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Subject: Clara Petrella
From: David Shengold <[log in to unmask]>
Reply-To:David Shengold <[log in to unmask]>
Date:Mon, 21 Nov 2016 05:13:09 +0000
Content-Type:text/plain
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text/plain (1034 lines)


Actually, Clara Petrella-- who was superb in her Fach--did appear internationally, though certainly not often.  A by no means exhaustive list would include:

There's a complete 1951 ADRIANA LECOUVREUR from Mexico City on Youtube with del Monaco, Dominguez and Taddei. She and del Monaco also sang MANON LESCAUT  and OTELLO there the same year.
In 1955 she sang in an Italian season in Lisbon alongside Olivero, Stella, Pobbe, Simionato, Corell, Tagliavinii and others.
She sang Manon Lescaut in  Tolouse ( France with Bergonzi in 1957, Wiesbaden ( Germany) in 1958 and in Monte Carlo ( Monaco) in 1960 with Angelo Lo Forese.
Barcelona heard Petrella in 1955 in Pizzetti's DEBORA E JAELE and 1960/61 in Rossellini's IL VORTICE with Prandelli.
In 1968 she sang ZAZA opposite Campora at the Theatre des Champs-Elysees.

........................

Clearly Mr. Takis will not rest easy until the master tapes of every Callas recording are destroyed and her name and image scoured from all public records. EMI could not record Petrella as Manon Lescaut, Mimi and Cio-Cio-San for the same reason they could not use Callas on the Scala TRAVAIATA: she had already recorded the roles--plus Giorgietta, Fiora and Zaza for Cetra ( and Nedda for Decca).


Cheers - David Shengold



      From: OPERA-L automatic digest system <[log in to unmask]>
 To: [log in to unmask] 
 Sent: Sunday, November 20, 2016 7:06 PM
 Subject: OPERA-L Digest - 20 Nov 2016 - Special issue (#2016-1159)
   
There are 5 messages totalling 984 lines in this issue.

Topics in this special issue:

  1. Mario Del Monaco as Des Grieux with Clara Petrella
  2. Clara Petrella (was Mario Del Monaco as Des Grieux) (2)
  3. Opera Conductors
  4. OPERA-L Digest - 20 Nov 2016 - Special issue (#2016-1158)

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Date:    Sun, 20 Nov 2016 15:12:49 -0800
From:    Hermine Stover <[log in to unmask]>
Subject: Re: Mario Del Monaco as Des Grieux with Clara Petrella

He is a true ROCK STAR of OPERA!

this recording sounds as if it were made on a hearing aid, and cannot 
possibly be said to augment this magnificent performance.

hermine


At 11:38 AM 11/20/2016, Rudi Van den Bulck wrote:
>When several years ago I asked Evelyn Sachs what the most memorable 
>opera performance was she ever witnessed she said it was Del 
>Monaco's Met debut as Des Grieux.
>
>https://www.youtube.com/watch?v=577GVo6LBFs


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------------------------------

Date:    Sun, 20 Nov 2016 17:26:25 -0600
From:    kurt youngmann <[log in to unmask]>
Subject: Re: Clara Petrella (was Mario Del Monaco as Des Grieux)

Bob is correct about di Stefano and roles like Canio that contributed to =
his early =E2=80=9Ctoasting.=E2=80=9D I have the recording with Petrella =
and it=E2=80=99s always amazing to hear. But you can almost hear his =
voice shredding into pieces.

Not only that, I got to see him live in the role here in Chicago in =
=E2=80=9958 and found that performance equally thrilling but, at the =
same time, obviously devastating to his instrument. The entire =
performance was exceptional but I=E2=80=99ll especially never forget his =
declamation of the line: =E2=80=9CVa, non merti il mio duol, o meretrice =
abietta=E2=80=A6=E2=80=9D It was one of the most stunning moments of =
opera I=E2=80=99ve ever experienced.=20

Interesting how single moments can stay with you forever. For example, =
di Stefano again, in the last act of Turandot which he did here in both =
=E2=80=9958 & =E2=80=9959 (both with Nilsson and once each with Leontyne =
Price and Moffo).  Once again his handling of a single line stands out: =
=E2=80=9CSconterete le sue lagrime, sconterete i suoi tormenti!=E2=80=9D =
Stunning! (Sorry for any incorrect Italian but I don=E2=80=99t have the =
libretto handy). I have recordings of his Calaf from Vienna and Scala at =
about the same time and he approached the line with less intensity in =
those instances.

Back to Pagliacci, without question the greatest Canio I=E2=80=99ve ever =
seen was del Monaco! It was here in Chicago in =E2=80=9957 and he sang =
magnificently with an animal intensity that only he delivered to that =
degree.

Kurt Youngmann

> On Nov 20, 2016, at 3:46 PM, Bob Rideout <[log in to unmask]> wrote:
>=20
> Pagliacci from Scala 55 with Di Stefano. It will tell you exactly why
> Di Stefano was toast before 1960, but there is simply no final scene,
> studio,or live, that comes close in sheer excitement. Many say he
> shouldn't have, and maybe that's true, but I would be much the poorer
> for having not heard it. It expanded my idea of that which is =
possible.


Hanlon=E2=80=99s Razor: =E2=80=9CNever attribute to malice that which is =
adequately explained by stupidity.=E2=80=9D




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------------------------------

Date:    Sun, 20 Nov 2016 23:26:56 +0000
From:    "Takis Pavl." <[log in to unmask]>
Subject: Re: Clara Petrella (was Mario Del Monaco as Des Grieux)

Clara Petrella is only one of the sopranos EMI could have used for its veri=
smo recordings in the 50s: Manon Lescaut, Boheme, Pagliacci, Cavalleria Rus=
ticana, Butterfly, Turandot are all operas that could have been recorded wi=
th sopranos like Petrella who had the technique, style and voice for the de=
mands of this music and were in fact performing these roles on stage around=
 the time these recordings were made. Callas could and should have recorded=
 bel canto instead. But rare bel canto operas were not good for the sales s=
o the rest is history. Her interpretations are of course musical but vocall=
y I would have preferred to have had studio recordings of other sopranos ac=
tive at the time. Stella, Pobbe, Tucci, Gavazzi, De Cavalieri to name a few=
. =C2=A0=20
Takis


  =20

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------------------------------

Date:    Sun, 20 Nov 2016 18:47:47 -0500
From:    R PRADA <[log in to unmask]>
Subject: Opera Conductors

Even when I was in school at Teatro Colon I was singing with some good, and s=
ome great conductors. =20

Peter Maag was one of the greats. I worked under him in three Mozart operas.=
 He was a genius. At the time Lopez Cobos was his assistant, or we used to s=
ay, he was holding his coat. My God, he was amazing. He died young and that w=
as sad for everyone.
RP


Sent from my iPhone

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------------------------------

Date:    Sun, 20 Nov 2016 19:06:05 -0500
From:    Ariane Csonka <[log in to unmask]>
Subject: Re: OPERA-L Digest - 20 Nov 2016 - Special issue (#2016-1158)

And stupid Gelb is not televising it.  Do you know how much income that DVD c=
ould generate?  But maybe not with Marcelo Alvarez.  I hear her new husband,=
 Eyvasov (sp?) is actually very good.  She never disappoints !

> On Nov 20, 2016, at 6:02 PM, OPERA-L automatic digest system <LISTSERV@LIS=
TSERV.BCCLS.ORG> wrote:
>=20
> There are 7 messages totalling 549 lines in this issue.
>=20
> Topics in this special issue:
>=20
>  1. Dimitri Mitropoulos
>  2. Alternate Tenor for Manon Lescaut Recording Redux
>  3. Mario Del Monaco as Des Grieux with Clara Petrella (2)
>  4. Clara Petrella (was Mario Del Monaco as Des Grieux)
>  5. Sandor Konyain Italian Opera
>  6. Prima Donna Leontyne Price in all her Remastered Glory Read more at
>    http://www.stereophile.com/content/prima-donna-leontyne-price-all-her-=
rema
>    stered-glory#cvK7CoBACZhiY315.99
>=20
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>=20
> ----------------------------------------------------------------------
>=20
> Date:    Sun, 20 Nov 2016 14:54:33 -0500
> From:    Frank Cadenhead <[log in to unmask]>
> Subject: Re: Dimitri Mitropoulos
>=20
> On Sun, 20 Nov 2016 07:35:41 -1000, Max Paley <[log in to unmask]> wrote:
> Snip....  I consider the conductor and orchestra to be the foundation of=3D=

> an opera=3D20
> performance.  I've heard great performances from merely adequate singers =3D=

> and a=3D20
> great conductor (some of the Toscanini broadcast series as prime examples=3D=

> ) but=3D20
> I've never heard a truly great performance with great singers and a poor =3D=

> There are 7 messages totalling 549 lines in this issue.
>=20
> Topics in this special issue:
>=20
>  1. Dimitri Mitropoulos
>  2. Alternate Tenor for Manon Lescaut Recording Redux
>  3. Mario Del Monaco as Des Grieux with Clara Petrella (2)
>  4. Clara Petrella (was Mario Del Monaco as Des Grieux)
>  5. Sandor Konyain Italian Opera
>  6. Prima Donna Leontyne Price in all her Remastered Glory Read more at
>    http://www.stereophile.com/content/prima-donna-leontyne-price-all-her-=
rema
>    stered-glory#cvK7CoBACZhiY315.99
>=20
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>=20
> ----------------------------------------------------------------------
>=20
> Date:    Sun, 20 Nov 2016 14:54:33 -0500
> From:    Frank Cadenhead <[log in to unmask]>
> Subject: Re: Dimitri Mitropoulos
>=20
> On Sun, 20 Nov 2016 07:35:41 -1000, Max Paley <[log in to unmask]> wrote:
> Snip....  I consider the conductor and orchestra to be the foundation of=3D=

> an opera=3D20
> performance.  I've heard great performances from merely adequate singers =3D=

> and a=3D20
> great conductor (some of the Toscanini broadcast series as prime examples=3D=

> ) but=3D20
> I've never heard a truly great performance with great singers and a poor =3D=

> to merely=3D20
> adequate conductor.  I feel the conductor has to create the shape and fra=3D=

> mework=3D20
> that makes for a strong statement of the music, but there has to be enoug=3D=

> h=3D20
> plasticity in that framework to allow the singers room for their individu=3D=

> al=3D20
> expressivity.
>> Snip..
> In the post-war opera period, conducting was often not a focus of opera=3D=
20=3D
>=20
> companies. Later there was an effort to change that. I remember when the =3D=

> ROH=3D20
> contracted Solti as music director, for example. It is a problem for oper=3D=

> a houses to=3D20
> attract major conductors because of the salary cuts conducting stars had =3D=

> to=3D20
> endure. With concerts they fly in, rehearse a day or two, and conduct and=3D=

> leave=3D20
> the fourth day (with a five figure check) for another few days in some ot=3D=

> her city.=3D20
> Opera companies, with visits lasting weeks, will always find it difficult=3D=

> to compete=3D20
> with the income from concerts. When they find an extraordinary conductor =3D=

> who=3D20
> wants to spend their life in an opera house (Jimmy, for example) it is a =3D=

> major gift.=3D20
> Most here will remember decades ago when opera orchestras everywhere were=3D=

> =3D20
> uniformly second rate (with the exception of the Vienna State Opera, draw=3D=

> ing from=3D20
> the same musicians as the Vienna Philharmonic). Now, the Met orchestra is=3D=

> still a=3D20
> top range ensemble and you have Barenboim at the Staatsoper, Pappano at R=3D=

> OH,=3D20
> Pierre Jordan at the ONP, Conlon in LA, etc. and the orchestra usually sh=3D=

> ines, even=3D20
> when the MD is not in the pit. Don't know about the singing these days, b=3D=

> ut the pit=3D20
> noise is much better than it was decades ago in the "golden age".
>=20
> Frank Cadenhead
>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 13:21:28 -0700
> From:    Donald Levine <[log in to unmask]>
> Subject: Re: Alternate Tenor for Manon Lescaut Recording Redux
>=20
> For me, Sandor Konya had one of the most gorgeous tenor voices of his era.=

> It sounded at best like a silvery, darker and heavier Bjoerling.  That's
> how I heard it.  It was good sized and he was superb in German and Italian=
,
> albeit with accented Italian.
>=20
> Don
>=20
> On Sun, Nov 20, 2016 at 9:55 AM, Paul Ferraro <[log in to unmask]> wrot=
e=3D
> :
>=20
>> Based on his superb DGG recording of Puccini arias, I=3DE2=3D80=3D99d lik=
e to n=3D
> ominate
>> Sandor Konya for consideration & comments.  He included the =3DE2=3D80=3D=
9Cdonn=3D
> a non vidi
>> mai=3DE2=3D80=3D9D, as well as the =3DE2=3D80=3D9Cpazzo sono=3DE2=3D80=3D=
9D selections=3DE2=3D
> =3D80=3D9D & I think did a most
>> commendable job.
>>=20
>> Thoughts???
>>=20
>> DonPaolo
>>=20
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>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 20:31:44 +0000
> From:    tom ponti <[log in to unmask]>
> Subject: Re: Mario Del Monaco as Des Grieux with Clara Petrella
>=20
> Recently I have been listening and watching some live performances by Del M=
=3D
> onaco on You Tube and found them rather thrilling. I never saw him live, b=
u=3D
> t many I knew who did see him live at the Met, loved him.  I think he had t=
=3D
> o be heard live to be really appreciated, as his voice may have had too mu=
c=3D
> h squlilo to sound it's best on records though his Di Quella Pira recordin=
g=3D
> sounded great when I last heard it.
>=20
>=20
> ________________________________
> From: Discussion of opera and related issues <[log in to unmask]> o=
=3D
> n behalf of Rudi Van den Bulck <[log in to unmask]>
> Sent: Sunday, November 20, 2016 2:38 PM
> To: [log in to unmask]
> Subject: [OPERA-L] Mario Del Monaco as Des Grieux with Clara Petrella
>=20
> When several years ago I asked Evelyn Sachs what the most memorable opera
> performance was she ever witnessed she said it was Del Monaco's Met debut a=
=3D
> s
> Des Grieux.
> =46rom around the same time here he is live from Mexico where the audience=
 at
> least didn't consider him the 'boogeyman'.
> Verismo singing every tenor today can only dream of. Moreover if you think=

> the "boogeyman" is overdoing it try Bergonzi live (opposite Kirsten) not t=
h=3D
> e
> great stylist either but playing to the galleries.
> Here's the link. The clip will have to go in a few days
>=20
> https://www.youtube.com/watch?v=3D3D577GVo6LBFs
> [https://www.bing.com/th?id=3D3DOVF.ps8uDhMFima%2fBAjwB8fvkw&pid=3D3DApi]<=
https=3D
> ://www.youtube.com/watch?v=3D3D577GVo6LBFs>
>=20
> MARIO DEL MONACO and CLARA PETRELLA Mexico 1951<https://www.youtube.com/wa=
t=3D
> ch?v=3D3D577GVo6LBFs>
> www.youtube.com
> 20 June 1951 Manon Lescaut finale
>=20
>=20
>=20
>=20
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> OPERA-L Public Group | Facebook<http://www.facebook.com/groups/25703098721=
/=3D
>>=20
> www.facebook.com
> OPERA-L has 2,651 members. Facebook corollary to the e-mail list OPERA-L, d=
=3D
> edicated to discussion of opera and related topics. To subscribe, go to:..=
.
>=20
>=20
>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 21:20:20 +0000
> From:    Les Mitnick <[log in to unmask]>
> Subject: Re: Mario Del Monaco as Des Grieux with Clara Petrella
>=20
> Thanks so much for sharing this sixteen minute segment. It's the whole fin=
al act, which somehow seems "tacked on" to the rest of the opera. Still, I f=
ind it very dramatic, and though I find del Monaco here STILL very unremitti=
ngly loud, he's effective in his own way. I've become rather impressed by Cl=
ara Petrella, whose Nedda, Butterfly, and Manon Lescaut represented here, ar=
e all very vivid characterizations. I'm curious as to why she never enjoyed a=
n international career. She may not have had a Tebaldi caliber voice, but sh=
e certainly was an in-your-face singer who wrenched a lot of emotion from th=
e music she was singing. I wonder how well she's represented on Italian reco=
rdings. I'd like to hear more of her.=20
> Les=20
>=20
> ----- Original Message -----
>=20
> From: "Rudi Van den Bulck" <[log in to unmask]>=20
> To: "OPERA-L" <[log in to unmask]>=20
> Sent: Sunday, November 20, 2016 1:38:35 PM=20
> Subject: Mario Del Monaco as Des Grieux with Clara Petrella=20
>=20
> When several years ago I asked Evelyn Sachs what the most memorable opera=20=

> performance was she ever witnessed she said it was Del Monaco's Met debut a=
s=20
> Des Grieux.=20
> =46rom around the same time here he is live from Mexico where the audience=
 at=20
> least didn't consider him the 'boogeyman'.=20
> Verismo singing every tenor today can only dream of. Moreover if you think=
=20
> the "boogeyman" is overdoing it try Bergonzi live (opposite Kirsten) not t=
he=20
> great stylist either but playing to the galleries.=20
> Here's the link. The clip will have to go in a few days=20
>=20
> https://www.youtube.com/watch?v=3D577GVo6LBFs=20
>=20
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>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 16:46:37 -0500
> From:    Bob Rideout <[log in to unmask]>
> Subject: Re: Clara Petrella (was Mario Del Monaco as Des Grieux)
>=20
> Les
>=20
> I saw Petrella very late in "Il Tabarro" at Rome, and though her top
> range hardly existed, she was marvelous in the role., and received
> a huge ovation with tons of flowers at the end. It was around 1970,
> and I think she retired a very short time later.
>=20
> 2 performances to look for -
>=20
> Iris from Rome 56 with Di Stefano, Christoff and Gavazzeni. The sound
> is not good, but the performance is sensational. It is a flawed opera
> with a number of wonderful moments, and would be worth having
> if only for Di Stefano's "Apri la tua finestra". Petrella is riveting.
>=20
> Pagliacci from Scala 55 with Di Stefano. It will tell you exactly why
> Di Stefano was toast before 1960, but there is simply no final scene,
> studio,or live, that comes close in sheer excitement. Many say he
> shouldn't have, and maybe that's true, but I would be much the poorer
> for having not heard it. It expanded my idea of that which is possible.
> She is an equal partner, in every way, and in 1955, she could really sing.=

>=20
> Why is she not a bigger International star? Maybe it was her choice.
> Along with her voice and her acting skills, she was a very handsome
> woman. If it wasn't her choice, I have no idea. She was the total package
>=20
> Bob
>=20
>> On Sunday, November 20, 2016, Les Mitnick <[log in to unmask]> wrote:=

>>=20
>> Thanks so much for sharing this sixteen minute segment. It's the whole
>> final act, which somehow seems "tacked on" to the rest of the opera. Stil=
l,
>> I find it very dramatic, and though I find del Monaco here STILL very
>> unremittingly loud, he's effective in his own way. I've become rather
>> impressed by Clara Petrella, whose Nedda, Butterfly, and Manon Lescaut
>> represented here, are all very vivid characterizations. I'm curious as to=

>> why she never enjoyed an international career. She may not have had a
>> Tebaldi caliber voice, but she certainly was an in-your-face singer who
>> wrenched a lot of emotion from the music she was singing. I wonder how we=
ll
>> she's represented on Italian recordings. I'd like to hear more of her.
>> Les
>>=20
>> ----- Original Message -----
>>=20
>> From: "Rudi Van den Bulck" <[log in to unmask] <javascript:;>>
>> To: "OPERA-L" <[log in to unmask] <javascript:;>>
>> Sent: Sunday, November 20, 2016 1:38:35 PM
>> Subject: Mario Del Monaco as Des Grieux with Clara Petrella
>>=20
>> When several years ago I asked Evelyn Sachs what the most memorable opera=

>> performance was she ever witnessed she said it was Del Monaco's Met debut=

>> as
>> Des Grieux.
>> =46rom around the same time here he is live from Mexico where the audienc=
e at
>> least didn't consider him the 'boogeyman'.
>> Verismo singing every tenor today can only dream of. Moreover if you thin=
k
>> the "boogeyman" is overdoing it try Bergonzi live (opposite Kirsten) not
>> the
>> great stylist either but playing to the galleries.
>> Here's the link. The clip will have to go in a few days
>>=20
>> https://www.youtube.com/watch?v=3D577GVo6LBFs
>>=20
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>>=20
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>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 16:52:53 -0500
> From:    RAYMOND GOUIN <[log in to unmask]>
> Subject: Re: Sandor Konyain Italian Opera
>=20
> Hi, Paul.
>=20
> 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 a=
ugust company, some problems with Italian diction aside. =20
>=20
> In live performances where I was present, I most remember his Lohengrin wi=
th the Met tour in Boston in 1967 with Elisabeth Grummer making her debut wi=
th the Met at the age of 56! He sang as if the role was written for him and G=
rummer's performance matched his.  There WAS a golden age and I was fortunat=
e to live through part of it.
>=20
> Best.
> Ray
>=20
>=20
>> On November 20, 2016 at 1:32 PM Paul Ferraro <[log in to unmask]> wrot=
e:
>>=20
>>=20
>> I fully understand your reactions to Konya, but I never caught him on a=20=

>> mediocre night.  And, I may not have been sufficiently/strongly specific,=
=20
>> but I was referring to the studio recording of the M.Lescaut as a possibl=
e=20
>> alternative to the boogeyman, DelM.  Again, I based my opinion on the (IM=
HO)=20
>> really excellent DGG studio of Konya singing Puccini.
>>=20
>> Ah well, "pazzi siamo"...
>>=20
>> DonP.
>>=20
>> -----Original Message-----=20
>> From: Bob Rideout
>> Sent: Sunday, November 20, 2016 12:18 PM
>> To: [log in to unmask]
>> Subject: Sandor Konyain Italian Opera
>>=20
>> Don Paolo
>>=20
>> 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.
>>=20
>> 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.
>>=20
>> 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?
>>=20
>> Bob
>>=20
>> **********************************************
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-=20
>>=20
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>=20
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>=20
> ------------------------------
>=20
> Date:    Sun, 20 Nov 2016 15:02:25 -0800
> From:    Jason Victor Serinus <[log in to unmask]>
> Subject: Prima Donna Leontyne Price in all her Remastered Glory Read more a=
t http://www.stereophile.com/content/prima-donna-leontyne-price-all-her-rema=
stered-glory#cvK7CoBACZhiY315.99
>=20
> Just in time for the holidays and the soprano's 90th birthday, Sony
> Classical has gifted every confirmed or budding opera lover amongst us
> with *Leontyne
> Price: Prima Donna Assoluta*
> <https://www.amazon.com/Leontyne-Price-Assoluta-Recordings-Remastered/dp/B=
0=3D
> 1HGGA2BW/ref=3D3Dsr_1_1?ie=3D3DUTF8&qid=3D3D1479540227&sr=3D3D8-1&keywords=
=3D3Dleonty=3D
> ne+price+prima+donna+assoluta>.
> Filled with 10 of Price's finest complete opera recordings, which were set=

> down in her prime years of 1962-1972, the box's hi-rez remasterings (all
> remastered at 24/96 PCM, save for *Madama Butterfly*, which was remastered=

> in DSD) are superb.
>=20
> Read more at
> http://www.stereophile.com/content/prima-donna-leontyne-price-all-her-rema=
s=3D
> tered-glory#cvK7CoBACZhiY315.99
>=20
> ---
> Jason Victor Serinus http://www.jasonserinus.com     Whistler
> Extraordinaire: **The Voice of Woodstock =3DE2=3D80=3DA2 The Pavarotti of P=
ucker*=3D
> *
> Music and audiophile critic: Seattle Times, Port Townsend Leader,
> Stereophile, Listen, San Francisco Classical Voice, Bay Area Reporter, Gay=

> City News, American Record Guide, Classical Voice North America, Stanford
> Live, Opera Now, Copper, and more
>=20
> "Neutrality helps the oppressor, never the victim. Silence encourages the
> tormentor, never the tormented.=3DE2=3D80=3D9D =3DE2=3D80=3D94 Elie Wiesel=

>=20
> =3DE2=3D80=3D9CThis is a time to remember all of us who are LGBTQ. It=3DE2=
=3D80=3D99s a=3D
> time to stand
> out and be proud, to parade who we are, to celebrate and to let them know
> we will not be silenced, we will not be stopped, we will not go back into
> the closet. Together, we will love.=3DE2=3D80=3D9D =3DE2=3D80=3D94 JVS at o=
ur Orlando M=3D
> assacre Support
> Rally in Port Townsend, WA
>=20
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>=20
> ------------------------------
>=20
> End of OPERA-L Digest - 20 Nov 2016 - Special issue (#2016-1158)
> ****************************************************************

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