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Subject: Re: Sandor Konyain Italian Opera
From: "David M. Wagner" <[log in to unmask]>
Reply-To:David M. Wagner
Date:Sun, 20 Nov 2016 22:08:42 -0500
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Paul et al. -

I grew up with that Konya Puccini recital on DGG. He was a friend of my folks. By the time they gave that record, I had already seen Boheme and Butterfly, but Sandor's recital became my introduction to Turandot, Fanciulla, and ML.

In the House I saw him as Edgardo (with Sutherland), Lohengrin, Stolzing (with Tozzi's Sachs), and - late-career - Steva in Jenufa.

I thought that trademark "weep" in his voice made him acecakes in Puccini. He let fly with it on "VincerĂ²" and in "Or son sei mesi...." on that disc. (Studio conditions, of course.)

Ever heard his Froh in the '58 Kna Bayreuth Rheingold? The invitation to cross the bridge ("Leicht doch fest euren Fuss...") has never sounded like that! The liner-note writer called him an "italianate Froh," which I think sums up his versatility.

-David Wagner


Sent from my iPhone

> On Nov 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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