A Conversation with Dominique Labelle, Part 1
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Bibliographic record
Abstract
Continuing my conversation of last August with soprano Dominique Labelle...Leslie Holmes: We were speaking of French composers, and I'm interested to hear you pronounce the h Reynaldo Hahn, because, even Bob Gartside [author of books on interpreting the songs of Faure and Ravel, and an expert on French pronunciation] isn't sure if you should pronounce the initial h. Hahn is Venezuelan, as I'm sure you know. That may make a difference in the pronunciation.Dominique Labelle: You know, I could care less. Really. I think you can go both ways. People don't say my name well, most of the time, and it really doesn't matter.LH: I have known Susan [Davenny Wyner] since well before she was Wyner. DL: She is a lovely person.LH: Indeed she is.DL: And she is a fantastic conductor. Every time I have worked with her, we have such a good time. She goes right into the depth of the music. She cares so much, and she deserves to have a great orchestra.LH: It's so interesting that we have these new, or premiere, productions of pieces from the 1700s, like the Handel Gloria.DL: Le roi et le fermier [Monsigny] was a premiere.LH: Yes, with Bill Sharp. I interviewed him out at the Yellow Barn.DL: He's lovely. He was my boyfriend in the opera. He's a great colleague . . . a joy to work with. He's very professional, and a wonderful singer. He is unique in using his own voice. He doesn't try to imitate anyone. He's not looking to become a product. I think that a lot of people, who are making a living at singing, have to work at being a nice product. It's part of the deal. We recorded both Le deserteur and Le roi et le fermier [both Monsigny], After recording this opera [Le roi et le fermier], we went to Versailles and sang it there. I sang the role of Jenny. It hadn't been done in hundreds of years. The last time it was done, Marie Antoinette, herself, sang that role. She loved to be a shepherdess. She had a little farm at the castle.LH: I didn't know she sang.DL: She sang that role in the little theater at Versailles. What was so amazing was that they found a set that had been used when she sang in that production. It would have been too small for the big theater, so they had to add a little. It was kind of an historical event. It was pretty amazing. The French people loved it. They were so grateful that an American group came to Versailles with a French opera.LH: As a Canadian, French is a big part of who you are.DL: Yes, but presented by an American group? Can you imagine?LH: I read in the paper today that the ART [American Repertory Theater in Cambridge, MA] is putting on a play about Marie Antoinette.DL: Could be. There's a movie about her playing now.LH: You have worked with Jos van Veldhoven.DL: I have done a lot of work with him. We did a Telemann Passion, which is not performed a lot. I'm not sure if it was a premiere. We did, also, Gluck's Orphee et Eurydice in Bonn, where he was conducting. I did a tour of Messiah with him in December. I enjoy him. I really like his musicianship. I think he gets better and better every time I see him. He's a good man. I like him.LH: It's really interesting, because, as you saw, I read about all these people, and all, except Yehudi, were born in 1950 or 1952.DL: Really?LH: All at the same time.DL: What about Ivan Fischer?LH: 1951.DL: And Nick McGegan?LH: 1950.DL: Amazing!LH: And Jos-1952. Isn't that interesting? Concerning baroque music, how do you feel about period instruments?DL: I love period instruments. I love the way some of the baroque instrumentalists play them. They have to deal with the fact that their instrument is a little bit smaller, and the strings are gut. They have to be a little more inventive, creating special shape to the music. I think the way they play is very, very different. And they are very supportive of the singers. …
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Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.000 | 0.000 |
| Open science | 0.000 | 0.000 |
| Research integrity | 0.000 | 0.000 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from it