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Subject: Eaglen
From: Timothy Oldroyd <[log in to unmask]>
Reply-To:[log in to unmask]
Date:Wed, 15 Nov 2006 11:04:47 EST

text/plain (38 lines)

I have to agree with everything Qualcor has written about Eaglen
possibly/likely having a personal choice in all this. I have also read that she  hated
the isolation of hotel rooms, travelling and not having a personal life.  Such a
choice may often seem incomprehensible to those who only see the  glamorous
side of the operatic life but a happy home life is  always important, and
especially when the career is over.

I also agree that despite some spectacular successes and a voice of great
beauty, she never really attained the sustained peaks that her great natural
talent should have provided her with.  Another great natural dramatic  soprano
from the same part of the world, Rosalind Plowright, despite early big
successes,  also never sustained a long career at the top. And that too was  a very
beautiful voice.

I first heard Eaglen at the English National Opera way way back in the  80s
in, of all things, Patience, where she sang the small part of Lady  Ella.  Not
many years later she sang a most beautiful Eva with Alberto  Remedios and Norm
an Bailey as her colleagues though she was already quite a  large young lady.
But the rich chocolate colour of her sound overrode  everything.

I saw her in La Vestale in London when she seemed to be limping and so
physically out of sorts that it must have affected her singing. Her Turandot was
not on the level of Nilsson or Jones but far superior to Sweet, Stapp,  Kovacs
et al.  Her Gioconda, though patchy, had the weight and  colour for the role.
Her Reiza in Oberon in Salzburg in the mid 1990s  was breathtaking.

Her greatest role in my opinion - aside from Wagner - was Ariadne. She sang
this with Cyndia Sieden and Judith Forst again at the English National  Opera.
 She was stationary most of the time and her rendition of "Es gibt  ein
Reich" was staggeringly powerful and very very beautiful.


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