HDTenEightyP/NetNews huggingface dataset:
From: umeshmo@microsoft.com (Umesh Mokate)
Subject: Re: Shruthi - A Reply
Date: 22 Jan 93 20:59:11 GMT
Organization: Microsoft Corporation

In article <1993Jan20.200657.1184@uoft02.utoledo.edu> smahaja@uoft02.utoledo.edu writes:
>
>Hi, I am Sathish from the University Of Toledo.
>
>The question regarding the sruthi was a real good one.This is aquestion
>that many people who are not very acquinted with classical music have.
>The problem is they continue to have misconceptions regarding this and
>fail to get it clarified.
>
>The sruthi is a base for a person to sing. Every person has a particular
> sruthi which suits him the most,especially the vocalists.Usually male 
>musicians sing in a sruthi of 1 to 2.(or C to D).Female musicians sing
>at a sruthi ranging between 4 and 6. Again it all depends on the voice
>of the person. It is immaterial at what sruthi a musician sings and it
>is only his capability to stick to the sruthi at all notes that counts.
>In fact for a musician to really establish his sruthi , it takes quite 
>a few years. The sruthi should be such that he can sing the lower octave
>pa and reach the upper octave pa (atleast ma) without any difficulty.
>This again depends on his training also.
>


I think this is totally incorrect information. Shruti is NOT the scale
in which one sings though many common people in Carnatic music hold this
opinion (based on my experience). "shruyate iti shruti" i.e. notes in an 
octave that could be distinguished from each other. It is said that there 
are 22 shrutis in an octave. I am sure knowledgable people like Dr. Gangolli
and others will comment on this. 

Umesh...
From: srini@engin.umich.edu (Srinivasan Pichumani)
Newsgroups: rec.music.indian.classical
Subject: kurai ondrum illai - text and translation (was Re: Lyrics please!)
Date: 22 Jan 1993 17:02:08 GMT
Organization: University of Michigan Engineering, Ann Arbor
Distribution: world
NNTP-Posting-Host: hpux.engin.umich.edu

>kuRai onRum illai maRaimUrti kaNNA
>kuRai onRum illai kaNNA
>kuRai onRum illai govindA
>kaNNukku teriyAmal niRkinRAi kaNNA
>kaNNukku teriyAmal ninRAlum enakku
>kuRai onRum illai maRaimUrti kaNNA
>
>vEndiyadai tandiDa vEnkatEsan endRirukka
>vEndiyadu vErillai maRaimUrti kaNNA
>maNIvaNNA malaiappA gOvindA gOvindA
>
>tiraiyin pin niRkinRAi kaNNA - unnai
>maRai Odum jnAniyar maTTumE kANpAr
>enRAlum kuRai onRum enakkillai kaNNA 
>kunRin mEl kallAgi niRkinRa varadA
>kuRai onRum illai maRaimUrti kaNNA
>maNIvaNNA malaiappA gOvindA gOvindA
>
>kalinALukkirangi kallilE iRangi 
>nilaiyAga kOvilil niRkinRAi kesavA 
>kuRai onRum illai maRaimUrti kaNNA
>yAdum maRukkAda malaiyappA -- un mArbil
>Edum tara niRkum karunai kadal annai
>enRum irundiDa Edu kuRai enakku 
>onRum kurai illai maRaimUrti kaNNA
>maNIvaNNA malaiappA gOvindA gOvindA

Sorry for not posting the translation with the original post. 
Here is an attempt:

Have no grievance, Lord of the Vedas, Kanna
Have no grievance, Kanna
Have no grievance, Govinda
You stand before my eyes -- NOT, Kanna			:-)
You stand before my eyes -- NOT, even so,
Have no grievance, Lord of the Vedas! Kanna

When there is Venkatesa to give all that is needed
there is nothing else needed, Lord of the Vedas, Kanna
Manivanna, Father of the Hills, Govinda, Govinda

Kanna, standing behind the curtain 
You can be seen only by the Veda-learned wisemen - even so
I have no grievance, Kanna
Boon-giver, who stands in stone on top of the Hill,
Have no grievance, Lord of the Vedas, Kanna,
Manivanna, Father of the Hills, Govinda, Govinda

Taking pity at the Kali age, you have descended into stone
And stand firmly in the temple, Kesava
Have no grievance, Lord of the Vedas, Kanna,
Father of the Hills who never denies anything -- in your chest
stands the all-giving, sea-of-compassion, Mother (Mahalakshmi)
I have no grievance that is there always
Have no grievance, Lord of the Vedas, Kanna
Manivanna, Malaiyappa, Govinda, Govinda

-Srini.

ps: Sorry for the irreverent use of Wayne's World terminology in
such a translation. Couldn't resist it.
From: sl9z5@cc.usu.edu
Newsgroups: rec.music.indian.classical
Subject: "Kurai ondrum illai":rAgam identification (OOps)
Date: 21 Jan 93 12:35:10 MDT
Organization: Utah State University

Oops,

	I am sorry. I just happened to remember that it is a rAgamAligai. But
in my enthu. I forgot about it in the previous posting.

I also think(correct me if I am wrong)
"Thiraiyin pin nirkindrAi kannA"
is KAppi.

I however could'nt identify the other rAgams in the song.
Thanks
Murali Seetharaman,
Utah State Uty,
Logan

Newsgroups: rec.music.indian.classical
From: loia@leland.Stanford.EDU (David Loia)
Subject: Is there a mailing list for this group ?
Followup-To: datar@celldata.com
Organization: DSG, Stanford University, CA 94305, USA
Date: Tue, 26 Jan 93 22:03:52 GMT

My friend would like to know if there are any mailing
lists that discuss classical indian music.

Please reply to datar@celldata.com
From: srini@engin.umich.edu (Srinivasan Pichumani)
Newsgroups: rec.music.indian.classical
Subject: Re: Lyrics please!
Date: 21 Jan 1993 17:25:33 GMT
Organization: University of Michigan Engineering, Ann Arbor
Distribution: world
NNTP-Posting-Host: hpux.engin.umich.edu

In article <1993Jan20.052807.18127@serval.net.wsu.edu> cvenkate@luke.wsu.edu (Chandramouli Venkatesh - CS) writes:
>
>Can someone please post the lyrics of rajaji's composition 
>"Kurai onrum illai maraimoorthy kanna"?
>

kuRai onRum illai maRaimUrti kaNNA
kuRai onRum illai kaNNA
kuRai onRum illai govindA
kaNNukku teriyAmal niRkinRAi kaNNA
kaNNukku teriyAmal ninRAlum enakku
kuRai onRum illai maRaimUrti kaNNA

vEndiyadai tandiDa vEnkatEsan endRirukka
vEndiyadu vErillai maRaimUrti kaNNA
maNIvaNNA malaiappA gOvindA gOvindA

tiraiyin pin niRkinRAi kaNNA - unnai
maRai Odum jnAniyar maTTumE kANpAr
enRAlum kuRai onRum enakkillai kaNNA 
kunRin mEl kallAgi niRkinRa varadA
kuRai onRum illai maRaimUrti kaNNA
maNIvaNNA malaiappA gOvindA gOvindA

kalinALukkirangi kallilE iRangi 
nilaiyAga kOvilil niRkinRAi kesavA 
kuRai onRum illai maRaimUrti kaNNA
yAdum maRukkAda malaiyappA -- un mArbil
Edum tara niRkum karunai kadal annai
enRum irundiDa Edu kuRai enakku 
onRum kurai illai maRaimUrti kaNNA
maNIvaNNA malaiappA gOvindA gOvindA

-Srini.
Newsgroups: rec.music.indian.classical
From: chandrab@cbnewsf.cb.att.com (b.chandramouli)
Subject: Re: "Kurai ondrum illai":rAgam identification (OOps)
Organization: AT&T
Date: Fri, 22 Jan 1993 00:03:39 GMT

In article <1993Jan21.123511.62990@cc.usu.edu> sl9z5@cc.usu.edu writes:
>Oops,
>
>	I am sorry. I just happened to remember that it is a rAgamAligai. But
>in my enthu. I forgot about it in the previous posting.
>
>I also think(correct me if I am wrong)
>"Thiraiyin pin nirkindrAi kannA"
>is KAppi.
>
>I however could'nt identify the other rAgams in the song.
>Thanks
>Murali Seetharaman,
>Utah State Uty,
>Logan
>

	It has been a while since I listened to "Kurai Onrum Illai" but
I think the beginning is in Sivaranjani. 

	
Chandramouli

Newsgroups: rec.music.indian.classical
From: bailey_bruce@tandem.com
Subject: RE: #1393 Sitar Stringing
Followup-To: Here's how to string a sitar
Keywords: sitar stringing
Reply-To: bailey_bruce@tandem.com
Organization: Tandem Computers
Date: Wed, 27 Jan 1993 18:56:35 GMT

In article <1993Jan27.091155.6390@engage.pko.dec.com>, mudan@elis.enet.dec.com (Open My Jawari . . .) writes:
|>     Regarding your Note, #1393, in "rec.music.indian.classical".
|>     Could you possibly list the gauges and composition ( Steel 
|>     Copper ) of the strings you have ? I should be able to help 
|>     you place them into order given this information.
|> 
|>     Alternatively, I could supply the gauges that I prefer to use
|>     if this helps ?
|> 
|>     Cheers,
|> 
|> 	Jagdeep.
|> 
|> 	p.s. Do have any preference regarding the Style / Sound
|> 	     of Sitar Playing ? I prefer the `Gayaki-Ang' Style 
|>              and therefore do not use the 3rd, Super-Bass, Main
|> 	     String. 
|> 

Starting with the main playing string (Madyam) as #1 and ending with the
second Chikari string as #7, here's how to string the sitar:
#1 steel  .010 or .011 inch
#2 copper .016 or .015 inch
#3 copper .016 or .015 inch
#4 brass  .016 inch (the thickest wire)
#5 steel  .010 inch
#6 steel  .009 inch
#7 steel  .008 inch

All the sympathetic strings are the same: steel .008 inch (same as the #7
chikari wire.)

Of course your wires will stretch a lot (especially the copper/brass) for a
few days, so you should expect to do lots of retuning!

-- 
Bruce W. Bailey
bailey_bruce@tandem.com      Cupertino, CA  (408)285-7171
Newsgroups: rec.music.indian.classical,soc.culture.indian
From: banerj@sundagger.lerc.nasa.gov ()
Subject: Carnatic Concert in Cleveland, OH
Organization: NASA Lewis Research Center
Distribution: usa
Date: Fri, 22 Jan 1993 21:13:36 GMT
Expires: 31 January, 1993 


                       MUSIC CIRCLE OF CLEVELAND

                               presents

                         Two concerts in one!

                                First

                        Smt Parvathy Parasuram
                             Carnatic vocal 

                                 with

                         Sri Sriram Parasuram
                                violin

                                  and

                        Sri Viswanath Parasuram
                               mridangam

                                 then



                         Sri Sriram Parasuram
                                violin

                                  and

                        Sri Viswanath Parasuram
                               mridangam





This group of artists consists of a mother and her two sons. There are a few 
more artists in the family but we can't have them now. 

                                6:00 pm
                      Saturday, January 30, 1993
               Drinko Recital Hall, CSU Music Building
                     East 21st & Euclid, Cleveland

                      Donation at the door: $5.00


P.S. We are in the process of arranging a Hindustani vocal music concert by 
the well-known Mishra Brothers, Rajan and Sajan. 
Please keep April 28th free.


Cheers

Amitava
From: ksanthan@uclink.berkeley.edu (Kumaran Santhanam)
Newsgroups: rec.music.indian.classical
Subject: Re: Tuning of tanpura (tambura?)
Date: 27 Jan 1993 18:36:56 GMT
Organization: University of California, Berkeley
NNTP-Posting-Host: uclink.berkeley.edu

In article <1993Jan25.212539.17016@vax5.cit.cornell.edu> pc7y@vax5.cit.cornell.edu writes:
>Netters,
>
>I have a question re. the tuning of a tanpura in Carnatic
>and Hindusthani styles of music. I know that in the Carnatic
>tradition, a tanpura is tuned to adhara shadja, panchama (3/2
>the frequency of the adhara shadja) and two tara shadjas.
>
...
>			Satish Ramakrishna


I thought that the carnatic tambura was tuned:

         .     .
   pa    sa    sa    sa
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |
   |     |     |     |

  /                   \
 /                     \
|                       |
|                       |
|                       |
 \                     /
  \                   /
   \_________________/


(At least I think so...)

Kumaran
Newsgroups: rec.music.indian.classical
From: sjayaram@uceng.uc.edu (Shankar Jayaraman)
Subject: lyrics of "Sree GaNa Natha ..."
Organization: University of Cincinnati
Date: Fri, 22 Jan 1993 16:52:11 GMT

Hello folks. 

Some of you have sent requests to me to post the lyrics. Here it 
is as I recieved it. Special thanks to my friend, Usharani Pannappalli, and 
Vidyasankar Sundaresan for providing me with the lyrics and the meaning.

Shankar

***********************************************************************

Sree gaNa naatha   sindhoora varNa
karuNa saagara     karivadana

lambodara lakumikara   ambaasutha amaravinutha

(lambodara)

sidhdha caaraNa   gaNa sevita
sidhdhi vinaayaka  te namo namo  (lambodara)

sakala vidya  aadi poojita
sarvottama  te namo namo     (lambodara)


Notations are as follows (i have just given u the Kannada aksharas..)

ka kha ga gha 
ca cha ja jha
Ta Tha Da Dha Na
ta tha da dha na
pa pha ba bha ma

ya ra la va Sa Sha sa ha La kSha

vowels are:  a aa i ee u oo e e: ai o oa au am aha

the above notation is what is used in the rmic net. so i thot i 
would give u this one just in case u want to use them sometime!

						- Usha
**************************************************************

Here are the lyrics you requested.

Sree Gananaatha Sindoora varna - 
(O Lord of the ganaas, O red coloured One)

Karunaa Saagara Karivadana
(Ocean of mercy, Elephant-faced) 

Lambodara Lakumikara
(pot-bellied, Symbol of auspiciousness) 

Ambaasuta Amaravinuta
(Son of Ambaa, Lord of Immortals) 

Lambodara Lakumikara.

Siddha Charana Gana Sevita
(Served by the Siddhas and Ganas)

Siddhi Vinayaka Te namo namo
(Bestower of bliss, Salutations to Thee.)

Sakala Vidyaadi poojita Sarvottama
(Worshipped by the Gods of learning, Most Exalted) 

Te namo namo Lambodara Lakumikara
(Salutations to Thee -...)

S.Vidyasankar
vidya@cco.caltech.edu

******************************************************************
From: sivanand@shrike.und.ac.za (Neelindran Sivanand)
Newsgroups: rec.music.indian.classical
Subject: Requesting cassettes on Telegu songs
Date: 27 Jan 93 12:54:56 GMT
Organization: University of Natal (Durban), South Africa
NNTP-Posting-Host: shrike.und.ac.za
X-Newsreader: Tin 1.1 PL4

It would be highly appreciated if anyone out there that

has any Indian Classical music in Telegu to please contact

me. I am willing to pay the postage or any other extra charges

regarding the above mentioned items.

Many thanks !!!!

Mail address : sivanand@shrike.und.ac.za
Newsgroups: rec.music.indian.classical
From: seeta@eng.wayne.edu (Seetamraju UdayaBhaskar Sarma)
Subject: .... on asmaaraa's CD catalog ....
Reply-To: seeta@eng.wayne.edu
Organization: College of Engineering, Wayne State University, Detroit Michigan, USA
Date: Wed, 27 Jan 1993 01:58:24 GMT


I couldnt find cinna moulana's nadaswaram CD in the listing (catalog)
that I got from asmaaraa yesterday.  And, yes, I looked it up thrice.

Just wondering if guys like sriram can help me out ;-)

Seetamraju Udaya Bhaskar Sarma
(email : seetam @ ece7 . eng . wayne . edu)


Newsgroups: rec.music.indian.classical
From: mudan@elis.enet.dec.com (Open My Jawari . . .)
Subject: RE: #1393 Sitar Stringing
Organization: Digital Equipment Corporation
Date: Wed, 27 Jan 1993 15:10:43 GMT

    Regarding your Note, #1393, in "rec.music.indian.classical".
    Could you possibly list the gauges and composition ( Steel 
    Copper ) of the strings you have ? I should be able to help 
    you place them into order given this information.

    Alternatively, I could supply the gauges that I prefer to use
    if this helps ?

    Cheers,

	Jagdeep.

	p.s. Do have any preference regarding the Style / Sound
	     of Sitar Playing ? I prefer the `Gayaki-Ang' Style 
             and therefore do not use the 3rd, Super-Bass, Main
	     String.
From: jimmosk@eniac.seas.upenn.edu (Jim J Moskowitz)
Newsgroups: rec.music.classical
Subject: Re: P.D.Q. Bach
Date: 22 Jan 93 00:22:14 GMT
Organization: University of Pennsylvania

Well, Peter Schickele had said at the time of that 'last' concert (actually
I believe he plans to keep giving an annual concert at Avery Fisher Hall)
that he wanted to stop touring so he could work on 'other things', most
notably his radio show.  That show is now in its second season on NPR.
Schickele Mix is a wide and sometimes wild mix of classical, folk, jazz,
comedy, and the occasional G'n'R (Yes!).  It's the first time I've actually
arranged my life around listening to a radio show...

I do totally agree, however, about PDQ's decline... I always wondered if he'd
let others (well, me, is what I was really wondering) 'ghost compose' PDQ
pieces, to let a fresh perspective on musical humor invigorate PDQ's work.
I realize this is a very strange loop I'm proposing, but somehow it seems
appropriate.

-Jim

P.S.  Hi, Ben!  How'ya doing?
--
_______________________________________________________________________________
Jim Moskowitz                   "All you can logically say about 
jimmosk@eniac.seas.upenn.edu     a guy who thinks he's a poached egg
                                 is that he's in the minority." - James Burke
From: perrault@AI.SRI.COM (Ray Perrault)
Newsgroups: rec.music.classical
Subject: Re: Bach's Sonata & Partita Vln Solo: Recording recommendations
Date: 23 Jan 93 01:24:17 GMT
Reply-To: perrault@AI.SRI.COM (Ray Perrault)
Organization: SRI International, Menlo Park, CA
In-reply-to: gt5571d@prism.gatech.EDU (AB RAHIM,HARMAN SHAM)

I still treasure my old Odyssey set by Szeryng.  I remember going to
hear him two evenings in a row doing the complete sonatas and partitas
in 1967 when I was young and impressionable (younger and more
impressionable?).  But I suspect that this is music so powerful that
it almost doesn't matter who you hear doing it first -- it just marks
you for life.  

--Ray Perrault
From: maverick@mahogany.CS.Berkeley.EDU (Vance Maverick)
Newsgroups: rec.music.classical
Subject: Re: Classical Music for modern instrument (was Re: The shortest distance between two chords is...)
Date: 21 Jan 1993 21:02:36 GMT
Organization: University of California, Berkeley
Distribution: world
NNTP-Posting-Host: mahogany.cs.berkeley.edu

In article <1993Jan21.183529.8470@colorado.edu>, judd@wilkinson.cs.colorado.edu (Stephen Judd) writes:
|> 
|> Now on to the larger issue.  I am curious about, for lack of a better
|> term, classical music for modern instruments.  As I listen to the awful
|> music that over the years has constituted popular music, I have to wonder
|> why exactly it is so abysmally trivial.  I see no real reason that a form
|> such as, say, rock and roll, needs to limit itself to three chords.

I see no reason that a limitation to three chords means music must be
trivial.  One weakness in your comparison of rock to classical music
is that there is a very different distribution in the two musics of
the musicality of the event between (for shorthand) "the music" and
"how it is played".  Nobody would claim that the very evident
musicality of Skip James (to reach for an example into one of the
source traditions of rock) resided in his compositions.

In my experience, the rock bands which have tried to get complex in
the way you suggest usually fall down terribly on "how it is played"
-- no swing, bad taste in guitar sound, etc.  And as another
counterthrust to your suggestion that this music would be improved by
a reading of Piston's _Harmony_, consider jazz, which developed
considerable tonal-harmonic complexities in different directions from
classical music: no German sixths in Lennie Tristano....

	Vance
Newsgroups: rec.music.classical
From: roger@crux.Princeton.EDU (Roger Lustig)
Subject: Re: Define "Well Tempered"
Originator: news@nimaster
Reply-To: roger@astro.princeton.edu (Roger Lustig)
Organization: Princeton University
Date: Fri, 22 Jan 1993 19:07:40 GMT

In article <1993Jan22.155421.21393@netcom.com> hatunen@netcom.com (David W Hatunen) writes:
>In a scientifically proper musical scale, related harmonics are
>related by integer relationships. This was discovered by the
>ancient Greeks. Thus, the frequencies should be as, say, 5:3.

>Unfortunately, this means that you must retune your instrument
>for each different scale you wish to play. Which is impossible
>with some instruments. In the evenly tempered scale, the octave,
>or 2:1 relationship is divided into twelve geometrically evenly
>spaced intervals. Take the twelfth root of two (approx 1.05946..).
>Each tone bears this relationship to the next lowest tone.
>That way, no matter what scale you play, it will sound harmonically
>the same.

>The problem is that a third interval is no longer exactly a third;
>that is, it no longer consists of two tones in a simple integer
>relationship. It's very close, but no cigar, and the difference
>is noticable.

>So, an even tempered scale doesn't sound quite as good as a
>diatonic scale. But it makes the piano possible (you don't have
>to retune for each different scale) and it makes music with
>key changes possible.

>As I understand it, Bach wrote the Well-tempered Klavier as a
>demonstration of the advantages of an even tempered scale.

*sigh* Here we go again.  

He didn't.  But you're close.  

He did so to demonstrate the uses of the *WELL*-tempered tuning system,
which is close to equal temperament, but not identical to it.  In his time
it was near impossible to implement true equal temperament; the one he
used had the advantage of feasibility.

Roger

Newsgroups: rec.music.classical
From: cb@tamarack13.timbuk (Chris Brewster)
Subject: Re: tonal value of chords and harmonic series [?]
In-reply-to: jacob@max.cc.brandeis.edu's message of 28 Jan 93 02:25:46 GMT
Organization: pubs
	<CB.93Jan27125939@tamarack13.timbuk>
	<1993Jan28.022546.12886@news.cs.brandeis.edu>
Date: 28 Jan 93 12:21:06 CST

jacob writes:

   The meaning of that chord and of any other chord depends on the context.
   That's true. But I believe there is an "out of context", "intrinsic" value
   too for some chords. Play C-E-G-A on the piano. Do you feel the need to move
   to somewhere else? If not, then we must be dealing with a tonic chord. Now,
   does it sound like you're in minor? Then the tonic can't be A but C.

I hear this much more ambiguously than you evidently do.  I can easily
hear it as a VI with a dissonance, even out of context.  Our jazz-pop
meaning for it (that is, C-major rather than A-minor) probably wouldn't
occur to Rameau or someone of his era.

...
   But, yes, we basically agree, the function of a chord depends on the context.

But I'd say the degree of this dependence is quite variable.  It's
pretty hard to get an alternative meaning from C-G-E-C spread over two
octaves (though I wouldn't rule out the possibility that someone could
transform it into something else).

Chris Brewster
cb@cray.com

Newsgroups: rec.music.classical
From: hurben@lamar.ColoState.EDU (Mike Hurben)
Subject: Film versions of Opera
Date: Fri, 22 Jan 1993 22:01:04 GMT
Organization: Colorado State University, Fort Collins, CO  80523

   Well, I have been away for some time, and the last time I had a chance to
take a quick peek at r.m.c., I swear I saw something about a FILM VERSION OF
WAGNER'S RING !!!!??????  Is it true??  Can someone tell me about this????
I have dreamed of such a thing for many years now...  

   Strangely, I sort of dread the idea now, and I will tell you one reason why..
I recently saw the film version of Otello directed by Zeffirelli (sp?) on sale
for ten bucks so I bought it.  Well, I was really enjoying it until suddenly
some strange non-Verdi music showed up in the 1st act.  It was not all that
annoying, but it was hardly necessary.  Anyway, the rest of the film seemed
fine and I anxiously awaited my favorite aria which begins the 4th act.  But
it was not there.  "Salce" - the most gorgeous part of this gorgeous opera
was simply cut out.  Gone.  So, I don't really care for this film anymore...
Has anyone else seen this and also felt betrayed?

  So I  am worried that someone like this  Zeffirelli guy will get a hold of the
Ring and decide that we really don't need to hear the 1st 10 minutes of 
Bru"nhildes Immolation scene,  and just has her jump right into the fire.
After all, he has shown us that he understands Otello better than Verdi did.

Mike Hurben

Newsgroups: rec.music.classical