Letters: Guitars, Beverly Cleary, Rewriting Opera
DEBBIE ELLIOTT, host:
And now your feedback. We got a lot of it after our story about guitarist Jason Vieaux choosing a new instrument.
The first to come in was from Kenneth Hines in East Lansing, Michigan. He wrote, I don't expect Mr. Vieaux to change his decision based on my comments, but my vote is for guitar A. It makes it much easier for me to hear the individual notes than guitar B. I'm more than willing to put up with the occasional squeak as fingers change frets if I have the clearer, crisper sound of guitar A.
Jan Dorset of Sarasota, Florida identified herself as a graduate of the New England Conservatory of Music. She wrote, From the first tones of guitar B, I was convinced that was the one. Not just because it had a full bodied sound, but Vieaux played it differently. When you play a wonderful instrument, you linger on certain tones. You play wonderfully. I'm glad he chose B.
Brian Smith emailed us from Berlin to say the passion of Vieaux's search brought tears to his eyes.
But listener Eben(ph) Atwater of Fort Worth is himself a luthier who was in his shop building a guitar when our piece came on the air. He wanted to hear more about the craftsmen who made the instruments.
Kate Donovan of Brooklyn, New York wrote to thank us for our interview with Beverly Cleary. She wrote, She was one of my favorite writers when I was a child. Indeed, I was one of the many children who sent her a letter and, to my delight, she wrote back.
Twenty years later, I still treasure the yellow Ramona postcard she sent me.
And we got still more mail from listeners outraged by Alice Furlaud's piece on the opera company that's giving happy endings to tragedies like Don Giovanni and La Boheme. Once again, that piece aired on April Fool's Day.
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