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Musical Theatre

It was Andrew Lloyd Webber who elevated the non-song style of musicals and in the process diminished the treasure trove of popular songs that was American Broadway musicals. It used to be that musicals provided the songs we loved and sang. Not any more. Webber couldn't write a singable tune even if he stole it from Gershwin.

S. Bintman

read Carla Maria Verdino-Süllwold's article

Ms Sullwold's review of the Paley exhibit

Extraordinarily insightful analysis, not only of the MoMA Paley collection, currently on view at The Portland [Maine] Museum of Art, but also of the man himself. Critically impressive and intellectually canny are Sullwold's parallels between how Paley the business entrepreneur, built the CBS network with his intuititive understanding of demographics and taste, and how and why he, as an art connoisseur par excellence, acquired a unique and priceless art collection. According to Ms. Sullwold's review, Paley was a man who had his hand on the pulse of taste for both the modern art world and the dawning of multi-media entertainment and journalism.

Albert Black

read Carla Maria Verdino-Süllwold's review

Maurice Prendergast

I love his painting and Carla Maria V-S deserves much praise for reawakening and introducing awareness of this American master. She gives a beautiful review of his work and place in history. Many thanks to her.

Marie Perwitz

read Carla Maria Verdino-Süllwold's article

the Great Heldentenors

Wonderful retrospective from Ms Verdino-Süllwold. The musical excerpts are marvelous. Would be interesting to compare them to the great tenors of today.

Frem Oberlisk

read Carla Maria Verdino-Süllwold's article

Heldentenors

It's one of the hardest things in writing to describe a singing voice. Carla Maria Verdino-Süllwold (what a great operatic name) does it superbly and opera lovers like me will eagerly await her foray into more modern times, or instantly get the book this article seems to be taken from -- an erudite lesson in operatic history. The musical excerpts beautifully illustrate her descriptions and evaluations of the singers. Let's hope for a sample of the great Wolfgang Windgassen in November.

Renate Stendhal

read Carla Maria Verdino-Süllwold's article

Water-shed Moment in Opera

In this beautiful, passionate second part of her essay, the author has captured one of the water-shed moments of opera, not just Wagnerian opera, when opera entered modern psychological and cinematic sensibility with Patrice Chéreau's Bayreuth "Ring."  It's worth repeating here what she says: "The éclat that Peter Hofmann occasioned when he burst upon the Heldentenor scene in the Patrice Chéreau Centennial Ring at Bayreuth in 1976 was nothing short of cataclysmic. The production with its bold, sweeping staging, brought Wagnerian music-drama into the living present, and it introduced a whole new generation of singers who transformed opera into communicative speech-song, replacing grand theatre with cinematic reality. Of these none made a greater impression than Peter Hofmann as Siegmund.  His voice which possessed true heroic proportions and uniquely beautiful coloration, coupled with the white heat of his acting did for the Heldentenor tradition what Maria Callas did for bel canto."

Callas had Visconti as a guide; Hofmann (and all the other superb cast members) had Chéreau. Without him, this break-through might not have happened. Thankfully, the extraordinary Ring production is preserved in a DVD that shows the genius of the French director, who was also a cinematographer. It preserves the unusually androgynous, erotic presence of Peter Hofmann as Siegmund and his look-alike incestuous twin sister Sieglinde (Jeannine Altmeyer) -- a casting and performance that would have made Wagner's most ardent dreams come true (and brought tears to the eyes of Thomas Mann.) Thanks to Bayreuth 1976, we can enjoy an operatic evolution with actors/singers like Jonas Kaufmann or Anna Netrebko (see the review of Euene Onegin in the same issue) and with live in HD opera productions at the Met that have taken up the cinematic challenge at a surprisingly high level of consistent excellence. 

Renate Stendhal

read Carla Maria Verdino-Süllwold's article

Jerry Hadley

I remember Jerry Hadley so well and his beautiful singing. Why oh why did he leave us? Ms Süllwold writes so beautifully and even restraining herself she breaks my heart. Thank you Scene4 Magazine for publishing this wonderful tribute.

Molly Trincicz

read Carla Maria Verdino-Süllwold's article

In Defense of Melody

Daniel Crafts is a magnificent composer, and I'm delighted to see him getting this long-overdue recognition. It has been a great privilege to write lyrics for his music and to have my poetry set by him. In particular, he has inspired some of my best work--the Spider Woman song for "From a Distant Mesa" that he commissioned from me. I hope that his steadfast determination in combination with his brilliance helps change the whole direction of modern classical music.

Adam Cornford

read Carla Maria Verdino-Süllwold's article

Dan's a fine fellow

Thanks for this enlightening review of Dan Crafts life and work.  I'm sending it on to my friends and acquaintances who haven't had the pleasure of meeting and knowing him in person.

Mike Ballard

read Carla Maria Verdino-Süllwold's article

Gérard Philipe

He truly was one of the most beautiful men to ever appear on screen as beautiful as anyone in Hollywood including Tyrone Power. If the quality of his acting in film is a judgment, then he must have been wonderful on stage. How sad his career was cut so short.

Terence Bittern

read Carla Maria Verdino-Süllwold's article: "Le Grand Prince"

The Be in 'Not to Be'

Carla Maria Verdino-Süllwold's perceptively written article on the "Romantics and Italy" is a testament to what digital has done to the existentz of art. Though Scene4's graphic display is excellent, one cannot truly experience the painting of an artist such as Turner in a photo on a monitor. To experience painting, one must "experience" painting in the presence of the work itself. The same is true of literature. How does one read Shelley or Byron on a computer monitor? The poets wrote with pen and ink on paper and their poetry was printed with ink on paper. And to hold that printed paper in one's hand is the same as standing in the same air of a Turner painting. There is no classical art on the internet, there are only gateways, beckonings to experience the real thing. Thankfully, Ms Verdino-Süllwold and her magazine beautifully provides one of those beckonings.

Sandor Heuritz

Carla Maria Verdino-Süllwold's article: Siren Songs of the South: The Romantics and Italy

In Search of John Keats

It is truly wonderful to know that there is still a place for the wonder of Keats' poetry in our society, a society that so many evil people want to tear down and destroy. Thank you to Ms Verdino-Sullwold's passion and touching writing about John Keats and the love he created.

Melinda Kirber

Carla Maria Verdino-Süllwold's article: In Search of John Keats

John Keats

Ms Verdino-Süllwold once again gives us a touching, personal portrait of a man, a poet, and a time when romantic peace thrived surrounded by the time's misery and anguish. So today we have misery and anguish inundating the world, where is our Keats?

Sandor Heuritz

Carla Maria Verdino-Süllwold's article: "In Search of John Keats"

The Promise of Mont Saint Michel

A lovely, lovely story. Heart-rendering and at the same time uplifting. Ms Verdino-Süllwold's writing is deceptively simple at first and then embraces the reader and remains in the mind long after the story ends.

Leah Dupre Simmons

Carla Maria Verdino-Süllwold's story: "The Promise of Mont Saint Michel"

Who We Were and Still Are

Ms Carla's (Carla Maria Verdino-Süllwold) article is a penetrating look at Edward Curtis' near-pioneer work and the hypocrisy that surrounded it and his life. The poignancy of this perspective is all about the sin&blood that founded the USA. It's so true that the curse of African slavery is at the heart and soul of the American consciousness and is still embedded in that heart today. Yet deep at the point of that burning dagger is the genocide, slavery, human trafficing, and destruction of Native America (the so-called American Indian). Yes White and Black and Asian and Brown Americans, there still is a Native America and it is different and its suffering is different from you. Hopefully the swamp-thing racist Trump may jar the citizenry's awareness of this. Frankly, I doubt it.

M. Aptrow

Carla Maria Verdino-Süllwold's article

If I Say So

Ms Verdino-Süllwold lays out before us a feast of an exhibit and invites us in. So far up north in Maine, I hope it travels, I would love to see it. One of my interests is that that it covers 100 years of art and art concepts beginning just at the edge of the Fauvists and after the Pre-Raphaelites, both of whom struck an earlier rebellious and irrepressible art-world tremor.

Macin Arbenot

Carla Maria Verdino-Süllwold's article: Portraits Without Faces

Faces In Black and White

Thanks for the lovely tour of this new exhibit. The photos you share are beautiful and gripping and as you say, "disturbing". In the upheaval year that's coming, a show like this should tour the whole country.

Melinda Kirber

Carla Maria Verdino-Süllwold's article: Finding Resolution Through The Image

About Sullwold

This page contains an archive of all entries posted to RECENT LETTERS in the Sullwold category. They are listed from oldest to newest.

Stendhal is the previous category.

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