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Subject: Re: In spades.....
From: johno183 <[log in to unmask]>
Reply-To:johno183 <[log in to unmask]>
Date:Wed, 3 Dec 2008 23:12:06 -0800
Content-Type:text/plain
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There are 2 Vassilevas.....Zvetelina, a larger and to my mind better voice, 
who sang in the Trovatore in SF and also, I believe drusilla in 
Poppea....and Svetla,
who was very beautiful when I saw her several years ago (was it in 
Pagliacci?), but very uneven vocally, small voice, forcing to seem bigger, 
even for Nedda.


----- Original Message ----- 
From: "Maxwell Paley" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, December 03, 2008 9:51 PM
Subject: Re: In spades.....


> On Dec 3, 2008, at 8:40 PM, Dominic A wrote:
>
>>
>> As for Lisa... two sopranos come to mind.  There is a young  Bulgarian 
>> singer
>> named Svetla Vassileva that has made a home for herself in Italy and 
>> sings
>> regularly at Parma and Torino etc.  I think she sang Violetta at the  Met 
>> a
>> few years ago in a couple of performances.  Her voice more than  fills 
>> the
>> house and she has a great stage presence (doesn't hurt that she's
>> gorgeous!).  Another is Martina Serafin, who doesn't seem to come to  the
>> States very often but also happens to have a really warm voice with  a 
>> strong
>> middle register.  I think she sang Liza in Vienna this year or last; 
>> I've
>> only heard her in Italian rep, and her voice size rivals Guleghina's  but 
>> she
>> has much more control.
>>
>> Of course they are both irrelevant as for as the Met is 
>> concerned...Mattila
>> is singing Liza in 2010.
>>
>
> Mattila came immediately to my mind as being about the right  combination 
> of size, color and
> actng ability.
>
> Unlike Jim, I adore this opera.  It haunts me.  I don't try to compare  it 
> to the superb Pushkin
> tale on which it's, frankly, at best loosely based but I think it's a 
> masterpiece.  That entire confrontation
> scene between Hermann and the Countess (with her syncophants droning  away 
> in the background
> at the beginning) is eerily effective in its construction.
>
> I've seen a number of productions, starting with the SFO 1975 that  marked 
> San Francisco's first
> attempt (so far as I know) to actually do a Russian opera in the  Russian 
> language and was the
> "defect debut" of Rostropovich and Vishnevskaya.   Vishnevskaya was in 
> rough shape, even for that
> point in her career, due to illness (after one performance,  Rostropovich 
> told the orchestra in his
> heavy accent "Tonight, Vishnevsksya was the pits.").
>
> The best Lisa I've seen was Teresa Zylis-Gara.  A more formidable 
> creature than Pushkin's mousey ward,
> she struck me as being just about the ideal embodiment - vocally, 
> visually, musically and dramatically - of
> what the Tchaikovsky brothers set out to portray.   That same  performance 
> had the best Countess I've seen,
> Regina Resnick.
>
> I don't think there's any reason for LIsa to be a dramatic soprano 
> mega-honk buzz-saw.  I think Lisa takes off
> where Tatyana leaves off:  literally;  the voice that sings Tatyana's 
> final confrontation with Onegin is the one
> that Lisa needs to take forward.  A good full lyric to lirico- spinto. 
> Mature Freni was very good.  Fleming could
> do it if sufficiently motivated.  If her voice is still in good shape 
> (haven't heard much about her recently), Solveig
> Kringelborn could be about the right sound, look and type.   Dalayman 
> might have been right a decade ago,
> but when I saw her do it a few years ago the voice was already too big 
> and steely.  Martina Serafin would probably
> be very, very good in the role.  Her voice isn't as loud as  Guleghina's, 
> but this isn't a bad thing by any means.
>
> By the way, I saw Svetlana Vassileva do a "Trovatore" Leonora as far  back 
> as 1994 (too early for her to do it, but
> an impressive job for a youngster and someone had to fill in, again,  for 
> a cancelled Julia Varady).  She was clearly
> a talent to watch.
>
> Does Radvanovsky sing Russian rep?
>
> Max
>
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