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Subject: Re: Sandor Konyain Italian Opera
From: RAYMOND GOUIN <[log in to unmask]>
Reply-To:RAYMOND GOUIN <[log in to unmask]>
Date:Sun, 20 Nov 2016 16:52:53 -0500
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Hi, Paul.

The surprise for me was when I first heard the 1970 broadcast of Fanciulla joining Konya with Tebaldi and Colzani.  He more than held his own in such august company, some problems with Italian diction aside.  

In live performances where I was present, I most remember his Lohengrin with the Met tour in Boston in 1967 with Elisabeth Grummer making her debut with the Met at the age of 56! He sang as if the role was written for him and Grummer's performance matched his.  There WAS a golden age and I was fortunate to live through part of it.

Best.
Ray


> On November 20, 2016 at 1:32 PM Paul Ferraro <[log in to unmask]> wrote:
> 
> 
> I fully understand your reactions to Konya, but I never caught him on a 
> mediocre night.  And, I may not have been sufficiently/strongly specific, 
> but I was referring to the studio recording of the M.Lescaut as a possible 
> alternative to the boogeyman, DelM.  Again, I based my opinion on the (IMHO) 
> really excellent DGG studio of Konya singing Puccini.
> 
> Ah well, "pazzi siamo"...
> 
> DonP.
> 
> -----Original Message----- 
> From: Bob Rideout
> Sent: Sunday, November 20, 2016 12:18 PM
> To: [log in to unmask]
> Subject: Sandor Konyain Italian Opera
> 
> Don Paolo
> 
> I'm with you on Tucker, but emphatically not on Konya
> I saw him in a lot of Italian Opera - Turandot, Boheme, Tosca,
> Aida, Fanciulla, Butterfly and Traviata and I disliked all of them
> except for Radames, which was really pretty good. Boheme
> and Traviata were particularly poor,so I have no expectation
> that he would have been to my liking in much Italian opera.
> 
> The truth is that his competition, Corelli, Bergonzi and Tucker,
> are all legends of post WWIi Italian opera. I might have
> been more positive in my reaction had he not been up against
> those giants, all of whom had huge exposure at the Met. His
> voice was fine, but not very idiomatic, and the top register was
> very iffy, "now you see it, now you don't. I found much of his
> Calaf depressingly labored.
> 
> Conversely, I loved him in Lohengrin and Meistersinger, among the
> great Germanic lyric/spinto vocalists of all time. Bacchus, not so
> much, but outside of James King I never heard a good one?
> 
> Bob
> 
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