92 11:19:54 CDT

Owen Goldin writes:

   I seem to recall hearing on the radio several years ago an orchestral
   version of a reconstruction of the unfinished manuscripts for
   Beethoven's 10th symphony.  It did sound like Beethoven, and it
   sounded pretty good

I heard a few measures on a TV news show and was interested enough to
buy it.  The sound byte at least sounded like Beethoven.

   My question -- who did the reconstruction?  

Can't remember his name.  You won't be hearing much about him in the
future.

   Is the recording available?  

Yes--I'll sell you mine cheap.

   And what is the consensus of musicologists on this?  

It's pathetic (sorry--I'm not a musicologist but even I feel qualified
to answer this one).  It's at the level of the lady who took dictation
from dead composers, or even worse.  Even though a few measure sounded
like Beethoven, the thing as a whole doesn't at all.  There's no
discernible structure, none of Beethoven's energy, no development of
anything.  It just never gets going.  Apparently there are large
quantities of sketches left by Beethoven, so anyone can piece together
some late ones and say it's a reconstructed Tenth.

  (Opinion is still divided on Cooke's Mahler's 10th, though I take it
  that the manuscripts for this are much fuller.)

I've looked at Mahler's original and heard the arguments and listened to
the result, and I consider this a Mahler symphony.  What else would it
be--a work of Deryck Cooke's?  Aside from editorial questions, it works.
I asked Giulini if he had any interest in it and he responded "It's not
Mahler", but to me it is.  I'd like to know other netters' opinions.

Chris Brewster
cb@cray.com
Newsgroups: rec.music.classical
From: dbrooks@osf.org (David Brooks)
Subject: Re: Du Pre recital
Organization: Open Software Foundation
Date: Mon, 14 Sep 1992 16:48:36 GMT

coren@osf.org (Robert Coren) writes:
|> In article <DBROOKS.92Sep13231123@penge.osf.org>, dbrooks@penge.osf.org (David Brooks) writes:
|> > rbrooks1@cc.swarthmore.edu (Rob Brooks) writes:
|> > 
|> > > Yes, I am yet another member of the generation of Jaqueline Du Pre
|> > > worshippers.
|> > 
|> > Rephrase, please.  You are a member of another generation of worshippers.
|> > There were those among us 25 years ago or so who were ready to kill Stephen
|> > Bishop.
|> 
|> Well, David, you and I are of approximately the same generation
|> (although I was not really a "worshipper"), but I missed something
|> here. What is Stephen Bishop (as he then was) supposed to have done?

The usual (with Jackie, not *to* Jackie as your question implies), pretty
well corroborated by a biography I recently read.  Sorry; I don't have the
author; Rob will know.

The book also hints at attempts on William Pleeth, her teacher, but he was
more fond of his wife.
-- 
David Brooks					dbrooks@osf.org
Open Software Foundation			uunet!osf.org!dbrooks
129 more days of Bush Presidency!
Newsgroups: rec.music.classical
Subject: Re: GHOSTS OF VERSAILLES
From: Ken Sherrill <KSSHC@CUNYVM.BITNET>
Date: Sunday, 13 Sep 1992 16:29:16 EDT
Distribution: na
Organization: City University of New York/ University Computer Center

I saw Ghosts of Versailles at the Met last season and my SO and I had a wonder-
ful time. Fewer people left at the single intermission than is the case at most
Met performances and the audience was quiet, seemingly paying attention. This
distinguishes Ghosts from most other works written in the past 65 years to have
crept into the Met's repertory. I am never one to knock a night of having fun
-- in the theatr or elsewhere -- so I was troubled by the reviews contending
Ghosts was not great art. I'll suspend judgment on that for a while. Ther are
some moments of great beauty -- notably a quartet in the second act -- and much
homage is paid to Mozart and Rossini.

Several of the performances were wonderful: Marilyn Horne is a hoot; Stella
Zembalis and Renee Fleming sing with exquisite beauty; Gino Quilico's normal
hyperactivity is controlled enough to be a wonderfully charismatic Figaro;
Hakan Hakeggard brings great intelligence to Beaumarchais. Finally, Teresa
Stratas does not overwhelm everyone else and rarely chews on the scenery never-
theless giving one of her typically stellar performances. Finally, I was able
to comprehend virtually every word that was sung.

Ghosts may or may not be a work for the ages. It is great fun and well worth
watching.
Newsgroups: rec.music.classical