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Subject: Re: Clara Petrella/Leontyne Price remasterings
From: "Mitchell, Katalin" <[log in to unmask]>
Reply-To:Mitchell, Katalin
Date:Tue, 22 Nov 2016 23:18:01 +0000
Content-Type:text/plain
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Thank you all for discussing this soprano at such length that I finally 
snapped out of my “have no idea, who cares?” attitude, and looked her up 
on Youtube. What a treasure trove! 
She was amazing, a wonderful actress as well as voice…. and that led to 
Giacinto Prandelli, another new discovery…. 
This is the reason I am so grateful for being accepted on this forum, I do 
learn so much about great singers before my time of reason…. 
I can always skip the lecture on Spinoza … 
Kati 
 
 
 
 
On 11/22/16, 5:20 PM, "Discussion of opera and related issues on behalf of 
James Bodge" <[log in to unmask] on behalf of 
[log in to unmask]> wrote: 
 
>The story I heard was that the orchestra noted how well things were 
>going for RCA and everyone else, so the union asked for more money for 
>the third and last year of the contract - or else.    RCA  balked at 
>first and then gave in and paid the extra money - which the union 
>thought would be the gift that kept on giving.Wrong. RCA closed the 
>studio and went to London. NO money at all for the Rome musicians. 
> 
>Jim Bodge 
> 
> 
>On 11/21/2016 10:52 PM, Maxwell Paley wrote: 
>> 
>> Want to add my "atta boy" to Les' comment.  The greatest thing is when 
>>someone's posting leads to a new discovery. 
>> 
>> Petrella is a wonderfully slutty Nedda on the Decca mono studio 
>>recording with Del Monaco. 
>> 
>> Takis, the remastered Leinsdorf "Aida" sounds better on the remaster (I 
>>downloaded it and other Price operas in the 96/24 version from HDTracks) 
>>than I've heard it before on LP or CD, but the sound is still 
>>surprisingly mediocre for its date (1970, I think) and the production 
>>talent involved.  The Mehta "Trovatore" sounded good on UK or German LP 
>>but picked up serious distortion when first digitized.  This now sounds 
>>considerably better than previous CD releases. 
>> 
>> I know some internal record industry scuttlebut but maybe someone else 
>>has the answer to a mystery.  In the early 60's, RCA spent a fortune 
>>building their "Italiana" studios out towards Fumicino.  Leinsdorf, who 
>>had been tearing out what little hair he had left at the Rome Opera 
>>Orchestra, and other RCA musical preparation staff also spent a fortune 
>>auditioning and setting up a recording orchestra from the finest players 
>>in the area.  Even Solti was impressed when he recorded "Rigoletto" and 
>>"Falstaff.". 
>> 
>> But they only used the setup for a few years.  The Mehta "Trovatore" 
>>and Leinsdorf "Aida" were done in the Walthamstow suburb of London (a 
>>potentially great but very tricky recording venue). 
>> 
>> After 1970, the only "Italiana" project I can think of was the 
>>Gavazzeni "Boccanegra." 
>> 
>> Why? 
>> 
>> Max Paley 
> 
>--  
>James Bodge 
> 
>You only need two things: WD-40 and Duct Tape.  If something moves and 
>it shouldn't, use the Duct Tape.  If it won't move and it should, use 
>the WD-40. 
> 
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