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Archival interest.(On the Beat)(Column)

Opera News

| July 01, 2004 | Kellow, Brian | COPYRIGHT 2004 Metropolitan Opera Guild, Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Archival interest propelled me to Yale University's Sprague Memorial Hall on April 16, for a performance of the long-neglected Charles Gounod opera Le Medecin Malgre Lui. It bowed in 1858, immediately preceding Faust. The two works shared the same librettists, Jules Barbier and Michel Carre, but little else: despite the fact that Erik Satie tinkered with the score in the 1920s, Le Medecin Malgre Lui has languished in obscurity, until the manuscript full score found its way to Yale's Beinecke Library. A great deal of time and care was invested in the Yale production, presented by Beinecke, Yale's School of Music and Yale Opera. Unfortunately, Medecin is pretty routine stuff musically, and Yale's production, with a loud and uneven cast, didn't make much of a case for it.

A week later, however, Yale offered an impressive master class with RENATA SCOTTO. Whatever demons haunted Scotto in the 1980s, when she was experiencing a patch of vocal trouble, seem to have been exorcised long since. As a teacher, she is exacting and persistent, but also witty, kind and generous. ...

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